Hi All,

Received as part of an ebay auction a Tokina PKA 70-210 SD (red ring) f/4-5.6 lens with some fungus inside it. Apart from the fungus it looks OK, it has the short flange so should fit any K mount.

It's no good to me.

£3.50 for UK postage plus fees or send me any roll of in date mono 24/36 exp film.

John.

Hi All,

I've got a clean copy of the Hove-Fountain (Richard Hunecke) SFX/SFXn book (ISBN 0-86343-220-4) for sale.

£10 with UK postage plus fees.

John.

5 & 9 for me. 5 works really well, but only because it shows-off the iconic shape of the Lanc and the setting is perfect. Without the iconic shape it would be pretty bland.

Hi Deryn,

For info on DX coding: link

Yes the roll of film is the canister (or cassette).

The left hand side of the camera back will have a row of electrical contacts. These are used to read the DX code - black/silver pattern of squares on the canister (almost all boxed film will have one). This sets the camera to the correct ISO for the film. All you have to do is load the film and the camera does the rest.

Some films are available in a long spool instead of a 24 or 36 exposure roll. You need to load this (in darkness) into re-loadable canisters to use in the camera. Spools are much cheaper (because you buy in bulk) than buying individual canisters, but not necessary.

DX coding stickers used to be used to change the ISO of the film or for rolls that weren't coded to override the original DX coding. They covered the original code on the roll and work in the same way.

You don't need to worry about it until you're more experienced with film, simply loading the film will set the right ISO.

John.

Pre-set anybody? I've no idea how they work though.

The P30n will only work in program mode with DA lenses (you need an aperture ring to select either Aperture Priority or Manual) and you can't vary the combination. They will vignette (especially with a hood fitted), although you might get away with longer focal lengths to some degree.

Hard to go wrong with something like this:link

John.

A very good set, without knowing the area it's a bit hard to comment, but:

For me #1 & #2 are very good (I prefer the mono version though), #3 is good and for me probably wouldn't work in colour (converging verticals would spoil it without the graphic impact of the mono). #4 is better than #5 (again down to the 'falling-over-backwards' feel that the mono seems to work around). #6 is very good (only spoiled by the very obvious 'Harvester' signs - not a lot you can do about them). #7 would be better without the leftmost lamp post I think.

The processing (particularly the mono) looks excellent.

John.

Hi Deryn,

A 2x TC loses two stops of light, a 1.4x only one stop. Using one with a wide-angle may not get good results, a 50mm would usually be better (on a 28/3.5 with a 2x TC you'd be at f/6.7 - the half stop between 5.6 & 8 ).

Ones to look for are the 7 elements versions which are better than those with only 4 elements - but I doubt you'd see much difference with a 50mm f/1.7 - with longer primes and zooms you'd probably notice the difference much more.

John.

As previously stated (possibly in the other thread), a 2x teleconverter makes a 50/1.7 into 100/3.5, and is useful to have anyway. For portraits, the loss of quality shouldn't be an issue when used with a sharp prime.