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JL Sargent

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  • 2 months later...

You're right Dave!

@Invidiosulus You could blow that up, frame it exquisitely, and pass that for an Ansel Adams!

 

My picture at Mt. Mitchell in June of`92 shows acid rain damage but yours is a dramatic photo.

 

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Ok, I've decided to shoot some film. Gonna have to think about the shots so I don't waste too much money. I had to get a battery for the meter on my FM2. I had taken it out a few years ago so it wouldn't end up leaking in the camera. This will be fun.

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22 hours ago, Marvel said:

Ok, I've decided to shoot some film. Gonna have to think about the shots so I don't waste too much money. I had to get a battery for the meter on my FM2. I had taken it out a few years ago so it wouldn't end up leaking in the camera. This will be fun.

This my FM2n. I have a Weston Master II that I use with it on occasion. Was a gift from someone online that saw I am a Nikon user. Left by his Dad in a closet for years unused. I sent it off to Gus Lazzari of TLC Camera Repair. Great work but took almost 2 years. A solid piece I carry as a backup behind my F5. Sometimes the F5 stays in the bag while I use the FM2n.

 

 

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Beautiful! I should have said mine is an FM2n. I spent about 10 years shooting 16mm film for tv news and documentary work. I always wanted to carry a 35mm  amera around with me for stills when the timing was right, but we were on the move too much to bother with it. I got the Nikon in the early '90s, after I had ended up in IT. It was a move from a Pentax Spotmatic I got used in the early '70s. My older son @Invidiosulus still has it. 

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Funny this popped up.  Just pulled my junk outta the closet for one last peek.  The youngest daughter in Phoenix wants my gear. 

 

Last time I used it was at Mid-Ohio in 1998 the photo pass says.  Had my usual Tower & Hot pass for the Indy car race.  It's been packed away since. 

 

After 28 years of string sports for a paper and many Golf/Racing mags I called it quits.  EVERYone was going digital and I wasn't jumping on the wagon.  Just too much money and the profit offset wasn't there.  Was I any good?  Many said I was the best but that's neither here or there.  I just took an immense amount of pride in my work.  Today it's all digital but for some crazy reason she wants to shoot film.  Yea, I've preached that these lenses will work with digital bodies but she's not listening.  Someday maybe but we'll see.

 

Here ya go w/some thoughts.

1. My Domke bag.  Pricey but the most comfortable bag (once it's broken in) you ever throw on your shoulder.  About 2 million miles on mine.  Hurts to let it go but my right shoulder is only an inch lower than my left today.  It also served as a great place to stach free food from the press room or anywhere I could find it.  Sammich for the road cause I didn't stop movin til it was over.  I'm cheap!   :)

2.  F4 body.  Then came the F5 then digital.  Blah.  Mirrors prolly frozen and needs to go to NPS.  Junk it.  

3.  Lenses?  On the body Nikon ED AF-S 28-70 1:2.8 D.  Pricey but a joy to use it'll stop any running back dead in his tracks.  85mm 1.4, 180.2.8, 24mm 2.8, also a 50mm 1.4, 35mm 2 or 2.8 and my 300mm 2.8 still sittin in the closet.  Metz 60 C-4 strobe w/the nicad waist pack, Gossen Luna Pro F meter.

That's my story and I'm stickin to it.  Bittersweet letting it go but at my age all I need is a cell.  Blah, they work I guess.  Not a geek so it is what it is.

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Picked that nosey bear up for a buck at an old H-D guy's auction.  It's signed and I'm thinkin he brought it back from Sturgis one year.  Who know but for a buck he's fun.  :)

 

Even found a 25 year old exposed roll of film.  That might be interesting if it's any good.  lol  My freezer?  About 400 rolls of Kodachrome64 the only thing I shot when I shot slides. My bag of tricks will be heading to Phoenix next week.  Downsizing is good but it sure as heck is bittersweet.  Carry on!  :)

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If that little bear is carved out of wood, I like it a lot! Especially if it is signed it might not be mass produced!

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Hi Dave, nice to see all that analog stuff.

Until covid I shoot mostly film, and after that the prices of film have gone mad.

Cherish that Kodachrome64 in the fridge, nowadays it is worth a fortune.

These days I mostly use digital (D750), but occasionally I put film in my oldies and go for a walk. Last week, and after one year of pause, I loaded F5 and enjoy every minute of it. Hard to explain why analog, it is comparable with turntables in audio. Just has its charm I guess.

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@Dave1291  How much sid that bag weigh with all your gear?My 16mm  camera with a 400 ft foll of 16mm film was only 17-18 lbs.

 

When the first video gear came out, the recorder was about 30 and the camera another 20 or so. I couldn't deal with the weight.

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2 hours ago, Marvel said:

@Dave1291  How much sid that bag weigh with all your gear?My 16mm  camera with a 400 ft foll of 16mm film was only 17-18 lbs.

 

When the first video gear came out, the recorder was about 30 and the camera another 20 or so. I couldn't deal with the weight.

Mine weighed a touch more with the angenuix ? zoom lens and anamorphic projection lens 2.66 x 1 in front. Made a custom aluminum mount for the lens coupling and lens shade. Had a touch of vignetting at max zoom. Turned down the front of the zoom lens in a lathe while holding my breath it wouldn't break. Same with the rear of the anamorphic lens.

Worked very well.

JJK

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3 hours ago, Marvel said:

How much sid that bag weigh with all your gear?

Who knows.  At the start of the day, enough.  The F-4 around my neck w/the AF zoom ugh, left shoulder an F-5/300 2.8 on a stick for balance lol cause the right shoulder had the Domke bag.  At the end of the day it was ugly heavy.  Many hot days shooting Indy cars I just wanted to drag the 300/F-5 by the bottom of the stick and go home.  The Fuji bag had the Metz, waist pack, light meter and a couple spare batteries just in case.  It was on the left shoulder under the stick if I took it at all.  They safety guys will keep an eye on your gear if you ask em too so I'd drop that near the tower/finish line or leave it w/Nikon Pro Services @ Indy.

 

I ALWAYS pushed the limit and would again today.  One day the indy cars were running @ Mid-Ohio here so one of the spotters on a hair pin turn asked if I wanted to go closer to the track.  Straight shot down a slope, under a bridge, up the other side into a hairpin coming out right at me warp 3 then into the last turn to the finish line.  I jumped at the chance to go down there I didn't care WHO was gonna spot for me.  That fast you're both dead.  Maybe 15 feet from the outside edge of the track and the adrenaline rush started.  First car up the leader, my finger froze on the motor drive.  36 frames in a couple seconds.  Not reloading there so I backed away to the fence then we went down for more.  Much better the second time.  Rick Mears was the first driver and Mario was the second.  Only time in my life I was shaking when I was done shooting.  At the end of the race Rick saw me and came over and shook my hand.  Welcomed me to the "club."  Started laffin his rear off so I told him thanks and what happened.  THEN he started laffin harder.  He never forgot that.  He'd see me, point and grin.  I'd just shake my head and give him a thumbs up.  lol  

 

The most humiliating story involves a former President and the Secret Service but only if ya want it.  lol  Yea, I wanna backspace that sentence but if ya want it ya got it.  😂

 

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I can only imagine the rush that was. Maybe we'll meet up some day and you can tell.

 

JJ, the cameras we used were CP-16 (Cinema Products), designed mostly for news work. At the station in Memphis, our chief photographer had a CP-16R, with reflex viewfinder.

 

They had crystal contolled motors, 2 mic inputs. Perfect for news work.

 

Our cameras had 9.5-57 Angeniuex lenses. I didn't like the short 57, but having the wider 9.5 was nice for cramped offices.

 

 

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8 hours ago, Marvel said:

I can only imagine the rush that was. Maybe we'll meet up some day and you can tell.

 

JJ, the cameras we used were CP-16 (Cinema Products), designed mostly for news work. At the station in Memphis, our chief photographer had a CP-16R, with reflex viewfinder.

 

They had crystal contolled motors, 2 mic inputs. Perfect for news work.

 

Our cameras had 9.5-57 Angeniuex lenses. I didn't like the short 57, but having the wider 9.5 was nice for cramped offices.

 

 

As I remember those CP's were a bit out of my price range. Mine was a $6,000.00 Beaulieu.

JJK

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Well, I sure wasn't the one paying for it either. IIRC, each package we had was about $20K. That would be for a camera, two magazines and two battery packs and a charger. They recorded the audio on magstripe film (one edge sprockets and the other edge a magnetic stripe). They had a crystal osc. to control the speed, so you could use a seperate audio recorder, but we didn't do that. The reflex model could be purchased with a video port attachment, and also could be purchased in a super16 format, for widescreen projections.

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