Micbress

Martin and Chris, thank you for the replies. Yes, it's true, there isn't a manual zoom or manual exposure but the only real leak, for me, is the related to the manual zoom. Othrewise eveything seems to be pretty fun to use and practical; and i must say that i've paied for the camera 11$, in "new" condition. Regarding the filter/notch/exposure situqtion i have to say that today i've made a short test loading a 7266 into the camera. Considering that the tri-x dosen't have the notch the internal filter is deactivate permitting the correct ASA reading; so my Yashica with an unnotched tri-x will read the film correctly, as 200 ASA. After that i've tried to use the filter key to activate the internal filter, in order to see the differences between exposure values, but nothing changed. If i press the internal filter pin, from the film chamber, i have the normal +/- 1 stop value. So i presume that something's wrong with the filter key, considering that i did not saw any aperture changing? If the filter key is out of question due to technical problems i wil need to resolve everything using the notch pin, which is activate/deactivate from the cassette. An regarding that i have my final question... The tri-x will automatically remove the internal filter and the camera will read correctly the film as 200ASA. If i want to use an external 85B filter i will have an exposure cut of 2/3. Considering that the camera uses TTL metering why do i have to +1 ? The filter will just cut the light amount and not influence the ASA reading. With the Nizo i use the Tri-X with the bulb setting, in order to have it read at ASA 160, and i manually compensate closing the F 2/3, in order to do not have it overexposed, but in this case we're talking about ASA160, and the Yashica will read ASA200...please, correct me if i'm wrong. If i use Vision 200 i will have to deactivate somehow the internal filter (if i'm not trusting it due to its age etc). So, can i also fill a notch? I'm asking because if the filter key dosn't work (as it seems...) my only possibility is to use and trust the internal filter or deactivate it and use an external one. My main question is about the metering with and without the filter. The camera has a backlight and spotlight mode, which mean +1 and -1, using the tri-x with external filter (-2/3) and +1 will be ok? Considering the correct ASA reading of the camera does the +1 still necessary? I think that you guys understant my uncertainty so i will stop here with the questions and explanations :) Thank you

Martin, thank you for your helpful reply. Everything's clear now about the camera, the filter & notch. Considering that the tri-x 7266 will remove the internal filter, and the 200T vision in notched in order to let the filter in use, now the only true question is about the reading of the ASA. Officialy the camera reads correctly any ASA between 25 and 400, so both the tri-x and the vision should be read at their correct ASA value. I'm a littble bit suspicious about that because it seems to easy; i normally use a Nizo Pro which dosn't have this "ability", neither the F32 at one end...i mean, this Yashica 600 electro is that good?? :)... F 1.8 - F 32, correct ASA reading, exposure compensation etc...and i bought it for a one time project, in which , at the end, the camera should have fallen from a top floor.

hi and thx for the reply i've found the original manual of the camera and the clear specification that the camera will automaticaly set the ASA between 25 and 400 ASA, so the Vision 200 will be at 200, if everything work as they say. But now the "real problem" is connected mostly about the built in filter of the camera. There is absolutly no specification of it the the manual and www i've found that is the standard 85A, as normal. But there is no any possibility to operate the filter; no tungsten/sun switch, nothing. So working with a 200T stock, needing the filter for the outdoor shots....what would be the settings?

hi everybody, i've just bought a Yashica 600 electro wich i intend to use with Vision 200T stock. Doing my searching on the web i've noticed that i can't find any exact information regarding the "usual problems", the correct exposure of the film and the use of the built-in daylight filter. I found that: exposure: auto and manual exposure control; TTL EE film speed: auto between 25 and 400 ASA exposure compensation: +/- correction for auto CCA filter: built-in 85A filter, coupled with movie light socket So what will happend using a 200T with this camera? will auto set at 200ASA? If not, what will be the correct procedure to follow? Any advice will be very helpful.

many views but no answer :) I will send the material to Andec like that, hoping that will be ok...i was just hoping to have some infos regarding that, in order to know if i will be able to see something or not :)

Hi, today i've shot some outdoor tri-x with my Nizo Pro, i've used the bulb/tungsten settings to have the film at 160ASA. I know that to compensate the film and have it correctly exposed at "its normal 200 value" i had to underexpose manually with 1/3...but i've used almost all the time an ND2 filter (in sunny/normal daylight conditions) that cut off 1 stop ( ex: from 5.6 to 4 ). Now my worry is connected to the exposure: letting the camera on Automatic and using the ND2 filter will give me an underexposed result or will be fine, considering the adding of contrast and the fact that the reversal is better underexposed? Now i have a big doubt: if i let the ND2 filter on (that will cut off 1 stop) i must also compensate with -1/3 or the filter will be enough? Will the ND2 filter used with Tri-x in outdoor shooting be too much and underexpose everything or will it offer some extra contrast and more "drammatic" blacks ? Any info or advice will be much appreciated! thank you all

Today i did my first try with the 500T and 200T stock; indoor scenes with poor light, 2 normal bulbs. The camera on automatic was set at F 1.8, sometimes a little more, at the right end of the value scale of the Nizo pro. Considering the 500T i 've used this value , avoiding to compensate putting the F at 2.8. So my questions are: 1- will be everything overexposed or just ok, considering that the color negative is better a bit overexposed? 2- In poor light conditions like indoors or night shots the indicator of the exponometer will alwayd be at the right end , so in any case we must compensate? For the night shots and indoors what will be the best solution? Let the value of the automatic metering (considering the low light), compensate or just use the automatic B function, to let the camera do the job? Thx

The program and the scrip are pretty hard to use :P I visited your site and is really strange that you don't offer any kind of post-processing service, considering your results...:). I'd love to try it. great great job!!

hi, the black and white is better a bit underexposed (we're talking about Tri-x 7266), the color negative will be better if overexposed (+1/3).

Steve, thank you for your answer, i like the result but i have some doubts regarding the image at the edges. It looks like the outter ring enter the image, and if so this wont be a real gain. I will try to find some other clips in order to see if the "edges problem" is something typical for the Ultra Wide 3

Reading the forum i've seen several topics with these questions so i've thought to fuse all into this, considering that i also need some advices.. I will start posting what i know and i've learned here, so i will ask you to correct me if i do mistake I've calculated everything considering my camera, Nizo Pro, only 100 and 160 ASA reading. KODAK Vision 3 200T Will be read at 160ASA on the bulb setting. Still 1/3 overexposed but will be ok for the negative, nicer grain, more density. But if shooting outdoor, lets say in a sunny day, we must put on an external 85B filter because the Vision in tungsten balanced. In this case we have a drop of -2/3 from the filter and a exposure value almost correct; here we can compensate a little overexposing to make popup the colours. Can we set the film on daylight filter to have it at 100ASA (+2 overexposed) and just put on the external 85B to have a cut of 2/3 and still have it overexposed? KODAK Vision 3 500T If set the camera filter on bulb and have -1 stop from that value we have the film at 320ASA, still 2/3 overexposed, nice for granulation. For use it outdoor we must add the 85B filter and we will have (probably) a right exposure with correct tones (85B), because the lightmeter will compensate what the 85B has eat. Other suggestions? What about shooting indoors with natural light, no tungsten? What will be the best solution for the Vision films? in poor light condition we must use the 85B to avoid cold tones, even if there isnt a tungsten source? KODAK 100D Daylight reversal film that can be used on daylight filter, this way will have it at 100ASA. In Daylight conditions with the internal filter on, we can add an ND2-4 filter for have it a bit underexposed, better for reversal. What about the use of this stock for interior shooting? Just manually overexposing by opening the iris or set the film on bulb to have it read at 160ASA? KODAK 64T 64ASA tungsten film that the Nizo pro read at 100ASA on daylight filter. for outdoor shooting let the daylight filter on an add an external 85B for color correction and for the -2/3 exposure. At this point, whit the 85B on and -2/3 exposure, if will be ok to underexpose another 1/3? hope that the topic and all the possible answers will help thx

Or you think that the correct value will be obtained using a ND6 -3 Stop, underexposed 1/8? I think that may be good, considering that at -1/4 we have the "correct value" and at -1/8 we have it underexposed, ok for reversal.

Anthony, an ND 6 filter isnt too much? if we have the film on bulb at 160 for compensate we underexpose with 1/3 and considering that the reveras is better a bit underexposed i think we can set from the start a -1 value from the meter reading, but adding an ND6 filter that presume -2 isnt too much? I tought that maybe an ND2 -1 stop will be the right choise, put-on the camera at 160 without underexpose the 1/3, i'm just asking, please correct me if i' wrong. Thank you

but what about keep all the time on the lens an UV filter? A good one will not neccesitate compensation, right?

Hi everybody, i intend to buy the lens but i was wondering if somebody does have any sample uploaded somewhere....i've checked youtube without results. Does it change the situation so radically? The distorsion is very visible? I'd love to have the possibility to film interiros and wide shots but i really don't know how reliable are the results from this lens. Any kind of review or personal experience are welcome!!! Thx a lot

Anthony, thanks a lot for your answers, i ve saw many others good advices from you in different topics! Meanwhile i have find the filter diameter size for the Nizo Pro, 62mm. I will look after an 85B filter to use with tungsten film in daylight conditions and for a ND.6 for use with the BW stock. At the beginning i was just a little bit frustrated (avoiding to say affraid, like in the wellknow song...) regarding all this ASA situation; where and when compensate and so on, but at the end i concluded that there is nothing really difficult,and i will post here my conclusions because i saw many newbie (like me) asking the same questions: 1- if use a 200 ASA Tri-x 7266 film the camera will read it at 100 ASA with the 85 filter on, and at 160 ASA with filter off/Bulb setting. If used at 100 ASA (daylight symbol) the results will be clearly overexposed (too much light on the image) because the camera retains necessary to let more light on film, believing that it's a 100 ASA film, so we have a +2 stop overexposure. In order to obtain good result shooting BW reversal we must set off the filter in order to let the camera read the film at 160 and underexpose a little bit , 1/3. If we need a grainy result we can set the film at 100 ASA (daylight filter) and add an ND or red filter in order to underexpose enough/ 2- If shoot a color negative stock like Vision 3, it is reccomended to overexpose it in order to obtain better results. If shooting indoors we can let the 200T film on Bulb setting in order to have it @ 160 and overexposed ( tungsten film) but if we intend to use it outdoor we must add an external 85B filter in order to get the right colours and not everything blu. In the case of the 500T i think that the solution will be probably a combination: let the film @ 160 ASA but underexpose 2/3, i think that even if the color negative looks better overexposed, the 500 @160 will be too much. I still need some advices regarding that.... 3- The Nizo cameras (in fact all the S8 cameras excluding the Leicina special and the Beaulieu) reads only ASA values of 100 and 160, so for the rest we need to compensate.

What's the diameter for the filters on the Nizo Pro?

Thank your for your answer! regarding the ND.6 filter and the filters matter in general, you suggest to use an ND.6 filter in daylight condition with the camera reading the tri-x at 160 ASA? What's the diameter for the filters on the Nizo Pro? I also intend to buy few Vision 2 and Vision 3. For the Vision 2 i presume that will work the same strategy applied for the Tri-x, set the camera on bulb and have the film at 160, with + 1/3 probably the results will be near the 200 ASA performance (please correct me if i m wrong), But in the case of the Vision 3 and the declqred 500ASA? Regarding the compensation operation, on the camera we have the possibility to directly choose +1, after that the only way to adjust everything will be in Manual mode, right? A button for a +2 dosent exist. Thx again

Hello everybody, this is my first post and i choose to start with some infos that i really need... I've bought a Nizo Pro and i'm waiting for a stock of Tri-x reversal 7266, i will use this setup for film during a residence period of 3 months so i thought that will be better clarify any doubt before start the fun. I've read in this and other forums a lot of intresting material but i've also so some "common problems" that made me choose to ask before. 1- I understood that the Nizo pro cand read a maximum of 160 ASA, in the rest of the cases the film will be "downgraded" to 100 ASA. So, correct me if i'm wrong, a Kodak Vision 200 will be lowered to 100 and a Tri-x 200 will be lowered to 100 using the 85B filter of the camera but can be "push" to 160 ASA if the camera filter is set on Bulb/Tungsten. I intend to use the Tri-x for indoors and outdoors, static and dynamic shoots, what will be the correct combination for obtain a correct exposed film considering the 2 "scenes", indoor/outdoor? I tried to take it logically and i end up to this conclusion: - for outdoors shoot in good light/sunny contitions use the film oh the daylight filter/85b in order to have a 100ASA speed that i consider ok for general/good light shooting. -for indoors with medium/poor light use the Bulb filter to have an higher 160ASA and maybe use the compensation at +1 in order to push it a little bit and have a more lighted image. I case of a very sunny day, conditions of much light, i presume that also a red filter or an ND filter can be used, regarding that can you please give me some advices of filters type, personal preferences etc? 2- If on the Nizo we have the possibility to compensate +1/overexpose (from the button in the centre of one dial) in order to have more light in our shoots, what is the solution for "cut off" some light/ underexpose in contidion of too much light? The lever from the "fade in/fade out" area will do the job? Maybe if setted at the mark 1/2 will cut in a half the light recived? 3- I intend to use the Timelaps and Auto B features, regarding this i have some doubt, so please confirm or infirm my thoughs: -When the Auto B is selected the camera will film until the end of the cassette with a fps resulted from the time needed for each frame to expose correctly? At what speed will be projected these sequences if the fps resulted isn't standard? -My wish is to use the Auto B mode for film in dark/very poor light conditions, but my intrest is to obtain some kind of slideshow and not a frenetic material, very speedy. So, if i choose the Auto B, point the camera in the dark and start shooting, what will be? The camera will film until the cassette will end, at variable fps or the Auto B is connected to the Timer scale and so the camera exposes in Auto B but in the time set from the timer? Im trying to understand if the Auto B works alone, like start in Auto B and the camera will do the job setting custom time for each frame, or if in Auto B is connected to the timer, case in which the camera will correctly expose the frame but in the interval of time setted from the timer. If i will choose the "single frame with cable or remote" how the exposures will be done? And at what speed, 18fps? I must recive the camera in few days, i've checked the manual but i still have these unresolved mysteries. I apologies for all these questions and for my bad english :) Thank you