Dan Cordle

I hate to see them go but I'm selling off a good set of regular speed Lomo prime lenses and am posting here to gauge interest before making notes on each lens and putting them up for auction, or selling them through a broker. These can be used with 35mm Konvas cameras or the buyer can choose to have them remounted in PL or rehoused 18mm, 22mm, 28mm, 35mm, 50mm, 50mm macro, 75mm, 75mm macro, 80mm, 100mm, 150mm, 300mm, 750mm If sold as a set I will send along a Sony E mount adapter, micro 4/3 adapter. I will also send a canon adapter but it will not fit all these lenses. Local buyers are welcome to see the lenses in person. Best Regards, Dan Cordle insta: iamdancordle dan@dancordle.com (646) 235-8957

Thanks, I'd seen that manual but it lacks specific information about the accessory jack. I've since communicated with Clive Tobin (many thanks to Clive). Here is what he said, in case anyone needs the information in the future: "The Accessory jack is intended for running a Bolex torque motor that does not draw too much current, or a relay for turning on lights. The output is something like 8 volts DC which may suffice to trigger a still camera. I don't think I have any information on what voltage or connection would be needed to trigger the still camera. If you need a contact closure instead of a voltage you could use a little low-current relay for this."

Hi, I own a Tobin TTL (connected to a Konvas 2M) and can't find information on hwat kinds of accessories can be plugged into the accessory port/jack. I'm wondering if I it can be used to synch with a flash or to take synch photos with a DSLR camera. Has anyone here used the accessory jack?

Hello all, Hoping I can get a little input from anyone who's used a Foton 37-140 zoom with a rear anamorphic adapter (A-3) My Foton has an OCT-18 mount with an OCT-18 to OCT-19 adapter. I recently received a Foton A-3, rear anamorphic adapter for the Foton which screws into the rear of the lens. I've found that when the adapter is in place, it's so long that mounting it on the Konvas would damage the shutter. Perhaps I'm missing something, but am thinking the adapter is meant for use with a different camera. I've found no information about this adapter online. Anyone here have any experience with the Foton A-3?

Hi Freya, Long time no type. I have a fantastic 50mm square front which I lent to a friend this year who's been shooting. He's actually a member here (Ian Dudley) and used it while shooting a scene of his excellent project for the Patrick O'brian foundation. The footage he shot with the lens is quite nice. Best Regards, Dan Cordle

The company mentioned in the old smartgroups site was Arax Foto. Their site is www.araxfoto.com They offer reasondalbe rates and excellent work. Best Regards, Dan Cordle

The Arri 2C, the Konvas 2M are good choices. The Cameflex too. I researched all three before purchasing a Konvas 2M with a 17EP-16APK motor. Since then, I've added a timelapse motor (Tobin TTL), a videotap, and several accessories. The Aranda Group in Australia and SlowMotion in California make motors for the camera. There are at least three very good techs for the camera in the U.S. and several excellent technicians abroad, including Olex Kalychenko - who often posts here. Best Regards, Dan Corle

Thanks for the reply. I've tended to really rely on incident readings whenever shooting people. I've never been very exacting about exposure and must admit to never having learned the zone system. I've just taken incident readings and then tried to sense if I need to open up, or close down and whether or not I needed to add, or subtract light in order to get what I want. I don't know if such a relaxed approach to exposure is such a good thing but I'm self-taught and this way has worked for me well for portrait photos. However, it's one thing to take chances with a few rolls of 36 exposure film rolls, and another thing entirely to roll off several thousand feet of film. I'd like to think that an intuitive approach to exposure can continue to work for me but find myself wanting to learn to be more precise. I sense that there are many DP's who rely greatly on intuition when judging exposure but I know there are also those who approach it as a science. Best, Dan

Thanks David. That's good to read. I got in a bad habit of using the camera's internal meter and bracketting when shooting landscapes. I just never cared much for that kind of photography to give it much thought. Now that I'll be filming a few landscapes, I wish I had been more interested at the time. The filming I'm doing isn't for a job, but it would a bit dissapointing this time if I didn't get the exposures I was hoping for. As nice as it would be to have the new Sekonic Cine meter, I'll probably just stick with my old meter and take a few digital stills to get a sense of what I'm getting on film. Best Regards, Dan

Hi, I'm hoping to get some light meter advice. The only meter I've ever used is a Sekonic Digilite L-308. It's been a great meter and I just sent it off to to Sekonic for a check-up. Sekonic suggested I trade it in for a newer model and offered a 15% discount on whichever meter I wanted. My meter is pretty old, so I'm considering the trade in. Also, I've tended to rely on incident readings but am wondering about whether it's worth getting a meter that can offer a 1% spot readings. The reason I'm considering the spot meter option is that I'm shooting some landscapes this summer and would like my shots to be "spot on" , so to speak. I don't have experience shooting landscapes and am wondering if those of you who do, tend to reach for a spot meter, or what your preffered metering technique is. Thanks in advance for any input. Dan Cordle

I'm filming an experimental short this summer and have been planning to shoot on Kodak 5222. I've shot a few tests with the stock and have taken storyboard photos using TMax 100 (pushed 1 stop). The problem is, I keep catching myself "seeing" parts of the film in desaturated color. No matter what I do, color pops back in. There are a couple of things in the script that would certainly benefit from being in color. For instance, twice in the story flowers play and important part. At another point a character takes a bath in chocolate syrup. It's supposed to be a funny and romanitc scene but might look rather bloody and unapetizing in B&W. All this has made me re-evaluate my choice of stock. It's also made me wonder how difficult it would be to selectively add some color to moving B&W images. If anyone has done this I would be happy to hear how challenging it is to accomplish. I'd also like to hear of any examples of recent films that added color to B&W images. I remember hearing about a recent project that did this, but haven't been able to track down the film. Shooting the project in color is, of course, an option, and I suspect that subtracting color would be easier than adding it. However, for the time being I'm just curious about selective colorization for moving B&W images. I've done this for still photographs using Photoshop, but have no idea how it's done for moving images. Thanks in advance for any replies. Best, Dan Cordle

Hi Stephen, If you go to http://www.smartgroups.com/groups/Konvas and link to the pictures area, You'll find some excellent photos of the Konvas lubrication points on page 2 of the scrapbook. Congrats on getting a Konvas. I'm shooting my first real project with my "new" 2M next month. Best, Dan Cordle

Hi, I don't know any shops in Canada that service the Konvas. However, Maine, USA is not too far from you. That's where Bernie O'doherty's shop is. His site only mentions that he works on Kinors, but he does great work on the Konvas as well. His site is http://super16inc.com/page4.html Best Wishes, Dan Cordle