sort of technical

Nikon Speedlight SB-24 in first use

One advantage of vintage gear is that everything associated with it is likely to be cheap, often very cheap meaning that you try things out that you wouldn’t normally consider. So, to my purchase of a Nikon F4, I have added a medium quality zoom lens Nikkor 28-105mm f3.5-4.5 AF-D (the review in the link pretty much confirms my own thoughts about the lens and its performance though I feel a little less generous – it only gets acceptably sharp after f5.6 and I would not describe its zooming action as at all smooth, nevertheless its a convenient lens to keep on the camera) – and today, just out of the box with fresh batteries, a Nikon Speedlight SB-24. This was a flash unit that was designed to work extremely closely with, specifically, the Nikon F4. It measures for the correct exposure through the lens during the exposure and as you change settings on the camera such as the aperture or the focal length of the lens the flashgun makes its own internal changes through its clever connections in the hotshoe. (it doesn’t seem to do any of this when fixed to a more modern Nikon like my D810 unfortunately). I’m yet to see the results of a few headshots that I’ve just taken, of course, until I finish the film and get it developed. Youtube offers some useful tutorials on the effect of various directions of pointing the flash head, along with the effect of fixing a white card to the top of the unit – which I have tried as seen in the picture here.

Upto now I have never been interested in using flash and most photographs that I have seen that do use it, even fill-in flash that is supposed to be subtle, have been the exact opposite of the kind of pictures that I am interested in taking. However, I can see that it is possible to use flash carefully and this speedlight/camera combination makes it particularly possible. My first assumption that you point a flash unit directly at (the face of) your subject was clearly (terribly) wrong – that’s why these units can tilt upwards and swivel from side to side of course – so that was my ignorance. I’m going to keep experimenting.

I’m expecting a waist level finder in the next week or so.

Two 1980s film cameras (Nikon-Pentax) compared today

Was it worth it to buy a new film camera when I had a perfectly good one in the drawer, one that I have owned since 1984? It was time for some comparisons. I put a roll of Tri-X through each and developed both films in exactly the same way. I scanned them with exactly the same equipment and settings though I might have made their curves a little different in Lightroom. I took some of the same subjects.

Pappenheim by Pentax ME Super (SMC 50mm f1.4) might have been shot at f2

Nikon F4 | Nikkor 50mm f1.4 AF-D | Tri-X Pan 400 Digitized with Nikon D810 | daylight Home developed in D76 | 6.75 mins | tank

The author photographed by Pentax

Bookshelf by Pentax

The images are very comparable and it takes a bit of magnification (more than you can do with these images here) to see that the Nikon seems to produce clearer, sharper images, possibly with more contrast though that could be a LR effect. What this comparison of a few images chosen from two rolls of 36 pictures does not show you is the completely out of focus shots that the Pentax produced, probably a good half dozen of those, plus a couple more where the exposure was wrong. The Nikon on the other hand did not drop a single shot. In terms of camera movement, neither of them compare with a modern camera with vibration reduction.

Above the contact from the Pentax

This is the Nikon

A(nother) New Camera: Nikon F4

Having bought Bellamy Hunt’s Film Camera Zen after spending some weeks checking out the old Nikon film cameras from the 1950s to their last F camera, I decided that one of these was for me. I enjoy the lightness and simplicity of my Pentax ME Super that I bought (duty free – supposedly) in 1983 or 4 at Singapore airport, but too often the images are poorly focused (by me) and never exactly sharp. I have hesitated about shelling out for a second film camera. I was interested in the last largely mechanical Nikon F camera, the F3, because of its reputation and nice style. Its currently selling for between £300 and £400 and I couldn’t justify spending that amount. But I noticed, in passing, an F4 at about half this price and have ended up spending around £200 for a beautifully preserved version that arrived this morning from Japan. The F4 was one of three transition professional cameras that Nikon made between mechanical film cameras and their first (professional level) digital SLR, the appropriately named D1. It was manufactured between 1988 and 1996. From the serial on the camera I have bought it looks like it was made in 1992. After the F4 came, predictably, the F5 which is huge and heavy and not just heavy like the F4, and the F6 which is virtually a digital camera that still uses film. Its clever but is on the market for around £1000.

Today, the day after receiving it, I put a roll of Tri-X through it. I wanted to test that basic things like the exposure meter and the focussing worked and also to see whether my more modern lenses would work with this 1980s camera. I shot the whole film in a little over an hour (a record for me – mostly it takes a few months to finish a film) and developed it just now in the kitchen. I was very pleased that my newer G lenses worked very well and focussed more quickly and quietly that the older AF-D lenses. I have quite a collection so its a real attraction for me.

Its old school but I made notes about every exposure so I can check that there are no problems with the camera.

Now that I have developed and scanned the first roll of film, I can say that it performs perfectly. The autofocus works and the exposure meter works very well. The only alert was that this camera predates vibration reduction so there is some obvious camera movement on shutter speeds less than 1/60. I will have to remember that.

Here’s some examples:

Nikon F4 | Nikkor 35mm f1.4 G | Tri-X Pan 400

Digitized with Nikon D810 | daylight

Home developed in D76 | 6m 45s | Tank

I’m hoping there is some way to bulk edit the camera info in Lightroom etc. In terms of workflow, I have made a preset that makes positive images from the scanned negs, then each image just needs a little tweaking of its curve. This will be fine for B&W but colour negatives are much more tricky and I might resort to Negative Lab Pro, a plugin that costs about £75 at the moment so not cheap. Trying it – the camera and Negative Lab Pro, with some Kodak Gold – about half the price of Portra – is my next plan.

New Touratech Luggage option for KTM790Adv

Even though the KTM catalogue from 2019 – its the last one that made it into my house – shows their middle-wieght adventure bike, the 790 Adventure, fitted out with black aluminium panniers, most riders seem to put soft, weight-saving luggage on the bike. The brand in vogue seems to have been Mosko Moto. You can fit a surprising amount of travel gear into their Reckless 80 litre bags.

I got drawn into that but always secretly wanted the convenience of some hard luggage, especially when going on a short ride or to do some shopping. And my Touratech aluminium luggage left over from my last BMW was still taking up room in my garage which is also full of a kitchen, old vacuum cleaners and furniture. And a topbox is a handy place to store your helmet while you are in the supermarket. I tried some nice strap-on tail pack from Kreiga, mounted to the Perun rack that I fitted soon after buying the bike a few years back. It was great for carrying some tools on a ride but not much else. Eventually I have caved in and started investigating fitting the mount for my Touratech top box onto my 790. You have to buy the whole set up to get the tubular mount. But Touratech in the UK could not tell me when the black version would come into stock so we agreed to try the kit made for the Husky 701 as they are very similar bikes. The cost was £150.

The kit arrived and on my first attempt to fit it I found that the Husky and the KTM have very slightly differently placed holes for the bolts that fit the rear rack. My second attempt involved fitting the tubular mount onto my Perun rack which was fiddly but possible. And it does not look too bad.

The top box would be much better if black but is fine. I don’t think the taste police will pull me over for it.

Travel tripods – its a nightmare

Well, not quite that bad – just a difficult choice. A huge leap in interestingness of motorcycle travel video is some variation from the overused first person POV helmet camera footage to actual footage of rider riding into and out of shot on some beautiful corner on a twisty road. We’re so used to seeing seamless continuity on feature films that we don’t even notice it on motoYoutubers efforts, yet effort it takes to achieve. We must make some unconscious assumption that there is a film crew riding with our favourite motoYoubuer. Maybe on occasions there is but often its not the case. And how’s it done? With a laborious setting up of a shot in advance: scouting, stopping, riding back, getting out your tripod, trusting leaving your beloved camera running and unattended while you jump back on the bike, ride off, turn round and ride back into shot looking nonchalant; then stop again, ride back, pack everything away and ride off and repeat a few times a day. You really wouldn’t get very far in a day. It takes high motivation to record something to go to all this trouble. The other far less troublesome use of tripods is to film yourself unboxing and trying out various gadgets from camping stoves to er… new tripods.

So, having thought that I might just possibly try this, at least use number two, I am searching for the ideal lightweight tripod. There are actually a huge number to try to chose from. The high end carbon models cost over £300. They tend to get good reviews – but that’s a lot to spend on something that may be a very short-lived experiment. Then there are the scores of mid to cheap models, often praised highly by Youtubers who probably have only used them once or twice and like the design. Amazon reviews provide usually more sober evaluations. These cheap tripods are cheap because they might use a soft component where a slightly expensive piece of aluminium would have been better. So reviews show that these are often not very strong. I have been on the verge of ordering so many of these then read poor reviews and stopped in my tracks. The latest is this:

I have never heard of Sirui – but then I have never heard of most of these brands. Its small, its light and its cheap. I may risk it. But will I risk actually trying it out on a windy corner in Norway on my next trip?

Old School motorcycle garage in South London

Everything I do ends up with lashings of anxiety. My bike was/is due its first MOT just after Christmas so at my KTM dealer getting a service done a couple of weeks back I asked whether my high beam Baja Squadron Pro would pass its test. I knew that it was sold as not street legal and I also know that it is blindingly bright. I was told that it would be ok but the dipped headlight would bring ‘an instant fail’. And why? Because its beam sloped up to the right rather than the left which is how LHD countries require headlights to point. (See below – subtle, eh?)

So, on the mail to Aurora Rally equipment, based in definitely RHD Greece. They pointed me helpfully to a Hella light on Amazon with a LH slope, ordered then delivered a few days later. I thought I would replace both headlamps and brought the bike back home from its usual location in Cambridge. Its not really that difficult to remove the front of the tower, just a little time consuming. For me though, the new light looked like it could never fit because the connection seemed totally different, so every step proceeded with a sense that everything would go pearshaped on this job at any moment.

Needless to say everything worked out well. The dipped beam is a small LED (over €100) which easily replaced the halogen bulb that came with the new light, though the Aurora tower does not seem to have enough upwards adjustment for the dipped beam.

So, rather than head back up to Ipswich I took the bike to a local MOT and mechanics, ChasBikes on Kennington Road. I was uncertain that the bike would get through.

It was easy to book, and there was no waiting time when I arrived and the test was done in half an hour, possibly less. The place is great and a welcome antidote for those corporate dealers where you get a coffee from a machine while your bike is whisked off and the mechanic’s space is out of bounds to customers. This is an Old school motorcycle garage at its best. I sat about 10 feet away from the mechanic testing my bike and could explain its oddities – like the headlight only comes on after the bike has moved a couple of yards. Chas and his mechanic both have an enjoyable dry humour (‘when electric starts came out I thought this won’t catch on’). I’ll be back for sure – next year at least. Chas mentioned that he had lived in East Africa, but I didn’t enquire further. The bike passed and I learned a few things about how the bureaucratic MOT system works. Interestingly this is what I found when looking them up to do a Google review:

‘CHASBIKES was started in 1984 by Charles Holt M.A.(OXON), a former East African wildlife biologist. Originally located on an industrial estate in Greenwich, the company hired out Honda CX500’s to dispatch riders, before beginning to specialise in repairing them for the public. The company then moved on to work on other popular dispatch riding models….’ https://www.yell.com/biz/chasbikes-ltd-london-6519580/

And here he is:

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