Koni Kowa
Well-known
andreios
Well-known
I've been thinking for some times about adding a film SLR to my photobag since I sold my Canon EOS due to it's plastic-ness..This morning I've finished reading this thread (well, not whole but a great part of it) and somehow it makes me to want a piece of OM.. However, I don't feel like buying it from the *bay, in my country they are almost non-existent... 
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Spyderman
Well-known
Hi Andreios,
try checking paladix.cz classifieds, or the used camera shops in Prague like Skoda. The prices are on the high side though.
I agree with you that buying from ebay is a risk, because you often get non-working camera (sticky shutter, jammed shutter, electrical problems, damaged prism...), but you can also get a nice copy for cheap.
OMs are work of art, and you won't be dissapointed that you decided to take this path.
Long live Maitani-san.
try checking paladix.cz classifieds, or the used camera shops in Prague like Skoda. The prices are on the high side though.
I agree with you that buying from ebay is a risk, because you often get non-working camera (sticky shutter, jammed shutter, electrical problems, damaged prism...), but you can also get a nice copy for cheap.
OMs are work of art, and you won't be dissapointed that you decided to take this path.
Long live Maitani-san.
Chriscrawfordphoto
Real Men Shoot Film.
shyoon
Well-known
I really like my OM2n but recently I've been having problems with battery drain and I always find myself gravitating towards my point-and-shoot for convenience. I'm tempted to sell it as it's been gathering dust for a month or two with a half-finished roll inside, but I just can't bring myself to do it.
So I was thinking of purchasing the 85mm f2 to use it exclusively as a moderate-tele/portrait camera since my other cameras all have a focal length of less than 35mm. That way it would actually serve a specialised purpose, rather than merely being just another camera in the cupboard, albeit a very good one. Any thoughts?
So I was thinking of purchasing the 85mm f2 to use it exclusively as a moderate-tele/portrait camera since my other cameras all have a focal length of less than 35mm. That way it would actually serve a specialised purpose, rather than merely being just another camera in the cupboard, albeit a very good one. Any thoughts?
Spyderman
Well-known
I know
I read about it too.ronnies
Well-known
Well, I finally managed to get a 'made in Japan' 50mm f/1.8 for my OM10. It came along with an OM40 and two Komine made Vivitar lenses (28 f/2.8 and 70-210 f/2.8-4) in another charity shop rescue case.
Only problem is the 50 has some fungus on the back of the front element. Now I can get the front group out quite easily but I have no idea how to get the front element out of the group to clean it. :-(
Ronnie
Only problem is the 50 has some fungus on the back of the front element. Now I can get the front group out quite easily but I have no idea how to get the front element out of the group to clean it. :-(
Ronnie
Chriscrawfordphoto
Real Men Shoot Film.
Well, I finally managed to get a 'made in Japan' 50mm f/1.8 for my OM10. It came along with an OM40 and two Komine made Vivitar lenses (28 f/2.8 and 70-210 f/2.8-4) in another charity shop rescue case.
Only problem is the 50 has some fungus on the back of the front element. Now I can get the front group out quite easily but I have no idea how to get the front element out of the group to clean it. :-(
Ronnie
I think you have to take it out from the front by unscrewing the name ring, which can be done with one of the rubber stoppers used by repairmen. It might have holes for a spanner wrench too, I can't remember.
Spyderman
Well-known
I think ronnies is referring to the front group that he already managed to separate from the lens after he removed the name ring.
ronnies: I have a similar problem, and I think it can not be disassembled. In my opinion, Olympus changed the manufacturing process and they started to glue the group together. This way they could increase the image quality in the late MC lenses by smaller tollerances.
If it's not an extremely bad case, you could try baking the fungus by UV light and then using the lens as it is. If you use a lens hood, I think the only degradation of image quality you will see is a slightly lower contrast.
ronnies: I have a similar problem, and I think it can not be disassembled. In my opinion, Olympus changed the manufacturing process and they started to glue the group together. This way they could increase the image quality in the late MC lenses by smaller tollerances.
If it's not an extremely bad case, you could try baking the fungus by UV light and then using the lens as it is. If you use a lens hood, I think the only degradation of image quality you will see is a slightly lower contrast.
ronnies
Well-known
Thanks Chris and Spyderman. I do indeed have the front group out via the name ring but can't see how to unscrew the elements themselves. If it is glued in then the lens has had it. It's quite bad but at least if it's sealed it won't be going anywhere else.
Someone has obviously the lens apart in the past as the focus goes past infinity but the infinity mark on the focus ring never reaches the index point.
Ronnie
Someone has obviously the lens apart in the past as the focus goes past infinity but the infinity mark on the focus ring never reaches the index point.
Ronnie
jesse1dog
Light Catcher
Bit of bad luck there Ronnies.
Still the mij lenses are around and another will probably come up quite quickly. At least the charity shop benefited and I hope you aren't too much out of pocket. But what was the OM 40 like? Its an interesting beast!! If you don't like the covering you can always rip it off - very easy in my experience. You can then put on something normal.
jesse
Still the mij lenses are around and another will probably come up quite quickly. At least the charity shop benefited and I hope you aren't too much out of pocket. But what was the OM 40 like? Its an interesting beast!! If you don't like the covering you can always rip it off - very easy in my experience. You can then put on something normal.
jesse
ronnies
Well-known
I've fixed the infinity focus problem but still can't get in to the fungus. It's covering about 10-15% of the rear surface of the front element.
The other two lenses are fine though the 70-210 may have very slight fungal traces but nothing to affect the image.
The OM40 is fine. It had the mirror locked up in the shop but it just needed new batteries. The coverings had gone a but 'light grey' but seem to have cleaned up ok (not sure how dark they should be). It's still reasonable 'grippy' too. It had a film in it so I've finished that off including shots with the 50 to see what happens. Other than that and a small chip in the paint the camera almost looks new !
To finish off the kit it came with a Jessop's blue gadget bag and a 'never ready' case for the OM40. I'm happy with the lot despite the 50's woes.
Ronnie
Armoured
Well-known
Spreading the wealth (infecting others with OM GAS)
Spreading the wealth (infecting others with OM GAS)
I'm pleased with solution found to my own recent bout of GAS:
Months ago a friend of mine saw my ancient japanese Rolleicord copy, and asked me to get her an 'antique' camera too. I've been looking but was uneasy - I don't think she's ever used anything but digital point and shoots, and I really doubted she would find a meterless TLR friendly (at least to start).
Recently, I got into OM, and in a mad GAS attack, ended up with three OM bodies. The OM-4 is spectacular, the OM-1 solid and smooth - but I just couldn't get friendly with the OM-2S. It's fine and operates well but the program mode doesn't help me much, and the transition from program/auto to manual spotmeter is awful.
What I mean is, I want to use the spotmeter when I know the scene has tricky lighting, and I want to quickly get a spot reading and leave it there without a lot of adjustment. The OM-4 has this right: you quickly use a spot reading in auto if it's a one-off, or get your reading (at current aperture) in auto and switch to manual if the scene lighting is constant. It's sweet. The OM-2S from auto to manual is like two entirely different and unrelated lighting meters, that are unrelated - each individually is fine, but they don't complement each other. Anyway, although I like the looks of the OM-2S and the feel in the hand, the package doesn't work for me (or offer much over the OM-4).
So my friend was over and I gave her the OM-2S: program mode will work for her for now, she can learn later about auto and diaphragm/DOF control, manual if she gets proficient, and it's a nice, sexy little set-up. She particularly liked the ugly random neckstrap I gave her in 1970s faded orange (I think you know the colour I mean): she thinks it's awesomely 'retro.' She loves the viewfinder and the way the image pops into focus, and I had a surplus 135/3.5 she can play with.
Only downside: I only had the one 50/1.8 lens, and she took that. I guess that means I'll have to look for a 50/1.4 for myself )
Spreading the wealth (infecting others with OM GAS)
I'm pleased with solution found to my own recent bout of GAS:
Months ago a friend of mine saw my ancient japanese Rolleicord copy, and asked me to get her an 'antique' camera too. I've been looking but was uneasy - I don't think she's ever used anything but digital point and shoots, and I really doubted she would find a meterless TLR friendly (at least to start).
Recently, I got into OM, and in a mad GAS attack, ended up with three OM bodies. The OM-4 is spectacular, the OM-1 solid and smooth - but I just couldn't get friendly with the OM-2S. It's fine and operates well but the program mode doesn't help me much, and the transition from program/auto to manual spotmeter is awful.
What I mean is, I want to use the spotmeter when I know the scene has tricky lighting, and I want to quickly get a spot reading and leave it there without a lot of adjustment. The OM-4 has this right: you quickly use a spot reading in auto if it's a one-off, or get your reading (at current aperture) in auto and switch to manual if the scene lighting is constant. It's sweet. The OM-2S from auto to manual is like two entirely different and unrelated lighting meters, that are unrelated - each individually is fine, but they don't complement each other. Anyway, although I like the looks of the OM-2S and the feel in the hand, the package doesn't work for me (or offer much over the OM-4).
So my friend was over and I gave her the OM-2S: program mode will work for her for now, she can learn later about auto and diaphragm/DOF control, manual if she gets proficient, and it's a nice, sexy little set-up. She particularly liked the ugly random neckstrap I gave her in 1970s faded orange (I think you know the colour I mean): she thinks it's awesomely 'retro.' She loves the viewfinder and the way the image pops into focus, and I had a surplus 135/3.5 she can play with.
Only downside: I only had the one 50/1.8 lens, and she took that. I guess that means I'll have to look for a 50/1.4 for myself )
aeolist
Member
oh my, i wish i had troubles like that
PlantedTao
Well-known
Tom-
I just finished my first roll with the 50/1.2, now I just need to get it developed and see some results. I really liked the way it handled and it is a beauty of a lens!
I used it on the 2n for ease of use (love that AE) and now have the lens on the 1n with the 2-14 screen... it is so bright and easy to focus. I look forward to some low light shots.
The 50/1.2 is going to see some serious use
Jason
pggunn
gregor
It's been a while since I've posted - a grueling work schedule and a few days in the hospital later, and I'm back. I see the OM crew is still going strong! In my last post I said I'd link to a picture or two, so there are a few below.
Hi Armoured,
I got an OM-1 MD and an OM-2 MD but the OM-2 needs a CLA when I can afford it and I didn't use AE much anyway. I've been wanting an OM-4 for a while for the same reasons you mentioned. That's not going to happen anytime soon, but I sure do need another camera body. I hate switching out lenses when things are happening in front of me.
As for lenses, the 50/1.4 is what I'm using probably 65% of the time, the 100/2.8 about 20 or 25% and the 28/2 some. I like the 50/1.4 enough that I don't regret not having the money for a 50/1.2 I don't really think I'm missing much of the extra little bit of speed. My vision is usually a little blurry anyway!
I wanted the 85/2 instead of the 100/2.8, but again economics dictated otherwise. I kept having to take one step backwards every time I pulled out the 100, but I'm getting used to it now, though here's a recent shot that would have worked better if I'd done so:
I had only a fraction of a second to catch that one. It was at the Piedmont Blues Festival a couple of weeks ago in Greensboro, NC, shot with Tri-X 400 and developed in XTOL 1:1
I've also been shooting some Fuji Neopan 1600. I had trouble loading my reels with it at first because it seems kind of thin, but I've learned a few things (one is don't dog ear the corners, cut the end square) and got the hang of it. Unfortunately, not before mangling a few rolls pretty badly.
Here's a couple from those I didn't mangle:
I love that grain! That's Neopan 1600 shot at 1600 with the 50/1.4, XTOL 1:1
And here's one more with the 50/1.4, in color Superia 1600 shot at 400:
Okay, just one more. This time with the 100/2.8, but think that might be Kodak Portra 160 VC shot at 400 instead of the Superia. I'd have to look at the negative to say for sure, but some of you more experienced folks might be able to tell just by the look:
I'm sure that's enough, maybe too much, but if you'd like to see more, all the 2010 Festival shots in the collection below are with the OM.
http://www.flickr.com/photos/43345316@N06/collections/
The 2009 stuff are a mix of digital - Panasonic FZ-30, RD1 with 35/1.2 Nokton - and film - R3A with 40/2 Rokkor. Let's see some more pictures! Post some of your OM shots.
Take care everyone.
Greg
Hi Armoured,
I got an OM-1 MD and an OM-2 MD but the OM-2 needs a CLA when I can afford it and I didn't use AE much anyway. I've been wanting an OM-4 for a while for the same reasons you mentioned. That's not going to happen anytime soon, but I sure do need another camera body. I hate switching out lenses when things are happening in front of me.
As for lenses, the 50/1.4 is what I'm using probably 65% of the time, the 100/2.8 about 20 or 25% and the 28/2 some. I like the 50/1.4 enough that I don't regret not having the money for a 50/1.2 I don't really think I'm missing much of the extra little bit of speed. My vision is usually a little blurry anyway!
I wanted the 85/2 instead of the 100/2.8, but again economics dictated otherwise. I kept having to take one step backwards every time I pulled out the 100, but I'm getting used to it now, though here's a recent shot that would have worked better if I'd done so:
I had only a fraction of a second to catch that one. It was at the Piedmont Blues Festival a couple of weeks ago in Greensboro, NC, shot with Tri-X 400 and developed in XTOL 1:1
I've also been shooting some Fuji Neopan 1600. I had trouble loading my reels with it at first because it seems kind of thin, but I've learned a few things (one is don't dog ear the corners, cut the end square) and got the hang of it. Unfortunately, not before mangling a few rolls pretty badly.
Here's a couple from those I didn't mangle:
I love that grain! That's Neopan 1600 shot at 1600 with the 50/1.4, XTOL 1:1
And here's one more with the 50/1.4, in color Superia 1600 shot at 400:
Okay, just one more. This time with the 100/2.8, but think that might be Kodak Portra 160 VC shot at 400 instead of the Superia. I'd have to look at the negative to say for sure, but some of you more experienced folks might be able to tell just by the look:
I'm sure that's enough, maybe too much, but if you'd like to see more, all the 2010 Festival shots in the collection below are with the OM.
http://www.flickr.com/photos/43345316@N06/collections/
The 2009 stuff are a mix of digital - Panasonic FZ-30, RD1 with 35/1.2 Nokton - and film - R3A with 40/2 Rokkor. Let's see some more pictures! Post some of your OM shots.
Take care everyone.
Greg
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PlantedTao
Well-known
Greg-
If you don't use AE, then I would sell the OM-2 and save up for the OM-4. The AE on is the best part on the OM-2.
Nice shots! Love the Grain
If you don't use AE, then I would sell the OM-2 and save up for the OM-4. The AE on is the best part on the OM-2.
Nice shots! Love the Grain
Armoured
Well-known
One more...
One more...
Kodad BW400:
One more...
Kodad BW400:
pggunn
gregor
Greg-
If you don't use AE, then I would sell the OM-2 and save up for the OM-4. The AE on is the best part on the OM-2.
Nice shots! Love the Grain
That sounds like a good plan. I would love to have the OM-4's spot meter.
And thanks! I love the grain too. It's difficult, if not impossible, to get that look from a digital camera and software.
Greg
pggunn
gregor
Armoured, nice shots! I especially like that last one, though the first two are good also. I just prefer black & white.
Did you use the spot meter on those? They are good exposures and look like a situation where a spot meter might come in handy.
When using the OM-1, I estimate exposure compensation with varying degrees of success. I have gotten a little better with experience, but sometimes run into tricky situations and bracket. Of course when trying to capture a moment (as in decisive,) I only get one chance!
Anyway, thanks for the posts. I'd be really proud of that last shot!
Greg
Did you use the spot meter on those? They are good exposures and look like a situation where a spot meter might come in handy.
When using the OM-1, I estimate exposure compensation with varying degrees of success. I have gotten a little better with experience, but sometimes run into tricky situations and bracket. Of course when trying to capture a moment (as in decisive,) I only get one chance!
Anyway, thanks for the posts. I'd be really proud of that last shot!
Greg
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