The frame is articulated with two sets of driving wheels, perfect for negotiating tight mountain turns. 4014 was built in 1941. 4014 last steamed in 1959 and eventually was restored to operation, converted to run with oil and put in service specifically for use during the anniversary celebrations in 2019. (Canon T-90 35mm camera, Fuji C200 print film).Never Retired Other locos with this serial: UP 8444(4-8-4) UP 844(4-8-4).
![]() The frame is articulated with two sets of driving wheels, perfect for negotiating tight mountain turns. UPs last steam locomotive purchased in 1944 and has never been retired and also was converted to run with oil. Pentax 645 Medium Format camera, Kodak Ektar 100 print film). Canon AE-1 Program 35mm camera, Fuji C200 print film). Big Boy 4-8-8-4 leads the train UP ordered twenty five of Big Boy locomotives between 1941 and 1944. Canon T-90 35mm camera, Fuji C200 print film). Bill Moretz at Pro Camera Repair of Charlottesville, Virginia has done a great job repairing a few of mine. But I love digital cameras and the amazing things they can do, and I use them exclusively when shooting in color, which comprises about 60 of my work. As for the other 40, I shoot black and white and Im a dyed-in-the-wool film guy. Read more about my top three go-to classics and see images I shot with them below. They all feature folding waist-level viewfinders, which means the viewingfocusing image is laterally reversed and you have to look down into the finder while composing the picture. For that you can use the frame-type sports finder built into their focusing hoods, but then you have to estimate shooting distances. With a TLR, parallax (the difference between what the viewing lens shows and the taking lens captures) increases as you focus closer and becomes really problematic at distances closer than about five feet. It works remarkably well but these cameras can only focus down to about three feet. All but the earliest Mamiya TLRs have interchangeable lenses and can focus a lot closer, employing a bellows and a double track rack and pinion focusing mechanism. Being able to focus a normal 75mm or 80mm normal lens down to two feet instead of three may not seem like much of a difference but its crucial, especially in portraiture and art photography. That increases shake inducing vibration in handheld shooting, even in models with leaf shutters and non-instant-return mirrors like the Kowa Six and Hasselblad 500CM. Other advantages of 2-14 SLRs: interchangeable film magazines, a greater range of interchangeable lenses, and depth-of-field preview. The coated 75mm Zeiss Tessar or Schneider Xenar lenses are both outstandingto me the Tessar is wiry sharp while the Xenar is smoothly or less aggressively sharp, but both can capture superb detail. If you want to get closer, the Rolleinar close-up sets (try the Series 1, 1 first) perform extremely well and provide reasonably effective parallax using a prism built into the viewing lens adapter. A manually set baffle arrangements lets you switch lenses with film in the camera. Compared to the elegant Rolleflex the Mamiyaflex C220 (a refined, lighter version of the Mamiysflex CC2 of the 50s) comes across as a contraption, but its extremely robust and reliable, endearing in its own way, and a superb, very flexible picture taker. I prefer the older chrome version with the Seikosha MX shutter because the lens has a 9-bladed diaphragm that enhances its beautiful natural bokeh. Later black finished versions with Sekosha S or Seiko shutters have 5-bladed diaphragms like post-WWII Rolleiflexes. The viewingfocusing image with the standard screen is reasonably bright and crisp, but Ive installed a Maxwell Hi-Lux screen (for info email maxwellprecisionopticsyahoo.com ), which is far superior in terms of both brightness and contrast. Mamiya C220 downsides: separate film wind and shutter cocking (blank exposure prevention but double exposures possible), manual parallax estimation using lines on screen requires recomposing. Mamiya C220s in really nice shape with normal lens fetch 250 and up. The S2A features a cloth focal plane shutter with speeds to 11000 sec with X sync at 140 sec, has an extensive line of outstanding Nikkor lenses made by Nippon Kogaku (Nikon), interchangeable 120 220 film magazines, and interchangeable waist level or eyelevel prism viewfinders. It was the successor to the very similar Bronica S2 of 1965, the major difference being more reliable steel gears in the film advance mechanism and a smaller diameter film advance knob. Later examples produced after 1973 (serial number 150037) lack the S2A prefix and feature improved wingless strap lugs. The S2 is also a reliable camera if youre not too rough when winding the film, but relatively few camera repair companies will repair Bronicas and they can be expensive to fix (as are all 2-14 square SLRs).
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