Oh lucky person.
I was actually a fan of 'commando' for most of my early life . . . yes I can hear the titters around the world; initially it was a comfort thing, but come the big world of work, you try working with a shrink-wrap machine in a stockroom with no windows and no ventilation in 95° Farenheit of dry, plastic-debris filled heat. It was no fun (as well as being exceptionally detrimental to my health - thank you Virgin Records) and add to the mix tight stretch jeans (now commonplace on the UK High Street, but in my day, special order jobs from the States no less) and you have a recipe for some of the worst heat-rash known to man . . . so . . . 'commando' it was.
Anyway, you'll be pleased to hear I am still alive after another Summer of DIY and (sadly) very little printing.
Some photographic things have changed.
The Canon EOS has gone. It was a nice camera and all that, but to be honest, was little used and I just couldn't get on with the lens - no character.
So what did I do with my £260? (A little aside, that was a loss of around £90 in under a year . . . good old technology)
More didge I am afraid - this time the little Sony A6000. Steve and I had a conversation in which he said that even though it hadn't arrived (at the time) I'd end up hating it . . . by the end of the convo I had sold it to him in advance for a fiver . . oh how we larfed!
And the reason for this madness? well as you're no doubt aware, there's a plethora of adapters available for the Sony E mount, so I got a Metabones one for my most numerous of lenses, the Nikon F mount. Why Metabones when I could have bought a £10 one from ebay? Build and binding. The Metabones is brass and stainless steel, it won't bind to lens or camera - if you've ever had a brown-trouser moment from trying to get an aluminium filter off the front of an expensive lens and failing, then you'll realise how important brass is to camera screwy things.
You'll know my feelings about Nikons of course - ever reliable and useable.
I had the choice in my armoury of the 28mm f3.5 Nikkor, or one of my 35mm's (a f2 'O' and a f2.8 'K' Series). In a few brief trials, the 35mm 'O' won out and that is what is now mounted to it (with its front protected by a 1960's Nikon Skylight filter).
It's approximately equivalent to 46mm in old money, in other words slightly short of yer trad 'standard' lens.
Having only ever used these pre-Ai Nikkors in monochrome and with film I have to say it has been a total joy to see their character revealed in living Technicolor.
I am rather pleased actually, and whilst this line-up will never replace any film camera, you know what (whisper it) as modern cameras go, the Sony is surprisingly well thought out and more of a photographer's camera than a thing you stare at, look at the offending menu and say to yourself "What the feck did I just do?" (as was the case with the Canon).
In other words, whilst the options are there in spades, they can quickly be smashed out of the way to allow you to use the camera more like an film SLR from the 1990's.
Everything just works(ish).
So, here's some examples of ancient glass at work in a modern environment - they won't win photographer of the year, but I like them.
See what I mean - yes there's flare and all the wonderful messy shite people seem to spend half their life trying to eliminate these days, but they have character and are not at all tardy for a lens from about 1971.
If only my pants from that time still delivered these results . . . sadly they've gone to the great skidmark in the sky . . . farewell my famous old Jockey yellow and brown (trimmed, not stained) Y-fronts.
And that's it folks - just a quickie. I've got lots of other traditionally-themed stuff lined up, but I just need to get my act together.
I am sure I will - Scotland is now quickly adopting an Autumnal hue - it's dark when I get up . . where did the Summer go?
TTFN and remember, mony a mickle maks a muckle.