No, get a double stroke. And don't worry... they don't break down. My 1957 vintage M3 DS is still working perfectly. Yes, it's been CLA'd once... but it's never "broken down"!I might solve this if I go really retro and get a Leica M3 single stroke. Of course, what would I do if it breaks down? I'm sure I would need a backup body! And so the obssession continues...!
Yes, of course. Don't tell me you've never done this.1/ISO? like 1/100 for ISO 100, 1/400 for ISO 400?
Yes, of course. Don't tell me you've never done this.
1/ISO? like 1/100 for ISO 100, 1/400 for ISO 400?
No, get a double stroke. And don't worry... they don't break down. My 1957 vintage M3 DS is still working perfectly. Yes, it's been CLA'd once... but it's never "broken down"!
Julius Shulman, the great American architectural photographer, wrote that he never used light meters. He started in the '30s when they weren't around & by the '60s, when they were, he felt that he didn't need one as he was so experienced at judging exposures. Some of his famous shots such as the Palm Springs house & the one in the hills of LA were very long evening exposures, all worked out in his head.
So to answer the question about exposure calculation w/o a meter, it is very simple - EXPERIENCE AND MEMORY
Today many of us obsess over the quality of the built in light meters of our cameras, probably couldn't live without them. Many have opted for using handheld meters, but the end is the same. How did they do it?
Well, maybe it's a matter of what you are accustomed to. I habitually double-stroke my M4-2 and M6, finding the 2 quick short strokes easier and faster than the long throw of the single stroke, especially when shooting rapidly with the camera at eye level.If you're used to single-wind cameras, though, they are a disaster area. Wind on; try to take picture; OH SH*T; wind on again...
I had one double-wind M3 and hated it; I'd much rather have a knob-wind. I've had a few other DW cameras too, and loathed them all.
I remember an article in the old Camera Arts where the author followed HCB around and watched him work. The one thing I recall is that HCB was constantly metering a scene checking the light.
It is interesting to note that the Sunny 16 rule seems to be more Sunny 11 nowadays. Wonder why? I can confirm that my transparencies in bright sunlight work more often at Sunny 11 with shutter speed as ISO of film.
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