Canadian F-Units
EARLY DIESELS Vol 1 This video contains a wealth of variety in 9 states and Canada in operation between 1987 and 1989. Many First generation in a variety of railroading activity. Fast-paced and lots to see here. 90 minutes. $34.95
VIA F'S IN THE ROCKIES
Great scenery and historic views of the "Canadian" on the original route over the Canadian Pacific including Kicking Horse Pass. 1986 footage of 50's era coaches and dome cars and classic old F-units. 60 minutes $29.95
SNOW PLOW with CN F7s
In the winter of 1987 we ventured to Canada to capture some incredible rail- road action. Spectacular snowfighting scenes, as clouds of snow are blasted with shear force. Unusual railroad action! 65 minutes $29.95
PLOW EXTRAS
1988 snow plow action on Canadian Pacific and Canadian National branch- lines. 5 different CN F7s, plus a CN GP9, and CP Alco C424s and RS18s with 3 different types of wedge plows. 45 minutes $29.95
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A wide angle lens is often needed in the tight confines of a building interior. A medium format Pentax 6x7 and 75mm lens (equivalent to a 35mm lens on a full frame DSLR or 35mm film camera) was used to capture this image of Union Pacific’s big steam locomotives in the Cheyenne, Wyo., roundhouse.
either a full 35mm film frame sized “FX” sensor, or a smaller “DX” sensor (also called “APS-C”) approximately the size of an APS film frame. For the full frame FX digital cameras, there is no conversion necessary: a 50mm lens is a 50mm lens, a 200mm lens is a 200mm lens, etc.
But used on a DSLR with an APS-C DX size sensor, because the 35mm format lens is large enough in circumference to cover the larger 35mm film frame, only the center por- tion of the lens is covering the smaller DX sensor. Depending on the camera make and model, this narrows the angle of view of the lens by a factor of about 1.3 (Canon, Kodak, Leica); 1.5 (Nikon, Pentax, Fuji, Samsung, Sigma, Sony); or 1.6 or 1.7 (Sigma and Canon). Thusly, a 50mm lens from a 35mm film camera effectively becomes a 65mm, 75mm, or an 85mm lens when used on a DSLR with the APS size sensor. A 100mm lens becomes a 130mm, 150mm or 170mm; a 200mm be- comes 260mm, 200mm or 340mm, and so forth. Four Thirds system cameras have a digi- tal sensor that is smaller still, being half the size of a 35mm film frame, so their lens fac- tor is times two. A Four Thirds 50mm lens is equivalent to a 35mm camera’s 100mm lens, and so on.
Advanced digital and point-and-shoot (P&S) digital cameras capture images on a dig- ital sensor that is much smaller than even the Four Thirds sensor, so require much smaller lenses to give equivalent 35mm for- mat power. Typically, lenses of 5mm to 7mm up to as large as 75mm or so are on these cameras. To approximately compare these lenses to the 35mm film format, multiply by 5.6. Therefore, a P&S with a 5mm to 25mm zoom is equivalent to about a 28 to 140mm lens in the 35mm format. A 7mm to 18mm lens is equivalent to about 40mm to 100mm.
And an upper end zoom range such as 75mm is equivalent to about 420mm. Medium format: While exact parameters to compare a full list of all lenses for the five medium format camera systems (645, 6×6, 6×7, 6×8, and 6×9) to their 35mm equiva- lents can get rather detailed and long, a sim- ple, quick and practical for trackside photog- raphy way is to divide the medium format’s lens mm size by a factor of two. For example, 90 to 105mm lenses are considered as “nor- mal” on a 6×7, 6×8 or 6×9 camera, the same as a lens of around 45 to 55mm is “normal” for the 35mm format.
A mild wide angle 75mm or 80mm lens is
often the fixed lens on 6×6 twin lens reflex cameras as well as 6×6 Hasselblad and Bronica, and 645 format cameras. Dividing these mm powers by two yields a 35mm for- mat equivalent 37 or 40mm lens, both also mild wide angles for the 35mm format. (All the above percentages are a close ap- proximation, and you often have to round off to the nearest lens available. But by using the 2× factor, a quick determination of equiva- lent lens sizes can be made when you are faced with the decision as a train approaches.) 4×5: If you want the same composition on a 35mm slide as you are getting with your 4×5 camera used for black & white of the same scene, use a factor of three. For exam- ple, a 210 mm lens on the 4×5 (a very low power telephoto for the format) times a third equates to a 35mm camera lens of 70mm. Going from 35mm to 4×5, the 70mm lens ×3 = 210mm. (As you will probably not have a 70mm lens for your 35mm camera, use the closest lens you have or adjust a zoom to the 70mm setting.) All that said, though, the best lens is al-
ways the one that gives you the photo you are seeking.
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