From Ebay: PENTAX WRIGHT ANGLE VIEWER I THINK (LOOK)
What's this? Wright (sic) angle viewer? http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1244063857 Hernan Mouro. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Just some brassing on the corners...
A real gem once you clean all the dirt off of it! Todd At 11:56 PM 6/5/01 DST, you wrote: >Hi everybody, >Take a look at this "excellent" black KX: > >http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1243947234 > >Gianfranco > > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film development
Subject: Re: Film development > Eduardo wrote: > > > Something on your explanations is puzzling me: Most minilabs have a machine > > that has a built in software that sets automatic compensation figures for > > each kind of print film, right? the minute you start working with the > > negatives, it will select those default values indicated by the software, > > regardless of how precise or not the photographer was when pressing the > > shutter? > > > If that's the case, what's the point of all that discussion about > > learning to precise "read" light with the zone system or even a spotmeter? > > You won't get what you read, anyway... ;-) Or am I just getting more > > confused? The printer channel is corrected to a reference standard negative set, usually called a "Shirley", so named because that was the name of the Kodak employee who was pulled off the floor to pose for the photo. A Shirley is composed of 3 to 5 negatives, representing correct exposure (according to ISO standard measuring protocols), -2 stops, and +3 stops for a 3 negative set, or adding in -4 stops and/or +5 stops in some negtive sets. A basic integrating printer measures the diffuse colour and density of the negative and sets the filtration and exposure needed to get it to give the same colour and density of a standard negative (Shirley). In a scanning printer, the colour is still set up to give correct colour from the Shirley. However, there are more measurements being taken by the machine for determining exposure and filtration. Now a video camera is looking at the negative and sending a bitmap image to the computer, which tries to figure out what it is a picture of, based on a pre programmed algorithm, Some machines just take density into account, some take both colour and density into account. The ones that are just looking at density are still using basic tri-colour integration for the colour settings. To set the printer up correctly, you must have a Shirley for each film type you will be printing. The knowedgable printer learns what his machine is going to do to certain negatives and scene types and compensates accordingly. He or she will also play the averages, by second guessing the photographer, in some instances. An example: I see a negative that will give lovely colour if I subtract some cyan filtration to make the print more red, and add some density to make the colours pop. I decide that this will make a lovely sunset photo and print it accordingly. Unfortunately, I miss seeing the 3 stop under exposed bride and groom in front of the palm tree on the beach that was the actual subject of the photo. Hmmm, I just printed that negative at +3, when the I should have printed it -3, as far as the customer is concerned. Why is it that photographers expect perfect prints when they have given absolutely no instruction to the printer about what they want from the print? Why is the lab suddenly butchering the job when it doesn't get the picture exactly right the first time? Sometimes we are really busy. Somtimes we just don't have time to look. Sometimes we have the time, and still don't know what the hell you were taking a picture of. Base your judgement of the lab on how it treats your film and how it handles POLITE requests for redos if the colour or density isn't what you want. If you are going to be a jerk at the counter, expect to get your work treated accordingly. A secondary consideration is how much they are charging. You have a right to expect more from someone who is charging more. This doesn't mean they will necessarily get the print right the first time every time, but they should be willing to go the extra mile to make the print right for you. If you go with the cheapest job available you may get just that. It is a crap shoot. You may get a good lab, or you may get one that is not as good in any case. Regarding careful metering: If you give the lab a properly exposed negative, I can give you a good print. It may take a couple of tries sometimes, but it can happen. If you give me a poorly exposed negative, it doesn't matter what I do, your final print will reflect your sloppy photography. William Robb Remember, the LX Gallery is coming up. Please see: http://pug.komkon.org/LX_Gallery/LX_Submit.html for more information. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
Gary L. Murphy wrote: That's one lucky bird! I'm not so sure the above would have been true if the bird was mine. :-) Yeah, I thought hard about making parrot pie for tea that night, but my partner loves the critter much more than me. and she doesn't eat meat either. Max EOM NOTICE - This message contains information intended only for the use of the addressee named above. It may also be confidential and/or privileged. If you are not the intended recipient of this message you are hereby notified that you must not disseminate, copy or take any action in reliance on it. If you have received this message in error please notify [EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Just some brassing on the corners...
Gianfranco, I think you misquoted him . . . it's in "EXCELLENT--" condition. Must be some 'new' KEH standard . . . ;-D Illinois Bill P.S. - Note the winking smiley, no flames necessary. Gianfranco Irlanda wrote: > > Hi everybody, > Take a look at this "excellent" black KX: > > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1243947234 > > Gianfranco > > > Get free email and a permanent address at http://www.netaddress.com/?N=1 > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
On Wed, 6 Jun 2001 10:35:47 +1000, McRae, Max MS wrote: >Parrot's fine though... That's one lucky bird! I'm not so sure the above would have been true if the bird was mine. :-) Later, Gary - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
- Original Message - From: "Chaso DeChaso" Subject: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them? Suck it up big boy!! It ain't that serious. Compared to what happened to one of my Z1p's the other day, you got nothing to worry about! I had mine eaten by my pet Sulphur Crested Cockatoo. I wasn't going to tell anybody but your story's changed my mind. The bird has his wings clipped but he occasionally gets down on the ground and walks about the garden. This day I had one of my camera bodies in a polystyrene chilly bin on a table in my garage and had gone away and left the door open. The bird walks into the garage, climbs the leg of a chair and hops on to the table. Showing impeccable taste, he naturally goes straight for the bin and eats him way into that, drags the camera out, prises of the lens opening cap and dines on prime mirror assembly, shutter curtain, all the switches, and any thing else he can get his mandibles around. The repair agents have given me a letter to say it's a total write off, and I'm in deep discussion with my insurance compony as we speak. Parrot's fine though... Max EOM NOTICE - This message contains information intended only for the use of the addressee named above. It may also be confidential and/or privileged. If you are not the intended recipient of this message you are hereby notified that you must not disseminate, copy or take any action in reliance on it. If you have received this message in error please notify [EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film development
> I sometimes gloss over important facts that I take for granted, so > please keep askin' questions if my explanation is still befuddling > you...it's probably because of the way I'm explaining. :) > > -Aaron Thanks, Aaron! Your explanations is very helpful. Don't worry about taking important facts for granted... Since I still think your explanation was perfect, I wouldn't be ready for them, anyway.. ;-) Eduardo. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
But Shel, who will we have around here to complain that photography has gone completely to hell since we stopped using wet plates? It'll be so boring without you. I hope you accomplish what you hope to accomplish, and then come back to tell us about it. Doug At 10:30 PM -07006/4/01, Shel Belinkoff brandished a favorite crayon and scribbled: >I'll be leaving the list for an indefinite period. I'd like to >thank the many good folks who have been helpful to me on a personal >level, and for the friendship and kindness you've offered and >provided. Special thanks to Bill Robb, Chris Brogden, Yoshi, Ken >Takeshita and his niece, Bob Sullivan, Cameron Hood, Bob Walkden, >Rob Studdert, Mike Broom, and I'm sure a few others, for their >special favors and considerations. I hope my contributions have >helped or amused some of you, or given you something to think >about. Many of the contributions and contributors to the list have >certainly entertained and enlightened. > >Please keep in touch ... I'll try to do likewise. > >-- >Shel Belinkoff >mailto:[EMAIL PROTECTED] >"It matters little how much equipment we use; it >matters much that we be masters of all we do use." - Sam Abell -- Douglas Forrest Brewer Ashwood Lake Photography [EMAIL PROTECTED] http://www.alphoto.com - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Trip Report
Well, my week long photo excursion is over, and I had a blast. Did some shooting in Shenandoah and Grayson Highlands before heading down to Grandfather Mt., shooting some ladyslippers I'd found in addition to the ponies. Spent some time on back roads shooting barns and farmland. Ate some bad food. Grandfather is a great place to shoot. If you can get there, you should definitely check it out. You could incorporate it into a trip down the Blue Ridge Parkway, or spend several days in the area. If you get there, go to the lunch room and have the BBQ sandwich and the vegetable soup. Admire the stamina of the cinnamon bear. Stand on top of McCrae Peak in 80 mph wind. Pulled in Wednesday, and I was the first one there, so I tooled around and saw what I could see. Doug showed up a few hours later, then, I think, Tony Sweet. Around sunset we headed up towards the top for some pics. I'm telling you, if you haven't ever hung out and shot with good photographers, you should. Just being around these guys is highly motivating and instructional. After that, we headed back down, but found that jeepgirl hadn't shown up yet. We were a bit concerned since the gates were locked, so I tried calling the number she had given me. Turned out to be her Mom. Mom and I had a little talk, and I found out she wasn't due until the next day. Mom said I was pretty polite, as internet stalkers go. At some point Bill Owens showed up with his charming wife Phyllis. He gave me a beer, so we're friends for life. So the next day rolled around, and Bill took us to a stream he knew about. We shot for a while...I think someone may have fallen in. Luckily the borrowed MZ-S and FA 400/5.6 didn't get wet... At that point, I had a BBQ sandwich. Jeepgirl showed up that night safe and semi-sound. She brought her cousin Jessica, and a bunch of us hung out and talked about this and that. A good time was had. The next day we got up at 4:45...I dragged jeepgirl and Jessie up the mountain to try and get some sunrise shots, but it was so foggy you couldn't see more then about 10 feet. So we found Doug and another friend and headed down to McDonalds. Again, more talking, and before we knew it 3 hours had passed. Everyone seemed to click, and enjoyed each other's company. Or maybe it was just those delicious McMuffins casting their spell. I don't know. About this time the photography weekend proper was about to start, so we headed back, got Jeepgirl and Jessie registered (I didn't enter the contest since I was helping) and went out to shoot. I had it in mind a PDMLer should win, so I served as Jeepgirl and Jessie's personal coach. We ran here and there, and they didn't seem too irritated to have me along, though that could be because I have a fisheye. At that point, I had another BBQ sandwich. That night (Friday) Doug gave his talk. He's a good speaker, and has a bunch of nice stuff we haven't seem here on the PDML before. He also made a point to be extra thankful for the PDMLers that showed up...Jeepgirl and I wept openly. I think Bill may have actually sobbed out loud. Everyone was impressed and proud. Doug's a good guy, and a good photographer. His hair looked great, btw. Let's see...we went back to camp after that, hung out for a bit, drank some of Bill's beer and went to sleep. Jessie forgot to tell us she's only 19, so the NC police (pronounced pO-lice) may be looking for me for alcohol violations. The next day I had gate duty at 0-dark-thirty. I opened the entry gate, and decided to open the exit gate just in case someone needed to leave. Everyone ignored me and drove in through the exit gate. I cursed them. Jeepgirl showed up for a minute to beg for a lens. When gate duty was over, Jeepgirl found me and we headed out again. They each had about 10 frames left for the contest, so we chased the fog around, trying to get some of those "god-rays" on film. It was time for a BBQ sandwich, so I had one. Or 2. 2 o'clock rolled around, and it was time to hand the film in. We crossed our fingers and placed the film in the box. What anxiety! I needed a BBQ sandwich. That night Tony Sweet gave his lecture. He's the man. http://www.tonysweetphotography.com/ That was the night we took the lighthouse pictures, plus a PDML group photo. I might have that ready tomorrow. You'll have to wait for jeepgirl to get back to see the lighthouse pics. The next morning the film came back, Doug and Tony judged them, and Jessie got an honorable mention. Jeepgirl got robbed, so I let the air out of Doug's tires and I did some more cursing. The winning photos were very impressive. At that point, the weekend was over, more or less. Hugs and kisses, buh-bye. I have to admit that on the way down, I felt just a twinge of trepidation. What if Doug turned out to be an anti-social geek? What if Jeepgirl was really jeep-dirty-old-chatroom-trolling-dude? What if Bill Owens was one of those southern guys who make their own alcoh...uh, nevermind. Anyway, you never
RE: OT: seeking advice on shooting a live music show in a bar.
Stan Halpin answered Jody's question thusly:
One additional variation. Instead of attaching camera to monopod, add a head
of some sort. I use a Bogen/Manfrotto 3262QR ball head on the top of my
monopod. For normal horizontal shots, this is meaningless, but it makes a
huge difference if you want to shot vertical format! I can quickly loosen
the tension on the ball, "flop" the camera over to vertical, and retighten.
Exactness is not important as final front-to-back and side-to-side leveling
is handled by moving the monopod. And be choosing a head with a
quick-release rather than a direct connection to the camera, I can both
switch among different cameras and/or just more easily move one camera on
and off the monopod (on for photos, off for walking down the trail to the
next spot . . .)
I use similar set up, but with the addition of the Manfrotto Flash Extension Bracket
screwed onto the monopod first. This allows me to fix my AF500FTZ on the right hand
side
of the bracket and have the ball head on the other, which means I have the flash fixed
in a
"portrait light" position no matter what angle I rotate the camera on the ball head.
The bracket has an all way adjustable arm that allows you to raise or lower the flash
as desired,
This is helpful for eliminating red-eye, while giving some degree of a modelling
effect at the same time.
It's perfect for use with the Z1p's RTF and 500FTZ in contrast control mode as well.
You could say it's a portable studio on a stick... {8-D
Max
EOM
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Re: Nuetral Graduated filter with ZX-50
An NG filter is usually used in landscape photography to reduce contrast between, say, dark foreground and much lighter sky - to bring exposure for the sky to the level more or less equal to that for the foreground (the clear part of the filter is placed over the foreground). Hence before placing the filter on the lens you should meter for the foreground only and either lock the exposure in an AE mode or use Manual Exposure mode, then place the filter over the lens and take the photo. Ramesh Kumar_C <[EMAIL PROTECTED]> napisa³ / wrote: > Hi > My friend has ZX-50 and he would like to use Nuetral Graduated > filter for Landscape photography. > I think spot metering is needed for metering while using NG filter. > Since ZX-50 does not have the spot metering, how to meter while using NG > filter? > > I think somebody must have encountered this problem. > > Bye > Ramesh > > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > > --- Za³ó¿ konto w mBank i wygraj telefon Ericsson R380s z WAP i setki innych nagród! Kliknij! < http://pasazfin.wp.pl/pasazBank.html?POD=2&instytucja=mBank > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: MZ-S Hands on..
Pål Jensen wrote: > > Rob wrote: > > >The biggest reason for the MZ-S is build quality although > > recently there have been some doubts about the sealing of the MZ-S too. > > AF performance is reportedly also miles ahead of anything Pentax have produced >previously... I got to use one for a couple of days over the weekend, and probably put 6 or 8 rolls of film through it. If you were to compare it to the PZ-1p, ZX-5n and 645n, you might say the 'lock-on' speed is a bit faster then the 645n or ZX-5n, which seem pretty similar to me, and much better then the PZ-1p. However, the fact that it has 6 AF points changes the ball game. I find with the PZ-1p and ZX-5n, that I'll misfocus fairly often when I do the "lock-on and recompose" dance. Just shifting the camera slightly after the AF has locked on is often enough to shift the plane of focus enough to be noticable. I shoot wide open a bunch, so maybe that's why it tends to bother me. This problem is alleviated a good bit with the extra AF points. Other considerations - - The green button rocks. - The grip *absolutely* rocks. There was only one at Grandfather...I had to duct tape Doug into his sleeping bag to get it away from him. - The DOF preview is placed on the little ring around the shutter button. It's very cool. - The shutter has a great sound and doesn't seem to have much lag. - The frame rate didn't bother me. It's just fast enough to feel...fast enough. - The finder seemed fine. - The limited lenses look fine to me on it. - It's small. - It's light. - It's sexy. - It smells good. tv - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
Hope you'll be back soon. I've always enjoyed your insightful and informed comments. regards, frank [EMAIL PROTECTED] wrote: > Good bye Shel! > We will miss you! > I hope this doesn't mean you are selling all your Pentax gear ? > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Just some brassing on the corners...
Hi everybody, Take a look at this "excellent" black KX: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1243947234 Gianfranco Get free email and a permanent address at http://www.netaddress.com/?N=1 - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Nuetral Graduated filter with ZX-50
Ramesh Kumar_C wrote: > > Hi > My friend has ZX-50 and he would like to use Nuetral Graduated > filter for Landscape photography. > I think spot metering is needed for metering while using NG filter. > Since ZX-50 does not have the spot metering, how to meter while using NG > filter? 2 choices, I think: 1 - Bracket like you own stock in Fuji. Or Kodak. Or Imation. 2 - Use a longer lens to meter with. It'll simulate a spot meter. Probably a combination of both would work pretty well tv - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
AF400T HVP?
Hello. Am I correct in assuming that the "laminate" 510v battery pack to which Pentax refer is actually made by Tocad? IE branded "Sunpak" rather than Pentax? Kind regards from sunny Brighton Peter - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film development
Eduardo wrote: > Something on your explanations is puzzling me: Most minilabs have a machine > that has a built in software that sets automatic compensation figures for > each kind of print film, right? the minute you start working with the > negatives, it will select those default values indicated by the software, > regardless of how precise or not the photographer was when pressing the > shutter? > If that's the case, what's the point of all that discussion about > learning to precise "read" light with the zone system or even a spotmeter? > You won't get what you read, anyway... ;-) Or am I just getting more > confused? Well, it comes down to this: You have to get sufficient/proper exposure as you are shooting the photo so there is *something on the film* that the machine printer can butcher up and/or perform arcane mystical abominations upon during the printing process. ;^) - Bill D. Casselberry ; Photography on the Oregon Coast http://www.orednet.org/~bcasselb [EMAIL PROTECTED] - - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
re: It's Time To Go
Good bye Shel! We will miss you! I hope this doesn't mean you are selling all your Pentax gear ? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Re[2]: Spotmeters (Was: Learning To make a Photograph)
I remember using one that looked like that in the distant past. I think it was called a Brockwood, or something like that. I forget who made it. It was a good meter, too. Len --- > -Original Message- > From: Bob Walkden [mailto:[EMAIL PROTECTED]] > Sent: Tuesday, June 05, 2001 1:03 PM > To: Otis Wright, Jr. > Subject: Re[2]: Spotmeters (Was: Learning To make a Photograph) > > > Hi, > > this is what I use: > > http://www.sekonic.com/Products/L-398M.html > > it's called a studio meter, but I've never used it in a studio. > > --- > > Bob > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: SFX & InfraRed
"Bill D. Casselberry" wrote: >The > Konica "peaks" its sensitivity at ~750 nanometers whereas the > Kodak runs well out into the 900's. The SFX drops off somewhere > just past ordinary red wavelengths. I think that SFX tops out at around 720nm, but that's from memory, so it could be wrong. The Konica IR also has an anti-halation layer, but I've never seen it shot in an IR-fogging camera, so I can't say whether or not it's safe. I've only ever shot it in 120. :) -Aaron - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film development
"Eduardo Carone Costa Jr." wrote:
> If leaving the "N" alone will not do the trick for that situation I
> described in my original post ("When I take my films
> to the lab I usually end up with a grainny photo and the subject in the
> foreground is not as dark as I wanted it to be. I assume they are using the
> negative film's greater latitude than slide's to compensate for the
> darker --- but on purpose --- exposure."), what can I do?
In this case, the lab should be printing "+" more on those specific
images. Most labs print to give you the most detail, so rich blacks
are, as a rule, printed up grey and wishy washy to show those
details...they are assuming that your flash didn't go off, or that you
want to see the detail in the face of the person that's silhouetted or
something like this, because there are people out there who will
complain about it. Trust me. All you can do is develop a relationship
with your lab, particularly the person printing: let them know that you
like those images printed "right", and let them know what your
intentions were. And if you don't like the first print, most places
(most good places, anyways) will make the print over for you at no extra charge.
> Make sure that I
> shoot at least three stops under the values indicated by the cameras
> centerweight meter, so the machine won't be able to "compensate" and the
> printer will probably know that I want the scene to be darker?
Nope, it'll still compensate. Your image will be worse: you'll lose
more detail.
> Something on your explanations is puzzling me: Most minilabs have a machine
> that has a built in software that sets automatic compensation figures for
> each kind of print film, right? the minute you start working with the
> negatives, it will select those default values indicated by the software,
> regardless of how precise or not the photographer was when pressing the
> shutter? If that's the case, what's the point of all that discussion about
> learning to precise "read" light with the zone system or even a spotmeter?
> You won't get what you read, anyway... ;-) Or am I just getting more
> confused?
It's not a default from the software, completely. There is a default
starting point for each film, programmed by the lab based on setup negs
(or guesswork, depending on how cheap the lab is ;) ). From this, the
machine makes a judgement on how long to expose the neg for based on an
exposure reading of light coming through the neg. You can't have an
absolute reading for a number of reasons, one of the biggest of which is
that the amount of light and colour of the light coming from the lamp
will change to a certain extent every day and even during the day: the
bulb changes colour as it gets hotter and colder, and emits more light
or less depending on age, temperature, how long it's been on already
today, and even minor fluctuations in voltage coming from the wall. In
a high-speed situation, which a minilab is, minor changes can cause
massive differences in the results. One one-hundredth of a second isn't
much exposure time...unless your exposure is only a tenth of a second
long, in which case it's ten percent.
Anyhow, as to the second part: if your exposure is precise, a good,
precise, perfect print can be made from it. If it's not, you might be
able to get a pretty good print, maybe even an excellent one, but never
a perfect one.
I sometimes gloss over important facts that I take for granted, so
please keep askin' questions if my explanation is still befuddling
you...it's probably because of the way I'm explaining. :)
-Aaron
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How to shoot negs for printing...
I see a couple of people asking why their bracketing doesn't show up they way they expect it to on neg films... I think its important to understand what exactly you're trying to accomplish... Usually people are trying get "lighter" or "darker" prints by manipulating the neg exposure, and that is counterproductive. If you want lighter or darker prints, they have to be *printed* light or dark, and as always, the better the neg, the better the print will be. When you shoot neg film, you want to capture the most amount of information you can without blowing out your highlights regardless of how light or dark the resultant print will be. In fact the more exposure you give a neg, the better your shadows will look! Not just in detail, but the "blackness" of the blacks will look much better as well. The less exposure you give a neg, the worse the print will look, with very, very few exceptions. Ask any printer and they will tell you that working with a "fat" neg is always the best... If you really want to see the differences in exposure between frames, you need to get a contact sheet made. 4x6 prints from the 1 hour place will hardly ever give you any real info as far as exposure goes... Many of the new machines start out with it making its best guess and workers can only "fix" things they see are obviously wrong in the monitor. In other words, even if you tell the people to make no adjustments, many times that will mean that the machine will make its adjustments, and the operators won't "correct" the bad guesses. Which way is better depends on the person at the machine!:-) So how do you get lighter and darker prints? Make the best exposure you can, and then *tell* the lab what you are after. If they won't (or can't) do this, its time for a new lab! Sometimes its easiest to just get the whole roll processed and then bring back the negs for reprints (along with the original for comparison) for the particular shots... Of course the best way to get the prints looking the way you want them to is to do them yourselves! With an OK film scanner and an OK printer, you can get results that are far better than the typical 1 hour place. IMHO doing it yourself is the best teacher you can have. Hope this helps! - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Nuetral Graduated filter with ZX-50
Hi My friend has ZX-50 and he would like to use Nuetral Graduated filter for Landscape photography. I think spot metering is needed for metering while using NG filter. Since ZX-50 does not have the spot metering, how to meter while using NG filter? I think somebody must have encountered this problem. Bye Ramesh - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Favorite Film Roll Call Results UPDATE 11
- Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Monday, June 04, 2001 10:35 PM Subject: Favorite Film Roll Call Results UPDATE 11 > These are the conditions: > 1 - You must answer off-list, right to me. > 2 - You must choose your favorite emulsion (35 and 120/220 allowed. Color and b and w) > 3 - You must choose ONLY ONE (color print OR slide OR b and w, etc). > 4 - You must have personal experience with it. For long years I used and use ILFORD HP 5 plus, former HP 5 KODAK EKTACHROME with 100 and 400 ASA since 25 years (amateur and professional versions) never AGFA and never FUJI. EKTACHROME changed name to ELITE in Germany in the last years. Many Greetings from Germany Sincerely Yours Kristian-H. SCHUESSLER > WINNER by now: Tri-X with 8 votes. > Members: 57 > COLOR (Print and Slide): > Kodak Kodachrome 25 (2) > Fuji Velvia (4) > Kodak Kodachrome 64 (3) > Kodak Elitechrome Extra Color 100 (2) > Kodak Ektachrome 100 VS (3) > Fuji Sensia II 100 (3) > Fuji Provia 100F (5) > Kodak Supra 100 (1) > Fuji Reala 100 (1) > Kodak Portra 160 NC (1) > Kodak Kodachrome 200 (1) > Kodak Ektachrome E200 (2) > Agfa HDC Plus 200 (1) > Kodak Max 400 (1) > Kodak Ektapress PJ 400 (1) > Kodak Supra 400 (1) > Kodak Portra 400 NC (1) > Agfa Optima Prestige II 400 (1) > Fuji Press 400 (1) > Kodak Portra 800 (1) > Fuji Press 800 (1) > Kodak PJC 1600 (1) > BLACK AND WHITE: > Ilford Delta 100 (2) > Kodak Plus-X (2) > Ilford FP4 Plus (2) > Agfa Scala 200x (1) > Kodak Tri-X (8) > Fuji Neopan 400 (1) > Agfa APX 400 (1) > Ilford HP5 (1) > INFRARED: > Kodak HIE (1) > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Bodies Roll Call Results UPDATE 96 (includes first MZ S)
- Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Monday, June 04, 2001 10:20 PM Subject: Bodies Roll Call Results UPDATE 96 (includes first MZ S) I want to add new items, this is not my first submission: I got from a german repair-shop a almost new (unused) PENTAX K2-Body - and from a normal shop a new PENTAX MZ-3 because there are no more spareparts for K2- and K2 DMD-bodies in Germany. Many greetings from Germany Sincerely Yours Kristian-H. Schuessler > TOTAL ANSWERS: 384 members > MANUAL FOCUS: > Screw Mount: > - Asahiflex IIa3 > - Asahiflex IIb2 > - Asahi Pentax (AP)3 > - K2 > - SL...8 > - SV...9 > - S1...1 > - S1a.10 > - S2...1 > - S3...3 > - SP500...10 > - SP1000..11 > - Spotmatic...32 > - Spotmatic II13 > - Spotmatic IIa1 > - Spotmatic SP26 > - Spotmatic SP II..8 > - Spotmatic F.33 > - Spotmatic F MD...2 > - Spotmatic MD.3 > - ES..15 > - ES II...20 > - ElectroSpotmatic.3 > - H1...2 > - H1a..5 > - H2...4 > - H3...7 > - H3v..5 > Bayonette: > - KM14 > - KX41 > - KX MD..1 > - K231 > - K2 DMD.9 > - K1000.71 > - K1000 SE...9 > - MX...117 > - ME38 > - ME SE..2 > - ME Super.115 > - ME Super SE4 > - MV.6 > - MV11 > - MG12 > - LX...131 > - Super Program.69 > - Super A...40 > - Program Plus..17 > - Program A.10 > - A3000..3 > - A3.2 > - A3(date)...1 > - P3.6 > - P3n8 > - P308 > - P30n...1 > - P30t..12 > - P5.7 > - P502 > - ZX M..19 > - MZ M..10 > AUTOFOCUS: > - ME F..12 > - SF 1...6 > - SFX3 > - SF 1n..6 > - SFXn...9 > - SF 7...2 > - SF 10..6 > - PZ 1..18 > - PZ 1 SE2 > - Z124 > - PZ 1p.66 > - Z1p...40 > - PZ 10..5 > - Z 10...2 > - PZ 20.11 > - Z 20...4 > - Z 50p..2 > - PZ 70..6 > - Z 70...1 > - Z5.1 > - MZ 3..17 > - ZX 5..10 > - MZ 5..13 > - ZX 5n.53 > - MZ 5n.35 > - ZX 7...9 > - MZ 7...6 > - ZX 10..9 > - MZ 10.13 > - ZX 30..7 > - MZ 30..1 > - ZX 50..7 > - MZ 50..7 > - MZ S...1 > MEDIUM FORMAT: > - 64517 > - 645n3 > - 6x712 > - 67..9 > - 67 II...7 > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film development
Earlier today, Aaron Reynolds wrote:
>This is a very common misconception. The Ns do not represent pure,
>unaltered exposure; rather they indicate that no correction has been
>made to the machine's automatic reading of the neg. Thus, getting a
>roll printed all Ns means that the machine will do auto exposure on your
>negs and no one will fix it if the machine can't tell that your image is
>perhaps mostly dark or mostly light. A perfectly exposed night scene,
>for instance, when printed on N becomes a wishy-washy grey-brown too
>light mess.
>
>Think of those + and - as exposure compensation on your camera when
>you're in program mode...that's how these printers all work. Same for
>colour, too...a picture of mostly blue sky, printed all Ns on the colour
>channels, will probably come out on the yellowy side. Some printers
>have more sophisticated exposure programs, particularly the newer ones,
>making deviation from the N less and less neccessary, but that still
>does not make N the "correct" or "normal" exposure.
>
>Be happy that you have a lab that DOES deviate from the Ns...that means
>they have a printer who knows something who's trying to make your prints
>look good!
First of all, thanks for pointing this misconception.
If leaving the "N" alone will not do the trick for that situation I
described in my original post ("When I take my films
to the lab I usually end up with a grainny photo and the subject in the
foreground is not as dark as I wanted it to be. I assume they are using the
negative film's greater latitude than slide's to compensate for the
darker --- but on purpose --- exposure."), what can I do? Make sure that I
shoot at least three stops under the values indicated by the cameras
centerweight meter, so the machine won't be able to "compensate" and the
printer will probably know that I want the scene to be darker?
Something on your explanations is puzzling me: Most minilabs have a machine
that has a built in software that sets automatic compensation figures for
each kind of print film, right? the minute you start working with the
negatives, it will select those default values indicated by the software,
regardless of how precise or not the photographer was when pressing the
shutter? If that's the case, what's the point of all that discussion about
learning to precise "read" light with the zone system or even a spotmeter?
You won't get what you read, anyway... ;-) Or am I just getting more
confused?
-
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RE: It's Time To Go
Shel, All the best to you! Come back soon. Frits - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: mounting an AF500FTZ off-camera
You are correct, but I don't use the grips contacts but couples the 5P cords directly to the AF500FTZ. So the grip is only used as support for the flash. Pål - Original Message - From: Patrick Genovese To: [EMAIL PROTECTED] Sent: Tuesday, June 05, 2001 7:07 PM Subject: Re: mounting an AF500FTZ off-camera Pål I've been following this thread & I have a question for you. The clamp and bracket for the AF400T use the 4Pin cable, Won't this cause problems / loss of functionality with the AF500FTZ ? the AF500FTZ uses the 5P cord/s. RegardsPatrick Pål Jensen <[EMAIL PROTECTED]> Sent by: [EMAIL PROTECTED] 05/06/2001 05:43 PM Please respond to pentax-discuss To: <[EMAIL PROTECTED]> cc: Subject: Re: mounting an AF500FTZ off-cameraYou can do what it did for a macro brackett. I ordered the grip intended for the AF280T flash - its discontinued but Pentax managed to provide it anyway. I use the clamp system and brackett from the AF400T flash (can also be ordered separately). This can be monuted on the camera or on a lens with tripod socket. It can be rotated in different directions. Pål- Original Message - From: "Peter Popp" <[EMAIL PROTECTED]>To: "pentax-discuss" <[EMAIL PROTECTED]>Sent: Monday, June 04, 2001 9:56 PMSubject: mounting an AF500FTZ off-camera> I'm exploring some off-camera options for macro work, and I'm trying to decide specifically how to mount the AF500FTZ once I decide where I want to put it. It doesn't need a Pentax accessory shoe mount, because the F5P cord attaches directly to the flash. But all the accessory shoe mounts I've seen (including the Stroboframe mini ball head with shoe mount that I'd like to use) look like they will touch the contacts on the bottom of the flash shoe.> > Will I damage the flash if I use an accessory shoe mount that makes contact with all of the contacts onthe bottom of the flash shoe? And doesn anyone know of an accessory shoe mount that doesn't touch the contacts on the bottom of the flash shoe. Thanks.> > Peter> > ---> Peter J. Popp W: (303) 497-5181> Research Associate H: (303) 691-1632> NOAA Aeronomy Laboratory F: (303) 497-5373> 325 Broadway, R/AL6 [EMAIL PROTECTED] Boulder, CO 80305> ---> > -> This message is from the Pentax-Discuss Mail List. To unsubscribe,> go to http://www.pdml.net and follow the directions. Don't forget to> visit the Pentax Users' Gallery at http://pug.komkon.org .> -This message is from the Pentax-Discuss Mail List. To unsubscribe,go to http://www.pdml.net and follow the directions. Don't forget tovisit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
Damn. This won't be quite the same place without you. Many thanks for the thought and effort you've put in your contributions to the list. I've gained a lot from your participation. Good luck, Dan Scott [EMAIL PROTECTED] >I'll be leaving the list for an indefinite period. I'd like to >thank the many good folks who have been helpful to me on a personal >level, and for the friendship and kindness you've offered and >provided. Special thanks to Bill Robb, Chris Brogden, Yoshi, Ken >Takeshita and his niece, Bob Sullivan, Cameron Hood, Bob Walkden, >Rob Studdert, Mike Broom, and I'm sure a few others, for their >special favors and considerations. I hope my contributions have >helped or amused some of you, or given you something to think >about. Many of the contributions and contributors to the list have >certainly entertained and enlightened. > >Please keep in touch ... I'll try to do likewise. > >-- >Shel Belinkoff >mailto:[EMAIL PROTECTED] >"It matters little how much equipment we use; it >matters much that we be masters of all we do use." - Sam Abell - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Spotmeters (Was: Learning To make a Photograph)
Hi, this is what I use: http://www.sekonic.com/Products/L-398M.html it's called a studio meter, but I've never used it in a studio. --- Bob mailto:[EMAIL PROTECTED] Tuesday, June 05, 2001, 12:56:03 PM, you wrote: > I'm about to begin the process of evaluating/purchasing an incident light > meter for field use. Needs to be pocket size and accordingly, be able > to take a bit of punishment. Any thoughts on: features? models? etc.? > Otis Wright - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: SFX & InfraRed
Aaron wrote: > You may want to try Ilford's SFX film. Kodak's HIE IR has no > anti-halation layer, which adds to the problem (but also produces neat-o > characteristics in the images), where SFX does. I have several > customers who have used SFX in newer Canons with no problem. Of course, > SFX is not as sensitive to IR as HIE, and produces a different (and a > little less exotic) final image. It's quite nice, tho'! The Ilford SFX is just an extended red sensitivity and barely gets out into true IR wavelengths from what I have gathered. I hear it is an off-shoot from the "traffic monitoring" films. If you attempt using much more effective filtration than a regular red or their filter - you won't get much onto the film. IMO, the SFX fails to qualify as an infrared emulsion. Stick w/ the Kodak HIE or the Konica 750nm for "real InfraRed". The Konica "peaks" its sensitivity at ~750 nanometers whereas the Kodak runs well out into the 900's. The SFX drops off somewhere just past ordinary red wavelengths. Bill - Bill D. Casselberry ; Photography on the Oregon Coast http://www.orednet.org/~bcasselb [EMAIL PROTECTED] - - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Spotmeters (Was: Learning To make a Photograph)
Though, strictly speaking, spotmeters are not incident light meters, you can put an 18% grey card at the subject position and read the light reflected from it and get pretty much the same results. Len --- > -Original Message- > From: William Robb [mailto:[EMAIL PROTECTED]] > Sent: Tuesday, June 05, 2001 8:01 AM > To: [EMAIL PROTECTED] > Subject: Re: Spotmeters (Was: Learning To make a Photograph) > > > > - Original Message - > From: "Otis Wright, Jr." <[EMAIL PROTECTED]> > To: <[EMAIL PROTECTED]> > Sent: June 5, 2001 5:56 AM > Subject: Re: Spotmeters (Was: Learning To make a Photograph) > > > > I'm about to begin the process of evaluating/purchasing an > incident light > > meter for field use. Needs to be pocket size and > accordingly, be able > > to take a bit of punishment. Any thoughts on: features? > models? etc.? > > Well, to stay on topic, there is the Pentax Digital Spotmeter. > It has one moving part (the trigger switch) and is quite > compact. It is also built like a tank. If you shoot a lot of > black and white, you can get a version if it from Calumet that > has the Zone VI modifications that make the meter see light the > same way that film does. > > William Robb > Remember, the LX Gallery is coming up. > Please see: > http://pug.komkon.org/LX_Gallery/LX_Submit.html > for more information. > > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Tamron lens advise requested f1:3.8-4.0 80-210mm
Todd, Thanks for your help on this question and the flash question. Frits > While I can't find this exact lens, I'd say not too much, unfortunently. > Probably <$50 with that dent. > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1237402543 > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1237851344 > http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1241636108 > > Todd > > At 07:57 PM 6/4/01 +0100, you wrote: > >A colleague of my wants to sell some of his equipment. I'll take his ME > >Super with a 50mm/f1.7, but there is also a Tamron lens in the > kit. I want > >to offer him to sell it for him on eBay, but I have no idea > about the value > >of this lens, can someone advise please? > > > >TAMRON > >CF TELE MACRO > >BBAR MC o58 (means round 58mm filter size) > >30 - 11.1 (30 degrees to 11.1 degrees) > >1:3.8-1:4 > >80-210mm > >103A No.3049800 > >Build like a tank, one ring focus/zoom, very smooth operation, not loose. > >Ding on front barrel preventing the use of a filter at the > moment, no other > >obvious signs of use, no brassing, etc., > >glass is clean and free of damage and fungus, > >adaptall mount for Pentax K mount > >front and end caps included > > > >Frits > > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: MZ-S Hands on..
Rob Brigham wrote: > This thing about IR film is new though! I am a bit unhappy about this. > I suppose it is not really a problem as it wont be often, but I wanted > to start experimenting with IR B&W and it seems a shame that here is yet > another niggle with a Camera which I really have to think hard about > justifying already. You may want to try Ilford's SFX film. Kodak's HIE IR has no anti-halation layer, which adds to the problem (but also produces neat-o characteristics in the images), where SFX does. I have several customers who have used SFX in newer Canons with no problem. Of course, SFX is not as sensitive to IR as HIE, and produces a different (and a little less exotic) final image. It's quite nice, tho'! -Aaron - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: mounting an AF500FTZ off-camera
Pål I've been following this thread & I have a question for you. The clamp and bracket for the AF400T use the 4Pin cable, Won't this cause problems / loss of functionality with the AF500FTZ ? the AF500FTZ uses the 5P cord/s. Regards Patrick Pål Jensen <[EMAIL PROTECTED]> Sent by: [EMAIL PROTECTED] 05/06/2001 05:43 PM Please respond to pentax-discuss To: <[EMAIL PROTECTED]> cc: Subject: Re: mounting an AF500FTZ off-camera You can do what it did for a macro brackett. I ordered the grip intended for the AF280T flash - its discontinued but Pentax managed to provide it anyway. I use the clamp system and brackett from the AF400T flash (can also be ordered separately). This can be monuted on the camera or on a lens with tripod socket. It can be rotated in different directions. Pål - Original Message - From: "Peter Popp" <[EMAIL PROTECTED]> To: "pentax-discuss" <[EMAIL PROTECTED]> Sent: Monday, June 04, 2001 9:56 PM Subject: mounting an AF500FTZ off-camera > I'm exploring some off-camera options for macro work, and I'm trying to decide specifically how to mount the AF500FTZ once I decide where I want to put it. It doesn't need a Pentax accessory shoe mount, because the F5P cord attaches directly to the flash. But all the accessory shoe mounts I've seen (including the Stroboframe mini ball head with shoe mount that I'd like to use) look like they will touch the contacts on the bottom of the flash shoe. > > Will I damage the flash if I use an accessory shoe mount that makes contact with all of the contacts onthe bottom of the flash shoe? And doesn anyone know of an accessory shoe mount that doesn't touch the contacts on the bottom of the flash shoe. Thanks. > > Peter > > --- > Peter J. Popp W: (303) 497-5181 > Research Associate H: (303) 691-1632 > NOAA Aeronomy Laboratory F: (303) 497-5373 > 325 Broadway, R/AL6 [EMAIL PROTECTED] Boulder, CO 80305 > --- > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
We'll miss you, Shel. Come back soon, kay? -Aaron - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Back from Grandfather Mountain
Got home from the Grandfather Mountain Nature Photography Weekend last night. It was definitely something I'd recommend to anyone who's interested in nature photography or just enjoying the outdoors in a spectacular setting. Very nice to meet several PDML people in person. Got to see some very nice photography and take quite a few shots myself. I have a feeling that my best work of the weekend will end up being my medium format black and white. That stuff will get souped in a day or two. I'll find out how a few of my rolls of slide film look later today. (I'll also find out how E100VS and E100SW work when pushed 1 stop.) I got to play with an MZ-S for a bit. Warning: Do *not* try out this camera in a camera store, especially with the optional battery grip, if you have your credit card with you. You *will* want to buy one. It's amazingly small and, even though it's very lightweight, feels densly packed and solid. It just exudes "quality". Ergonomics and "feel" are wonderful. You can tell a lot of thought went into the design of this camera. I'll try to put together a web page with some of my Grandfather photos by the end of the week. Possibly even a few by tomorrow. We're already making plans for next year's Grandfather Mountain weekend. Mark Roberts - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Wide Angle Lens Dilemma
Rob Brigham wrote: The Vivitar Series 1 19-35mm zoom is about a third the price again and is pretty good if you are on a real budget (doesnt sound like you are though). It really is very good and very underpriced. Also has flare problems as do all non SMC lenses to a degree. I purchased this lens about a month ago. It is very sharp. I learned from my first roll on that you MUST use the supplied shade in a sunny environment or you will get flare. If anything, it makes me take an extra moment to compose - which isn't a bad thing! ;-) I'd buy it again in a minute. Both B&H and Tristate sell the AF version for $159. _ - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Spotmeters (Was: Learning To make a Photograph)
The Gossen Luna Pro SBC is a gem of a meter for both incident and reflected measurements and uses common 9-volt batteries. It can be purchased used for a reasonable amount of money. It will fit in a shirt or coat pocket but there are smaller meters. Len --- > -Original Message- > From: Otis Wright, Jr. [mailto:[EMAIL PROTECTED]] > Sent: Tuesday, June 05, 2001 6:56 AM > To: [EMAIL PROTECTED] > Subject: Re: Spotmeters (Was: Learning To make a Photograph) > > > I'm about to begin the process of evaluating/purchasing an > incident light > meter for field use. Needs to be pocket size and > accordingly, be able > to take a bit of punishment. Any thoughts on: features? > models? etc.? > > Otis Wright - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Wide Angle Lens Dilemma
First, let me thank all who replied to my post for the great feedback. Since I like using filters esp my circular polariser a non rotating front element is highly desirable. I know that the sigma 20mm and the 17-35 both have non rotating front elements. But don't couldnt find the relevant info on the Pentax 20mm and 20-35. I was initially undecided whether to include the 14mm in my shortlist, but now I've decided to drop it, it is probably a tad too wide for my liking. With respect to cost the price difference between the sigma and pentax zooms is marginal and does not warrant making the decision on cost. The prices I have for my shortlist are as follows: Sigma 17-35mm 450 stg Pentax 20-35 499 stg The price difference on the 20mm is substantial though so the pentax has to be really better than the sigma to justify the difference in cost. Sigma 20mm 350 stg Pentax 20mm 679 stg Contrary to what can be inferred from my message COST IS AN ISSUE, I've been saving up for this for a while, and i'm willing to wait a bit more to make the best decision, as opposed to buying something and longing for the lens I couldn't afford. Regards Patrick
Re: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
My experience with a Super Program shutter was that those blades are A LOT sturdier than they look. About a year ago, a friend brought me a jammed camera and asked me to do what I could. The shutter blades were off the rails and superposed. I told him that probably the shutter was destroyed, but I could try to fix it since apparently things couldn't be worse. After some unsuccesful attempts with a plastic tool, I put them back in position with my (clean) bare fingers and cleaned the blades with alcohol. To my surprise, it works OK to this day! I think that as long as the blades doesn't have a permanent bent, the shutter will work. __ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Medium Format to 35 (WAS: Digital MZ - MR 52 projet still in the air ???)
Tom wrote: > Resolving power is not spread over the image (lenses are > essentially holographic devices). The medium format lens > simply has a wider field of view. I don't get this. I'm no optical engineer but unconceivable to me how you can double cover area without doubling optical defects as well if you use a constant area as reference (in this case 24X36). By mounting a medium format lens on a 35mm camera is basically like adding a perfect teleconverter to a 35mm system lens. Still, you get reduction of optical quality because you're magnifying optical defects as well. Say you are projecting a perfect slide with no grain etc with a certain projector lens at a certain distance to the screen. Say you choose an area within the projected image measuring 24X36 as reference. Then you move the screen farther away from the projector (and refocus) so that the image covers a larger area. You still keep the 24X36 area as reference. Wouldnt the area within the 24X36 frame now show lower resolution because you have magnified all the blemishes in the lens? This is basically what you're doing when using a medium format lens on a 35mm camera. Also, large format lenses show lower resolution than 35mm lenses. - the Minox lens has higher resolving power than 35mm system lenses. Anyway, my test results of the FA645 45/2.8 and FA645 75/2.8 clearly show that they are pretty bad when mounted on a 35mm camera. This is of course more compensated for when using them on the 645 camera because the larger area of medium format more than compensate for this. Jostein Øksne tested the A645 120/4 Macro, one of the best MF lenses made, and found that it couldn't compare at all with the M 135/3.5 (I believe it was this lens) when mounted on a 35mm slr. [My FA645 120/4 gives comparable results with the A* 135/1.8 when used on a 35mm camera, but then the FA645 120/4 Macro is an astounding lens} Pål - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Was LX avaible in the US ?
Clover wrote: > I just learned that the LX was discountinued from April 2001. > In Europe, you cannot find a new LX because the europe conformity (CE) not > allow it. Don't think so. It was unavailable outside Japan in later yers. That has nothing to do with Europe conformity. > But In year 2000, in the US, the LX was still avaible ??? Not in later years. Pål - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Medium Format to 35 (WAS: Digital MZ - MR 52 projet still in the air ???)
William wrote: > HUH? By that arguement, my 210mm NikkorW should only resolve > about 8 LPPM. I know for a fact it resolves closer to 60 on the > film. Format doesn't matter. Isn't 60 lines pr MM remarkably bad for a lens for the 35mm system? Pål - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Digital MZ - MR 52 projet still in the air ???
My dream as a 645 owner would be a digital film insert with the 6 Mpix chip. If using the same lenses, why change the tool? With the 6 Mpix chip it will give the same situation as the Nikon/Canon users have today, with a chip smaller than the film format. Except that it will be easier to convert the focal widths. Jostein > -Original Message- > From: Todd Stanley [mailto:[EMAIL PROTECTED]] > > Hmmm... Didn't think of that. Good point. > > At 04:33 PM 6/3/01 +1000, you wrote: > > > >What about all the pros with Pentax Medium format gear > surely the 6M pixel > >body coupled with a lens adaptor would be of interest? ### This message has been scanned by F-Secure Anti-Virus for Microsoft Exchange. For more information, connect to http://www.F-Secure.com/ - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Spotmeters (Was: Learning To make a Photograph)
I'm about to begin the process of evaluating/purchasing an incident light meter for field use. Needs to be pocket size and accordingly, be able to take a bit of punishment. Any thoughts on: features? models? etc.? Otis Wright Tom Rittenhouse wrote: > Using any meter (including the one in the camera) requires > some knowledge and common sense. A spot meter makes sense > with a view camera and the zone system. > > However, I think that an incident light meter is better for > general photography. It gives you an 18% gray reading every > time. If you want more detail in the shadows you open up one > or two stops. For more highlight detail you close down a > stop. You can not have both, no matter what type meter you > use. If you want maximum detail over all the incident meter > will nail the center and the film latitude will will give > you the widest highlight to shadow range. Your paper grade > will determine the final contrast range on the print for > B&W, for color an incident meter will nail the best exposure > every time. > > Using these techniques I have several times had lab people > comment how consistent my exposure from frame to frame was. > > --Tom > > Shel Belinkoff wrote: > > > > Maybe ... but essentially I disagree with that statement. If the > > scene is an average scene, then an incident meter can be useful. > > However, add some deep shadows and some very bright highlights, and > > you're not going to get a reading that will allow for the best > > exposure, i.e., relying on what the incident meter tells you won't > > give you the opportunity to place shadow or highlight values. > > Further, there will be little opportunity to really learn about > > light and exposure. With a 1-degree spot meter you you can meter > > every part of the scene, and know exactly where the values will be > > and what you have to do to properly expose the film and what > > development will be needed. > > > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
I can only repeat what has already been said. Back in 1985 I had the shutter in my Super Program crinkle - it is so long ago I cannot remember how it happened other than it was at Yosemite in California. I put the camera aside and shot prints with the LX, which I was using for slides. Later I looked at the camera, pushed the curtains back in place and other than sending it in for a CLA a couple of years ago which I felt it deserved after all its usage it had never given me a problem. César Matamoros II Panama City, Florida > -Original Message- > From: Juan J. Buhler [SMTP:[EMAIL PROTECTED]] > Sent: Monday, June 04, 2001 1:53 PM > To: [EMAIL PROTECTED] > Subject: Re: HELP! - Have I ruined my PZ-1p's shutter curtains by > touching them? > > On Mon, 4 Jun 2001, Shel Belinkoff wrote: > > > Go shoot some film and see if the camera works properly. If not, > > get it fixed. More than likely all is fine. The shutter curtain is > > not so delicate that it's easily damaged. > > Yep, I agree. I have accidentally touched my ME-Super's curtain as > well (also getting them to deflect a bit) without any visible effects > on my subsequent pictures (unless bad composition can be blamed on > shutter curtains, that is :-) > > Chances are nothing bad happened. > > j > > -- > -- > --- > Juan J. Buhler | Sr. FX Animator @ PDI | > http://www.crosswinds.net/~jbuhler > -- > --- > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
We are surely going to miss you! Good Luck Shel! Steve Larson Redondo Beach, California - Original Message - From: "Shel Belinkoff" <[EMAIL PROTECTED]> To: "Pentax List" <[EMAIL PROTECTED]> Sent: Monday, June 04, 2001 10:30 PM Subject: It's Time To Go > I'll be leaving the list for an indefinite period. I'd like to > thank the many good folks who have been helpful to me on a personal > level, and for the friendship and kindness you've offered and > provided. Special thanks to Bill Robb, Chris Brogden, Yoshi, Ken > Takeshita and his niece, Bob Sullivan, Cameron Hood, Bob Walkden, > Rob Studdert, Mike Broom, and I'm sure a few others, for their > special favors and considerations. I hope my contributions have > helped or amused some of you, or given you something to think > about. Many of the contributions and contributors to the list have > certainly entertained and enlightened. > > Please keep in touch ... I'll try to do likewise. > > -- > Shel Belinkoff > mailto:[EMAIL PROTECTED] > "It matters little how much equipment we use; it > matters much that we be masters of all we do use." - Sam Abell > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
MZ-S Japanese Catalog
Hi On the japanese website you can now download the MZ-S catalog (11 pages) on PDF format. Unfortunately, only in Japanese language. Interesting though is an actual picture of the data imprinting on film, very clever done (page 6)! Hope the english version will turn up soon. Arnie - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
What a great story. That was fun to read. And it should make Chaso feel MUCH better. Ray Allen. Sydney. Australia. Check out Spotmatic at Yahoo!Groups at: http://groups.yahoo.com/group/spotmatic - Original Message - From: "William Robb" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, June 05, 2001 1:33 PM Subject: Re: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them? > > - Original Message - > From: "Chaso DeChaso" > Subject: HELP! - Have I ruined my PZ-1p's shutter curtains by > touching them? > > > > At some point in the evening, when re-loading my > > PZ-1p, I managed to press my thumb directly into the > > shutter curtains. It was hard enough so that I > > actually felt some deflection of the curtains under my > > touch. > > > > My question is what to do next. How much damage am I > > like to have caused? Can this be assessed easily? > > What expense is involved in fixing or replacing this > > part of the camera? Should I send it to Pentax or > > what? > > The likelihood of having done any damage is pretty small. > An anecdotal story about shutters. > This took place several years ago. > I was working at my lab when I heard a customer being very loud > and abusive to my co-worker in the store. > I went to see what the deal was, and as I rounded the counter I > saw that my co-worker was holding a Pentax SF-10 body. Being the > sensitive girl that she was, she handed me the camera and ran > into the back room. > So, there I am, with a camera that I have never seen before, and > a screaming abusive customer. > Being somewhat larger than him, and definitely possessing a far > worse attitude than he was able to muster, I calmed him down to > the point where he became lucid again. > This didn't go far towards resolving the issue at hand. > At this point, he told me what he thought about my company, me, > Pentax, and the world in general, using multiple repetitions of > a rather coarse word that starts with "f". > He then told me to throw the camera into the garbage. > I asked him if he was sure about that, and he assured me twice > more that this was what he wanted. > After he left the store, I decided to see exactly what it was > that I had been abused over. > It turned out that the shutter curtain had been punched in hard > enough that they were actually deformed quite badly, and the > shutter was non functional. > The problem was that this was the second time that the shutter > had "failed", and the customer was miffed that Pentax wanted > another $170.00 to replace it. > I took out my Swiss Army Knife, gently pulled the blades out of > the shutter completely on their free side (the blades are > attached on one side only, on the other side they just run on a > guide). > Much to my surprise, the blades appeared to regain their former > shape, with no visible signs of bending or warpage. > So, I very carefully put the blades back into their guide. and > tested to see if it worked. > It worked perfectly. I ended up giving the camera to a friend > who is using it to this day, with absolutely no problems. > > So, I would just put this little incident behind me and go out > and enjoy the camera. If you are really curious, you could take > the lens off and point the thing at the sun for a half minute or > so to see if the shutter leaks light and run the shutter through > all it's speeds to see if it is relatively linear. > Personally, I would just keep using it. > > > > > The sad thing is that this was a brand new camera > > (one-month old!) - and now I feel like I will never > > trust it to be working properly unless I have so much > > of the "guts" replaced. > > Suck it up big boy!! It ain't that serious. > > > > Thanks everyone, > > Yer welcome. > > William Robb > Remember, the LX Gallery is coming up. > Please see: > http://pug.komkon.org/LX_Gallery/LX_Submit.html > for more information. > > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: HELP! - Have I ruined my PZ-1p's shutter curtains by touching them?
On Mon, 4 Jun 2001 10:06:14 -0700 (PDT), Chaso DeChaso wrote: >At some point in the evening, when re-loading my >PZ-1p, I managed to press my thumb directly into the >shutter curtains. It was hard enough so that I >actually felt some deflection of the curtains under my >touch. I cannot begin to tell you the feeling in my >stomach when I realized what I had done. I am so >angry with myself, I cannot even describe it. I am >always so careful not to let even the film leader >graze these curtains because I understand that they >are manufactured to such a high precision that they >may be misaligned and damaged very easily. > >My question is what to do next. How much damage am I >like to have caused? Can this be assessed easily? >What expense is involved in fixing or replacing this >part of the camera? Should I send it to Pentax or >what? > >The sad thing is that this was a brand new camera >(one-month old!) - and now I feel like I will never >trust it to be working properly unless I have so much >of the "guts" replaced. Chaso, I take it that once you had pressed your thumb against the shutter you then stopped using the camera? I'm not sure how sensitive the shutter of the Z1p is, but these shutters can be stronger than you think. If all the blades are still overlapping in the correct order there may be no problems. The best thing to do if you are unsure is take it in and have it looked at by a technician. I can tell you a story about a camera that I once looked at because it didn't work. It belonged to my wife's work and was used as a loner for when people wanted to take pictures of something. It was a consumer autofocus Minolta and it wouldn't wind film I was told. So I loked through the viewfinder and it looked ok. I tested the auto focus and the metering and that seemed to be ok. So I pressed the shutter while looking in the viewfinder and noticed that the mirror didn't move. When I opened the back - which I probably should have done to begin with - I discovered the shutter blades pushed in towards the lens and jammed tight. I looked at the blades they were gently curved with no sharp bends. I told them to take it to a camera technician. The tech just pushed the blades gently into place and the camera is working ok again. Still cost them alot. Good luck, if you are worried get it checked. Leon http://www.bluering.org.au http://www.bluering.org.au/leon - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Wide Angle Lens Dilemma
One of my favourites has been the Tokina 17mm RMC. In fact I have had 2 of these - the first was stolen in Fiji along with the rest of my gear. It is manual focus, but who needs af on a wide angle lens! Bob
Re: Film development
On Mon, Jun 04, 2001 at 10:29:00PM -0300, Eduardo Carone Costa Júnior wrote: > Hi everybody, > > All these comments about learning how to make better photos and light did > encourage me to ask for your advice about this --- perhaps > naive ---situation: > > Sometimes I try make a scene look a bit darker, I mean, like a sunset where > you can only distinguish the contours of the subject in the foreground, and > I set the exposure accordingly. At this time, I use only negative film, B&W > or color, and I don't do my own developing or printing. When I take my films > to the lab I usually end up with a grainny photo and the subject in the > foreground is not as dark as I wanted it to be. I assume they are using the > negative film's greater latitude than slide's to compensate for the > darker --- but on purpose --- exposure. > > Is there a kind of instruction I can give the lab to avoid this problem? > Something like "don't compensate exposure"? I guess it depends on how "profesional" your lab is. In my experience, most "consumer-grade" photolabs are reluctant to turn-off compensation, because, as some of the have explained to me, some machines can't do it. I, in my opinion, think that that is one of the main advantages of printing your own black and white: you get complete control and if anything goes wrong, it's only you to blame. (Assuming that the guys at Kodak, Ilford or wherever have done their job right.) I've recently been trying slide film, partly because I don't have a darkroom at the moment. I don't like slides so much because I prefer prints (the physical presentation as opposed to the film), but I do like the control you get. But I think I still miss black and white: I somehow can't "see" photographs in colour. Frank. -- Francis Tang, Postgraduate Research Student, LFCS, Edinburgh. Visiting: AG14, Mathematik, TU Darmstadt, Deutschland. Tel: +49 174/3545241 (D2 Voda) ZNr: 2d/215 Email: [EMAIL PROTECTED] WWW: http://www.dcs.ed.ac.uk/home/fhlt/ - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
RE: Wide Angle Lens Dilemma
I would say the PENTAX FA* 24 f/2 EDIF is the ultimate if absolute quality is you thing. For versatility the PENTAX SMC-FA 20-35mm f/4 AL is the next best thing. If price matters, the SIGMA 17-35mm f2.8-4 EX Aspherical is fantastic (tack sharp in my experience - I use it a lot) but is a little prone to flare so needs more care. The Vivitar Series 1 19-35mm zoom is about a third the price again and is pretty good if you are on a real budget (doesnt sound like you are though). It really is very good and very underpriced. Also has flare problems as do all non SMC lenses to a degree. I guess the best compromise for versatility, quality and economy might be the Vivitar AND the Pentax 24mm. Rob Brigham -Original Message- From: kelvin [mailto:[EMAIL PROTECTED]] Sent: 04 June 2001 20:37 To: [EMAIL PROTECTED] Subject: Wide Angle Lens Dilemma I think all the options you have listed are really quite decent, and for what it seems, budget is no real object. As such, stick with the OEM Pentax lenses. re: 14mm, I find that 20mm is the widest that I could ever find a practical use for... and 24mm was probably more useful 50% of the time, anyway. Hence , I think the uses for a 14mm (which I borrowed several times) is too limited for consideration unless you already have a lens in the 20-24mm range. Date: Mon, 4 Jun 2001 19:42:12 +0200 From: [EMAIL PROTECTED] Subject: Wide Angle Lens Dilemma This is a multipart message in MIME format. - --=_alternative 005FECA7C1256A61_= Content-Type: text/plain; charset="us-ascii" I have been saving up to buy a good ultra wide angle lens. Below is my shortlist (in no particular order). - - PENTAX SMC-FA 20-35mm f/4 AL - - PENTAX SMC-FA 20mm f/2.8 - - SIGMA 20mm f/1.8 EX DG Aspherical RF - - SIGMA 14mm f2.8 EX Aspherical - - SIGMA 17-35mm f2.8-4 EX Aspherical Since whatever I choose the investment will be substantial, I would like some expert advice on the issue. My priorities are as follows: 1) Sharpness (duh!) 2) Good rendition of out of focus areas. 3) As little barrel/pincushion distortion as possible. 4) Good resistance to flare. 5) Non rotating front element. - I frequently use a circular polariser and other Cokin P System filters. 6) Fast Maximum Aperture - Since I will stop down the lens to f8 or f11 in most situations this is not absolutely essential. 7) Zoom - desirable but not essential. Any words of wisdom / personal experience will be very apreceated. I would also be interested in positive experiences with lenses other than those on my shortlist. My camera is a Pentax MZ5n Regards Patrick - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: It's Time To Go
Thank you for your contributions, I have learned a lot. Jim - Original Message - From: Shel Belinkoff <[EMAIL PROTECTED]> To: Pentax List <[EMAIL PROTECTED]> Sent: Monday, June 04, 2001 10:30 PM Subject: It's Time To Go > I'll be leaving the list for an indefinite period. I'd like to > thank the many good folks who have been helpful to me on a personal > level, and for the friendship and kindness you've offered and > provided. Special thanks to Bill Robb, Chris Brogden, Yoshi, Ken > Takeshita and his niece, Bob Sullivan, Cameron Hood, Bob Walkden, > Rob Studdert, Mike Broom, and I'm sure a few others, for their > special favors and considerations. I hope my contributions have > helped or amused some of you, or given you something to think > about. Many of the contributions and contributors to the list have > certainly entertained and enlightened. > > Please keep in touch ... I'll try to do likewise. > > -- > Shel Belinkoff > mailto:[EMAIL PROTECTED] > "It matters little how much equipment we use; it > matters much that we be masters of all we do use." - Sam Abell > > - > This message is from the Pentax-Discuss Mail List. To unsubscribe, > go to http://www.pdml.net and follow the directions. Don't forget to > visit the Pentax Users' Gallery at http://pug.komkon.org . > - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Wide Angle Lens Dilemma
kelvin writes: > re: 14mm, I find that 20mm is the widest that I could ever find a practical > use for... and 24mm was probably more useful 50% of the time, anyway. > Hence , I think the uses for a 14mm (which I borrowed several times) is > too limited for consideration unless you already have a lens in the 20-24mm > range. I'd agree with that. 24mm is wonderful and 20mm would probably be quite useful as well. I have the Pentax 15mm and it doesn't get used nearly as much as its price suggests it should :) Cheers, - Dave David A. Mann, B.E. (Elec) http://www.digistar.com/~dmann/ "Why is it that if an adult behaves like a child they lock him up, while children are allowed to run free on the streets?" -- Garfield - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
