RE: PAW: G and A
Hi Kostas, Two nice photographs, the first nicer than the other and I'd like to attempt an explanation, at least of what went on in my mind. In the first my eye fell on a bright spot towards the top left of the picture and it was a tiny movement to your son's face. The rest of the picture fit the original impression and created an impression of two siblings getting to know each other. Wonderful. In the second my eye was drawn to your son's dark hair because for me it dominated the left (from where I started looking.) A moment for spent deciding if there was anything there worth attention there, deciding there wasn't and moving on. By then some of the expected "moment" was lost. That's a little fuzzy but it's the best I'm able to explain right now. Another thing I liked more about the first picture is that your son is looking directly into your daughter's eyes and that to me brought out the idea (two siblings getting to know each other. Two human beings recognizing one another.) In the second your son appears to be looking at your daughter's eyebrows or forehead. That detracts from the message. All said and done, these are two very nice pictures. Regards, Gautam > -Original Message- > On Sep 11, 2005, at 2:28 PM, Kostas Kavoussanakis wrote: > > > > > Never posted a PAW before. This is actually two, but very similar > > pictures. I would normally dislike the first one, as I have chopped > > the son's head on the left: > > > > http://www.epcc.ed.ac.uk/%7ekavousan/GandA.jpg (<100KB) > > > > However this one I like less, but do you agree/understand why? > > > > http://www.epcc.ed.ac.uk/%7ekavousan/GandA2.jpg (<100KB) > > > > Both are with the MZ-50, one of my 50s, Tri-X [EMAIL PROTECTED], scanned > > from > > (traditional machine process, not digital scan, and B&W paper) print > > using a bottom-line Canon scanner. > > > > Thanks in advance for any comments. > > > > Kostas > > > >
Re: Rob Studdert
Cotty, mte- no-one is a wuss for using air-con in Oz! In-car temperatures in the sun can reach over 100C in summer - some dogs have been cooked when their careless owners have left them in the car with the windows up. Nearly happened to at least a couple of babies too... John Coyle Brisbane, Australia - Original Message - From: "Cotty" <[EMAIL PROTECTED]> To: "pentax list" Sent: Sunday, September 11, 2005 8:45 PM Subject: Re: Rob Studdert He has a posh VW ... is it a Passat? It has aircon, so that's it - he's a wuss. Cheers, Cotty
Re: First non DSLR digicam with 10MP APS sensor- contradiction
On Sep 11, 2005, at 8:23 PM, J. C. O'Connell wrote: If I am getting what you are saying, you are talking about a special optical device BETWEEN the image forming lens and the sensor. If that's what your talking about then yes that would always be "active" but we havent been discussing something like that, we have been discussing an image forming camera "lens" and they do NOT do that. What your talking about is more like a secondary otical system in addition to the "lens" Yes, that's what a dedicated digital sensor lens design is, in conceptual terms. It's what the Sony R1 lens is almost certainly like if you look at the ray trace. Secondly in the case of a camera "lens" the size of the rear element has little to do with "active area" or percentage of its area in the optical path. You're the one who was talking of "active area" vis a vis the rear elements. I'm just trying to use your terminology. well this makes no sense to me. enlarger lamp houses convert the bulb (point) source to a large parallel cylinder of light to illuminate the negative evenly. A "large parallel cylinder of light" is the same thing as light coming from an infinitely distant point source. Consider light from the sun: all rays are parallel at 92 million miles distance, unless scattered by atmosphere. In the vacuum of space, they are absolutely parallel. So even though the sun is several hundred times the diameter of the Earth and is a light source, it is a point light source. a camera lens forms an IMAGE, the raya coming out of a camera lens towards the film/sensor is diverging to form an image. If you had a camera lens in an enlarger lamp house your would get an IMAGE of a light bulb illuminating the negative which would of course be terrible. It's an analogy, JCO. The nodal point of a lens is that dimensionless point through which all the light paths intersect. It is, from the point of view of the focal plane, the same as a point light source. The fact that the light rays which intersect there are coming from spatially different places and are of different intensities is inconsequential to their trace path. Fagehddaboudit. yes but its WORSE because with 35mm FF or film cameras All normals and even slight wide angles can be done without the need for retrofocus. With APS sensor in camera with same 45.5 mm registration, even normal lenses (~30-35mm on APS ) have to be retrofocus as well as all wide angles its worse not better to have the flange so far away on such a small sensor. The closer the better on ALL cameras all else being equal because it give the optical designers more options- like this new non SLR 10MP camera we are talking about. Since most of the best short lenses now in existence are now inverted telephoto designs (even for rangefinder cameras with a 29mm register like the Leica M), return both resolution and contrast comparable to or surpassing the best non-inverted-telephoto, and better evenness of illumination, I would consider the distinction to be moot. The price for this is more complexity in lens formulae and more complexity in construction, but we seem to have overcome the technical challenges required. Godfrey
RE: PESO - Dimples X 2
Very natural and nice. I do miss the technical data though. Regards Jens Bladt Arkitekt MAA http://hjem.get2net.dk/bladt -Oprindelig meddelelse- Fra: Shel Belinkoff [mailto:[EMAIL PROTECTED] Sendt: 12. september 2005 00:32 Til: pentax-discuss@pdml.net Emne: RE: PESO - Dimples X 2 Hi Bruce ... Both are great, although I prefer the second one for the facial expression and what is arguably a more comfortable and relaxed pose and feel to it. Both are quite nice, however. Shel > [Original Message] > From: Bruce Dayton > These two shots were of her own posing, more or less. Although taken > very close together, they each have a very different feel to them. > http://www.daytonphoto.com/PAW/bkd_2229.htm > http://www.daytonphoto.com/PAW/bkd_2230.htm
Re: PESO - Deep Blue Something
Very nice shot, Boris! I like the composition, and the frame works well, too. I've seen quite a few shots in magazines by photographic artists that were similar in concept but not as good as yours. Pat White
Re: GESO: Southwestern Alberta
Hi! back from vacation and a random grab-bag of photos in chronological order. all taken within a couple of hours' drive of Calgary. http://users.bestweb.net/~hchong/Seasonal/ Herb, beside the weather (being +24 outside my window and it is 7am) you gave me rather complete sense of presence... Very fine work. Some shots are quite brilliant. Boris
Re: PESO - Dimples X 2
Hi! This morning my daughter was watching the muppets on TV. I was sitting there and looked over at her and noticed how nice the side light from the far window was on her. I told her not to move and went and got my camera. Of course, as I walked back into the room, she had jumped down and got the dog. So I had to put her back in position. These two shots were of her own posing, more or less. Although taken very close together, they each have a very different feel to them. Pentax *istD, FA 50/1.4, handheld ISO 800, 1/45 sec @ f/2.0 Converted from Raw using Capture One LE http://www.daytonphoto.com/PAW/bkd_2229.htm http://www.daytonphoto.com/PAW/bkd_2230.htm *Grin*. Both are good but the first one contains bright OOF object on the top right. (Deja-view check :-) ) I prefer the first one because I like to see the eyes. But the second one is also very good. Print them, hide them, show them to your daughter, in say 15 years ;-). Boris
Re: PESO: Insects
Hi! I have been busy as a bee trying to capture some pictures of insects. It's not so easy to photograph a motive flying away or move a lot. But it's good practice :-) http://www.photosig.com/go/photos/view?id=1604475 http://www.photosig.com/go/photos/view?id=1604525 http://www.photosig.com/go/photos/view?id=1604568 Any critique will be appreciated :-) 1: It is very good. It is somewhat static but technically superb. 2: As usual with the flowers it *seems* that the flower is lacking some fine detail which it probably is not. And the fly (it is bee-like fly, right?) facing away makes this photo less appealing. 3: Either more DOF or better focus are in order here. Also background is a bit too busy though it is sufficiently defocused. Please keep trying and please keep posting more PESOs... Boris
Re: PAW: G and A
Hi! Never posted a PAW before. This is actually two, but very similar pictures. I would normally dislike the first one, as I have chopped the son's head on the left: http://www.epcc.ed.ac.uk/%7ekavousan/GandA.jpg (<100KB) However this one I like less, but do you agree/understand why? http://www.epcc.ed.ac.uk/%7ekavousan/GandA2.jpg (<100KB) Both are with the MZ-50, one of my 50s, Tri-X [EMAIL PROTECTED], scanned from (traditional machine process, not digital scan, and B&W paper) print using a bottom-line Canon scanner. Kostas, I definitely like the first one better. It is much more "interactive" to me. Otherwise, both are excellent snaps for family album (<-- a compliment)... Thanks! Boris
Re: PESO - In The Tower
Hi! It's beautiful, Boris. Thanks. I opened it on the black background as you suggested and it looks very nice, I love the quality of the light. I then became curious and took a copy, removed all the bordering black, and put it on a white background. To make the relative contrasts and tonalities look the same to my eye with a white matte border, I had to add a Curves adjustment that expanded and raised the the grayscale values in the darker tonalities while compressing the brighter tonalities a little bit. A gentle curve in Photoshop's Curves tool accomplished this ... the histograms are different, but to the eye the result looks virtually identical in the image itself. This points out the importance of balancing photos for the environment they are to be displayed in very clearly, I think. I cobbled up this composite as an example to show the effect of matte color and the adjustment/histograms: http://homepage.mac.com/godders/BL-tower-backgrounds.jpg Great many thanks. In fact, it is customary on both PhotoForum and PhotoSight sites to click on the picture. On PhotoSight they even give you clickable scale of greys from white to black so that you can choose the best background for your pleasure. If you wish, I can easily provide you with original RAW file or converted color JPG. However, it was shot in the Tower of London which had me feeling rather gloomy. Hence I deliberately closed the shadows some and even made highlights slightly darker... I had enough slack with purely white windows and very dark, probably black, lectern. So I could play within those limits all I wanted... What's interesting though is your treatment that preserves the effect while keeping the background white... I shall take that as a lesson and think this through. This is very interesting. Thanks again! Boris
RE: First non DSLR digicam with 10MP APS sensor- contradiction
-Original Message- From: Godfrey DiGiorgi [mailto:[EMAIL PROTECTED] Sent: Sunday, September 11, 2005 7:39 PM To: pentax-discuss@pdml.net Subject: Re: First non DSLR digicam with 10MP APS sensor- contradiction On Sep 11, 2005, at 3:51 PM, J. C. O'Connell wrote: > My sketch was a simple sketch ( that obviously not > a real lens design with two convex lenses) and I > explaied I was showing the ACTIVE area of the rear > element so it does not matter where the nodal point > because if the entire active area gets closer to the > sensor then the angles to the corners of the sensors > get further away from perpendicular/ideal. This makes no sense. In a lens with a set of rear elements designed to correct light path to orthogonal, a large percentage of the rear element of the lens is *always* active. That is the point of the design: direct the light to be orthogonal to the sensor. If the rear elements are close to the imaging plane, and far from the nodal point, the correction is small and most of the rear element is being used. If the rear elements are far from the imaging plane and close to the nodal point, a smaller percentage of the rear elements are being used and the correction possible is reduced. == === REPLY REPLY REPLY If I am getting what you are saying, you are talking about a special optical device BETWEEN the image forming lens and the sensor. If that's what your talking about then yes that would always be "active" but we havent been discussing something like that, we have been discussing an image forming camera "lens" and they do NOT do that. What your talking about is more like a secondary otical system in addition to the "lens" Secondly in the case of a camera "lens" the size of the rear element has little to do with "active area" or percentage of its area in the optical path. some lenses have very oversized rear elements and the optical path even wide open is not using all the glass, and the matter I brought up before, when you stop down the lens the percentage of the rear element glass area in the optical path goes down even more. = >> ... a condenser enlarger head does: it >> positions a collimating lens group very close to the film plane in >> order to make the light pass evenly through all points of the >> negative, right to the corners, and oriented orthogonally through the >> film so that a flat field imaging objective (the enlarging lens) will >> exhibit very little light falloff at corners and edges. > > I totally disagree with the englarger light house > because the output of an enlarger condensor assembly > is PARALLEL light rays going to the film form a point > light source. A camera, digital or otherwise has a > POINT SOURCE image formed at the film/sensor from a point source REAL > OBJECT, in other words the output of a camera lens is an image of the > real object formed on the film/sensor while the output of an enlager > condensor lamphouse is completely different, its NOT forming an image > of the enlarger lamp, its forming a cylinder of parallel light rays > instead of an image at the film. The use of a condenser enlarger as example is illustrate simulating a point light source at infinity such that the ray trace over the area of the film would be parallel. This is indeed the way light coming from a point source at infinity would be oriented. In the camera lens/ sensor system, the point source can be seen as the lens' nodal point. == === REPLY REPLY REPLY well this makes no sense to me. enlarger lamp houses convert the bulb (point) source to a large parallel cylinder of light to illuminate the negative evenly. a camera lens forms an IMAGE, the raya coming out of a camera lens towards the film/sensor is diverging to form an image. If you had a camera lens in an enlarger lamp house your would get an IMAGE of a light bulb illuminating the negative which would of course be terrible. >> A large diameter element at the rear of a lens designed for the >> digital sensor helps in promoting this even illumination of the >> entire sensor area. Placing this rear lens group close to the sensor, >> relatively distant from the nodal point, allows the strength of the >> elements to be lower and thus promotes less distortion from the >> correction. > > You are overlooking that the "diameter" of the rear element is not > "fixed" and it gets smaller in its active area ( optical path), quite > small in fact at small fstops like f11/16 so that is changing with > lens settings and cannot be maintained constant...So if the advantage > of the large rear element i
RE: First non DSLR digicam with 10MP APS sensor- contradiction
-Original Message- From: Godfrey DiGiorgi [mailto:[EMAIL PROTECTED] Sent: Sunday, September 11, 2005 7:39 PM To: pentax-discuss@pdml.net Subject: Re: First non DSLR digicam with 10MP APS sensor- contradiction On Sep 11, 2005, at 3:51 PM, J. C. O'Connell wrote: > My sketch was a simple sketch ( that obviously not > a real lens design with two convex lenses) and I > explaied I was showing the ACTIVE area of the rear > element so it does not matter where the nodal point > because if the entire active area gets closer to the > sensor then the angles to the corners of the sensors > get further away from perpendicular/ideal. This makes no sense. In a lens with a set of rear elements designed to correct light path to orthogonal, a large percentage of the rear element of the lens is *always* active. That is the point of the design: direct the light to be orthogonal to the sensor. If the rear elements are close to the imaging plane, and far from the nodal point, the correction is small and most of the rear element is being used. If the rear elements are far from the imaging plane and close to the nodal point, a smaller percentage of the rear elements are being used and the correction possible is reduced. >> ... a condenser enlarger head does: it >> positions a collimating lens group very close to the film plane in >> order to make the light pass evenly through all points of the >> negative, right to the corners, and oriented orthogonally through the >> film so that a flat field imaging objective (the enlarging lens) will >> exhibit very little light falloff at corners and edges. > > I totally disagree with the englarger light house > because the output of an enlarger condensor assembly > is PARALLEL light rays going to the film form a point > light source. A camera, digital or otherwise has a > POINT SOURCE image formed at the film/sensor from a point source REAL > OBJECT, in other words the output of a camera lens is an image of the > real object formed on the film/sensor while the output of an enlager > condensor lamphouse is completely different, its NOT forming an image > of the enlarger lamp, its forming a cylinder of parallel light rays > instead of an image at the film. The use of a condenser enlarger as example is illustrate simulating a point light source at infinity such that the ray trace over the area of the film would be parallel. This is indeed the way light coming from a point source at infinity would be oriented. In the camera lens/ sensor system, the point source can be seen as the lens' nodal point. >> A large diameter element at the rear of a lens designed for the >> digital sensor helps in promoting this even illumination of the >> entire sensor area. Placing this rear lens group close to the sensor, >> relatively distant from the nodal point, allows the strength of the >> elements to be lower and thus promotes less distortion from the >> correction. > > You are overlooking that the "diameter" of the rear element is not > "fixed" and it gets smaller in its active area ( optical path), quite > small in fact at small fstops like f11/16 so that is changing with > lens settings and cannot be maintained constant...So if the advantage > of the large rear element is there its not constant and the angle at > which the light rays hit the sensor corners is worse when the lens is > stopped down. See above. Perhaps I'll draw a diagram or two for you. > Secondly, I totally agree that increasing > the nodal point away from the sensor while > maintaining the same focal length will help > the digital sensor / lens interface with respect > to keep the lens rays more parallel incidence > at sensor plane but there is a heavy price > for that , the retrofocus lenses that do that > are far larger, heaver, worse optically, and > more expensive than if you don't need to do that. > That's why the Pentax and other cameras that > use APS sensors in old FF 35mm body designed > lenses are at a disadvantage, the 45.5mm sensor > plane to lens flange distance is way too large > relative to the small format (APS), I'm not exactly sure what you're trying to say here. Yes, inverted telephoto designs are typically more complex, heavier and more expensive than non-inverted-telephoto designs. They are a result of the need for more clearance with SLR bodies as focal length is reduced. On the other hand, evenness of illumination is typically better with inverse telephoto designs. As far as I'm aware, nearly all modern 35mm and shorter focal length lenses designed for 35mm and digital SLRs are inverse telephoto designs. Most of the better, modern wide angles used for rangefinder cameras are as well, because the even illumination is useful. Only a few are not, and those generally demonstrate corner/edge falloff to a greater degree. The register distance could be shorter in dedicated lenses for a DSLR due to the shorter mirror required, but the whole
Re: MZ-5
Frankie Lee wrote: Are their viewfinder is bright enough in focusing manual lens? I thought so, but I did have some problems in low light with manual focusing. Are they durable in heavy usage? Mine wasn't. Had it repaired twice under extended warranty, once since (at my own expense) and just sold it for parts rather than shell out big bucks to fix yet another failure.
PAW: People & Portraits 2005 #36 - GDG
Now available for viewing and commentary: http://homepage.mac.com/ramarren/photo/PAW5/36.htm Many thanks in advance! enjoy Godfrey
RE: Being There
The disappearance of Tri-X would certainly be a major disappointment. Let's not even think about it. Of course, Kodak long ago quit producing a number of other films they shouldn't have stopped making. Shel > [Original Message] > From: Evan Hanson > And Kodak if you should ever happen to read this please be aware that there > are two films you should never ever stop making, Kodachrome 64 & Tri-X.
Re: Final SMP
It's obvious dpreview is "supported" by Canon - they're one of the biggest advertisers, IIRC (and they always make sure that Phil gets the latest Canon models to test, as soon as possible). But apart from good marketing by Canon, I think most of the complaints are just sour grapes. Sure, Phil gives good reviews of Canon cameras, and they're almost always on his site ahead of reviews of other cameras released at about the same time. What else would you expect? The cameras get good reviews because they are good cameras - hard as some folks seem to find that to comprehend. And the timing of the reviews is partly because of the good marketing by Canon, but also because that's what most of Phil's readers are interested in. Again, not too surprising. On Sun, Sep 11, 2005 at 07:11:36PM -0700, Shel Belinkoff wrote: > Which might lend some credence to recent reports that Dpreview is somehow > supported by Canon? > > Shel > "Am I paranoid or perceptive?" > > > > [Original Message] > > From: John Francis > > > >>Looks like Mikey's calling it quits on the SMP articles.. > > > > > > > >You won't be seeing anything from him on the dpreview site, either .. > > > > No - he's banned. > > > > I didn't see the posts in question, but reportedly he was warned > > by Phil about some negative comments he made about the Canon 5D, > > and responded with some gratuitous flameage. >
Re: Final SMP
Which might lend some credence to recent reports that Dpreview is somehow supported by Canon? Shel "Am I paranoid or perceptive?" > [Original Message] > From: John Francis > > >>Looks like Mikey's calling it quits on the SMP articles.. > > > > > >You won't be seeing anything from him on the dpreview site, either .. > > No - he's banned. > > I didn't see the posts in question, but reportedly he was warned > by Phil about some negative comments he made about the Canon 5D, > and responded with some gratuitous flameage.
RE: GESO: instant cure for depression
That would either cure my depression , or, reminding me that I'm getting older, throw me into a deeper funk. It did look like a couple of those outfits could not be worn in public without getting the wearer arrested. :) Butch
Re: Film leader retrieval--help! Never mind--Got it!
--- Rick Womer <[EMAIL PROTECTED]> wrote: > I need to retrieve the leader of a roll of 35 mm > film > with one of those spring metal thingies. > > Once upon a time, I was pretty good at this, but > haven't had to use it in years, and my skills have > decayed. > > Would someone kindly remind me how to do it? > > Rick > > __ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam > protection around > http://mail.yahoo.com > > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Film leader retrieval--help!
I need to retrieve the leader of a roll of 35 mm film with one of those spring metal thingies. Once upon a time, I was pretty good at this, but haven't had to use it in years, and my skills have decayed. Would someone kindly remind me how to do it? Rick __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: Norcal PDML Meet
In a message dated 9/11/2005 6:41:02 PM Pacific Standard Time, [EMAIL PROTECTED] writes: >John, you are always signed up . If I remember correctly, you >have been to every one of them. >-- >Bruce JF> On Wed, Aug 31, 2005 at 08:39:22AM -0700, Bruce Dayton wrote: >> >> Current possible attendees: >> . . . >> John Francis JF> Funny - I don't remember signing up :-) JF> As it turns out, the chances of my showing up just increased JF> significantly (especially since somebody mentioned there may JF> be fast-moving objects to phoograph as well as people). JF> A friend from the UK will be visiting us at that time. She's JF> a fellow photographer - in fact I think she's still a fellow JF> Pentax photographer. Not only that - her Pentax camera (if JF> she still has it) is the Spotmatic II that was my first Pentax. Fast moving objects? You mean the Blue Angels? Yes, I need more than people to shoot too. Marnie aka Doe
Re: I'm back, did I miss anything?
In a message dated 9/11/2005 4:30:43 PM Pacific Standard Time, [EMAIL PROTECTED] writes: Define "miss", define "important"... ;-). It is all in the archives... But yes, Shel, bought an *istDS which had some problems I believe... Boris = And Marnie aka Doe bought a used Optio s4i that has no problems. I think I am in love. Marnie aka Doe
Re: Norcal PDML Meet
John, you are always signed up . If I remember correctly, you have been to every one of them. -- Bruce Sunday, September 11, 2005, 6:27:08 PM, you wrote: JF> On Wed, Aug 31, 2005 at 08:39:22AM -0700, Bruce Dayton wrote: >> >> Current possible attendees: >> . . . >> John Francis JF> Funny - I don't remember signing up :-) JF> As it turns out, the chances of my showing up just increased JF> significantly (especially since somebody mentioned there may JF> be fast-moving objects to phoograph as well as people). JF> A friend from the UK will be visiting us at that time. She's JF> a fellow photographer - in fact I think she's still a fellow JF> Pentax photographer. Not only that - her Pentax camera (if JF> she still has it) is the Spotmatic II that was my first Pentax.
Re: Final SMP
In a message dated 9/11/2005 5:44:46 PM Pacific Standard Time, [EMAIL PROTECTED] writes: No - he's banned. I didn't see the posts in question, but reportedly he was warned by Phil about some negative comments he made about the Canon 5D, and responded with some gratuitous flameage. == Hehehehe. I wonder what he had to say about kitty or flower pictures taken with the 5D? Marnie aka Doe :-)
Re: Norcal PDML Meet
On Wed, Aug 31, 2005 at 08:39:22AM -0700, Bruce Dayton wrote: > > Current possible attendees: > . . . > John Francis Funny - I don't remember signing up :-) As it turns out, the chances of my showing up just increased significantly (especially since somebody mentioned there may be fast-moving objects to phoograph as well as people). A friend from the UK will be visiting us at that time. She's a fellow photographer - in fact I think she's still a fellow Pentax photographer. Not only that - her Pentax camera (if she still has it) is the Spotmatic II that was my first Pentax.
Re: GESO: Southwestern Alberta
Nice work. Love the canyon shots. Beautiful. Paul On Sep 11, 2005, at 9:16 PM, Godfrey DiGiorgi wrote: On Sep 11, 2005, at 5:37 PM, Herb Chong wrote: back from vacation and a random grab-bag of photos in chronological order. all taken within a couple of hours' drive of Calgary. http://users.bestweb.net/~hchong/Seasonal/ Nice set of photos. IMGP8657.jpg is brilliant, my favorite from the group. Godfrey
Re: GESO: Southwestern Alberta
i held the camera out the window and snapped for that one. all the rest from the sequence of 5 shots were motion blurred. Herb - Original Message - From: "Godfrey DiGiorgi" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 9:16 PM Subject: Re: GESO: Southwestern Alberta Nice set of photos. IMGP8657.jpg is brilliant, my favorite from the group.
Re: CR-2016 Lithium Batteries for istDS
Shel Belinkoff wrote: I noticed a couple of web sites mention that the istDS is supposed to come with CR-2016 Lithium Batteries for the date function. I didn't see such a battery in the package I received, nor can I find any mention of it in the copy of the manual that I have. This is one of those little button batteries. So, what's the deal? If you've a DS, did you get such a battery? Was it inside the camera? Where in the camera is it and how can it be changed or replaced? In the case of the *istD, it came already installed in the camera and died a few weeks later (so I then had to find the information in the owner's manual as to how to replace it, which was quite easy.)
Re: Colour profiles-PS-and home prining
I'm sure that's true. But I wouldn't want to change my monitor even if it wasn't perfectly accurate since it matches my printer's output. But I doubt that it's off by a visibly detectable amount. I can look at the skin tones of other images that are accurate and see that they match my skin tones. I've also examined car photos that were matched to color chips by retouchers working on calibrated monitors. The pics match the chips on my monitor as well. As I said, if there's any error it's undetectable to the eye. Paul On Sep 11, 2005, at 8:14 PM, Godfrey DiGiorgi wrote: On Sep 11, 2005, at 4:32 PM, Paul Stenquist wrote: The only thing resembling calibration that i've performed with my monitor is to run the Apple System Preferences display calibration. I convert all my digital images to Generic RGB and print on an Epson 2200 using Epson paper profiles and Apple Colorsynch. My prints are an exact match of my monitor display, aside from the inherent difference of backlit and reflected light viewing. I worked for a while with the team that designed the System Preferences software calibration utility. They spent quite a bit of time with that, using hardware colorimeters as reference check, to make it possible to get very good calibration by eye. It's not surprising that you're getting good results with it. (And my understanding is that ex-Apple Bill Atchinson But I'll warrant that not a one of the engineers that designed and implemented the software calibration utility would ever suggest that it is a replacement for a quality hardware colorimeter. The latter is always going to be more accurate and consistent (at least to those of us born without Bill Robb's color sense :-). Godfrey
Re: GESO: Southwestern Alberta
On Sep 11, 2005, at 5:37 PM, Herb Chong wrote: back from vacation and a random grab-bag of photos in chronological order. all taken within a couple of hours' drive of Calgary. http://users.bestweb.net/~hchong/Seasonal/ Nice set of photos. IMGP8657.jpg is brilliant, my favorite from the group. Godfrey
Re: Lots of good photography here
Thanks Lasse. Great find. Paul On Sep 11, 2005, at 7:26 PM, Lasse Karlsson wrote: Hi all, I've been spending a couple of hours browsing and watching some very good photography at the site below. I thought someone else might enjoy it too, in case you don't already know about it. Nice layout too. This is what they say at their index page: "19th and 20th Century Photography Masterworks Adams, Atget, Baldus, Bertsch, Brassai, Brady, Cameron, Charnay, Clifford, Demachy, Disderi, Eakins, Famin, Fenton, Gardner, Hill & Adamson, Hugo/Vacquerie, Humbert de Mollard, Rev. Jones, Le Gray, Le Secq, Man Ray, Marey, Marville, Moholy-Nagy, Dr. Murray, Salzmann, Southworth & Hawes, Talbot, Tripe, Villeneuve, Watkins, and Weston. And many other 19th and 20th Century Photography Masters" http://www.vintageworks.net/index.php Lasse
Re: PESO - Dimples X 2
Let me speak up for number 2. I much prefer the facial expression. On Sun, Sep 11, 2005 at 04:23:10PM -0400, Paul Stenquist wrote: > I agree. The first one is the best, but both are keepers. You have a > beautiful daughter. > Paul > On Sep 11, 2005, at 3:19 PM, [EMAIL PROTECTED] wrote: > > >In a message dated 9/11/2005 12:16:59 PM Pacific Standard Time, > >[EMAIL PROTECTED] writes: > >These two shots were of her own posing, more or less. Although taken > >very close together, they each have a very different feel to them. > > > >Pentax *istD, FA 50/1.4, handheld > >ISO 800, 1/45 sec @ f/2.0 > >Converted from Raw using Capture One LE > > > >http://www.daytonphoto.com/PAW/bkd_2229.htm > >http://www.daytonphoto.com/PAW/bkd_2230.htm > > > >Comments welcome > > > >-- > >Bruce > >== > >Both are nice, but I like #1 best. And it's probably "better" too. > > > >With a cutie like that it must be hard to resist shooting her all the > >time. > >:-) > > > >Marnie aka Doe > >
Re: Final SMP
On Sun, Sep 11, 2005 at 04:25:14PM -0400, Paul Stenquist wrote: > No reason given? Perhaps just too much work? > On Sep 11, 2005, at 3:47 PM, John Francis wrote: > > >On Sun, Sep 11, 2005 at 11:30:25AM -0400, Scott Loveless wrote: > >>Looks like Mikey's calling it quits on the SMP articles.. > > > >You won't be seeing anything from him on the dpreview site, either .. No - he's banned. I didn't see the posts in question, but reportedly he was warned by Phil about some negative comments he made about the Canon 5D, and responded with some gratuitous flameage.
GESO: Southwestern Alberta
back from vacation and a random grab-bag of photos in chronological order. all taken within a couple of hours' drive of Calgary. http://users.bestweb.net/~hchong/Seasonal/ Herb
Re: Colour profiles-PS-and home prining
On Sep 11, 2005, at 4:32 PM, Paul Stenquist wrote: The only thing resembling calibration that i've performed with my monitor is to run the Apple System Preferences display calibration. I convert all my digital images to Generic RGB and print on an Epson 2200 using Epson paper profiles and Apple Colorsynch. My prints are an exact match of my monitor display, aside from the inherent difference of backlit and reflected light viewing. I worked for a while with the team that designed the System Preferences software calibration utility. They spent quite a bit of time with that, using hardware colorimeters as reference check, to make it possible to get very good calibration by eye. It's not surprising that you're getting good results with it. (And my understanding is that ex-Apple Bill Atchinson But I'll warrant that not a one of the engineers that designed and implemented the software calibration utility would ever suggest that it is a replacement for a quality hardware colorimeter. The latter is always going to be more accurate and consistent (at least to those of us born without Bill Robb's color sense :-). Godfrey
RE: Being There
I forgot to add the picture in question was taken with the K1000 & the M50 f2.
Re: First non DSLR digicam with 10MP APS sensor- contradiction
On Sep 11, 2005, at 3:51 PM, J. C. O'Connell wrote: My sketch was a simple sketch ( that obviously not a real lens design with two convex lenses) and I explaied I was showing the ACTIVE area of the rear element so it does not matter where the nodal point because if the entire active area gets closer to the sensor then the angles to the corners of the sensors get further away from perpendicular/ideal. This makes no sense. In a lens with a set of rear elements designed to correct light path to orthogonal, a large percentage of the rear element of the lens is *always* active. That is the point of the design: direct the light to be orthogonal to the sensor. If the rear elements are close to the imaging plane, and far from the nodal point, the correction is small and most of the rear element is being used. If the rear elements are far from the imaging plane and close to the nodal point, a smaller percentage of the rear elements are being used and the correction possible is reduced. ... a condenser enlarger head does: it positions a collimating lens group very close to the film plane in order to make the light pass evenly through all points of the negative, right to the corners, and oriented orthogonally through the film so that a flat field imaging objective (the enlarging lens) will exhibit very little light falloff at corners and edges. I totally disagree with the englarger light house because the output of an enlarger condensor assembly is PARALLEL light rays going to the film form a point light source. A camera, digital or otherwise has a POINT SOURCE image formed at the film/sensor from a point source REAL OBJECT, in other words the output of a camera lens is an image of the real object formed on the film/sensor while the output of an enlager condensor lamphouse is completely different, its NOT forming an image of the enlarger lamp, its forming a cylinder of parallel light rays instead of an image at the film. The use of a condenser enlarger as example is illustrate simulating a point light source at infinity such that the ray trace over the area of the film would be parallel. This is indeed the way light coming from a point source at infinity would be oriented. In the camera lens/ sensor system, the point source can be seen as the lens' nodal point. A large diameter element at the rear of a lens designed for the digital sensor helps in promoting this even illumination of the entire sensor area. Placing this rear lens group close to the sensor, relatively distant from the nodal point, allows the strength of the elements to be lower and thus promotes less distortion from the correction. You are overlooking that the "diameter" of the rear element is not "fixed" and it gets smaller in its active area ( optical path), quite small in fact at small fstops like f11/16 so that is changing with lens settings and cannot be maintained constant...So if the advantage of the large rear element is there its not constant and the angle at which the light rays hit the sensor corners is worse when the lens is stopped down. See above. Perhaps I'll draw a diagram or two for you. Secondly, I totally agree that increasing the nodal point away from the sensor while maintaining the same focal length will help the digital sensor / lens interface with respect to keep the lens rays more parallel incidence at sensor plane but there is a heavy price for that , the retrofocus lenses that do that are far larger, heaver, worse optically, and more expensive than if you don't need to do that. That's why the Pentax and other cameras that use APS sensors in old FF 35mm body designed lenses are at a disadvantage, the 45.5mm sensor plane to lens flange distance is way too large relative to the small format (APS), I'm not exactly sure what you're trying to say here. Yes, inverted telephoto designs are typically more complex, heavier and more expensive than non-inverted-telephoto designs. They are a result of the need for more clearance with SLR bodies as focal length is reduced. On the other hand, evenness of illumination is typically better with inverse telephoto designs. As far as I'm aware, nearly all modern 35mm and shorter focal length lenses designed for 35mm and digital SLRs are inverse telephoto designs. Most of the better, modern wide angles used for rangefinder cameras are as well, because the even illumination is useful. Only a few are not, and those generally demonstrate corner/edge falloff to a greater degree. The register distance could be shorter in dedicated lenses for a DSLR due to the shorter mirror required, but the whole point of using the current register distance is to enable use of existing lens and mount designs. IF, however, you're designing a mount and lens from scratch for a digital sensor, you'd use a wider diameter mount with a shorter register. This lets you place large diameter, corrective rear elements closer to the sensor without ha
Being There
Ok, as I type this I'm looking at a projection of a Kodachrome I made way back in 1984 of Yosemite Valley, I have to say it's absolutely stunning. It's like being there and it reminds me why I'm not ready to give up film yet. I think I may break out the box of European slides and annoy the kids with a show. Evan And Kodak if you should ever happen to read this please be aware that there are two films you should never ever stop making, Kodachrome 64 & Tri-X.
Re: PESO: Insects
Jorn, #1, the blue flower is fantastic! ...wonderful framing of the subject and color. #2, the Bee on the pink flower is OK. #3, the butterfly is a little unsharp thru the body and antenna. If this is your first try, you are doing great! Bob On 9/11/05, Jorn Ostergaard <[EMAIL PROTECTED]> wrote: > > Hello all, > > I have been busy as a bee trying to capture some pictures of insects. It's > not so easy to photograph a motive flying away or move a lot. But it's good > practice :-) > > http://www.photosig.com/go/photos/view?id=1604475 > http://www.photosig.com/go/photos/view?id=1604525 > http://www.photosig.com/go/photos/view?id=1604568 > > Any critique will be appreciated :-) > > Best regards, Jorn > -- > Jeg beskyttes af den gratis SPAMfighter til privatbrugere. > Den har indtil videre sparet mig for at få 3626 spam-mails. > Betalende brugere får ikke denne besked i deres e-mails. > Hent gratis SPAMfighter her: www.spamfighter.dk > > >
Re: Colour profiles-PS-and home prining
The only thing resembling calibration that i've performed with my monitor is to run the Apple System Preferences display calibration. I convert all my digital images to Generic RGB and print on an Epson 2200 using Epson paper profiles and Apple Colorsynch. My prints are an exact match of my monitor display, aside from the inherent difference of backlit and reflected light viewing. Paul On Sep 11, 2005, at 6:55 PM, Godfrey DiGiorgi wrote: I have my monitor calibrated with a Gretag-Macbeth Eye One Display and use the paper profiles provided HP and QuadToneRIP for color and B&W printing, respectively. The result, when using a fully color-managed workflow in Photoshop, is extremely consistent color/grayscale rendering from screen to print. I used Adobe Gamma for years and wasted a lot of paper. Now I waste virtually none, although if I were truly picky about it, I'd buy the add-ons for doing custom paper profiling as well. There is no comparison to the consistency achievable this way vs doing calibration by eye without a hardware colorimeter. BTW: The 's' in sRGB stands for 'small' not 'standard'. It's a small RGB gamut designed to minimize clipping in the relationship between monitor and printer output gamuts. Godfrey On Sep 11, 2005, at 12:37 AM, [EMAIL PROTECTED] wrote: Hi gang. I know quite a few are up on colour profiles on this list so i thought i would ask here first. I'm still haveing problems getting my print to look like the monitor. I have only used Adobe Gamma to adjust my monitor and have not used the Spyder type of devices. First off, should i be using that type of device if i'm going to do this at least semi seriously. Second, when i shoot my D1 it does not have a real rgb or srgb colour space persay. I forget what it is but PS seems to call it srgb. My D2H is usually shot in Nikon RGB. When i print with my Canons(S800 or BJC8200) i have many options for colour space. I usually choose working space,but sometimes try the working srgb etc. Do i need to convert the file from say the Nikon RGB to srgb in PS, then select that otiopn in the drop down menu,or am i wasting my time until i trruly profile my monitor. In PS 6 if i load up a D2H file it asks what colour space to use. In PSEL3 it does not. Or are there profiles for these Canons out there that should be loaded and used. Any help is appreciated. Right now i need to up the curves past what looks good on my monitor then it prints out the way it should look in real life. Dave(getting back to home printing more)Brooks
Lots of good photography here
Hi all, I've been spending a couple of hours browsing and watching some very good photography at the site below. I thought someone else might enjoy it too, in case you don't already know about it. Nice layout too. This is what they say at their index page: "19th and 20th Century Photography Masterworks Adams, Atget, Baldus, Bertsch, Brassai, Brady, Cameron, Charnay, Clifford, Demachy, Disderi, Eakins, Famin, Fenton, Gardner, Hill & Adamson, Hugo/Vacquerie, Humbert de Mollard, Rev. Jones, Le Gray, Le Secq, Man Ray, Marey, Marville, Moholy-Nagy, Dr. Murray, Salzmann, Southworth & Hawes, Talbot, Tripe, Villeneuve, Watkins, and Weston. And many other 19th and 20th Century Photography Masters" http://www.vintageworks.net/index.php Lasse
Re: [Fwd:]
I did. Very much so. Thanks. Lasse - Original Message - From: "John Graves" <[EMAIL PROTECTED]> To: Sent: Monday, September 05, 2005 4:31 PM Subject: [Fwd:] I don't usually do this but I thought some on the list might find this sight interesting. John Graves Interesting article in the NYTimes today about an exhibition at the Library of Congress. The exhibit involves color images from the late 1930s forward. A link to some of these images-as well as others- is below. http://memory.loc.gov/ammem/fsowhome.html Elliot [Non-text portions of this message have been removed] Yahoo! Groups Sponsor ~--> Life without art & music? Keep the arts alive today at Network for Good! http://us.click.yahoo.com/FXrMlA/dnQLAA/Zx0JAA/HdIolB/TM ~-> Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/MUGers/ <*> To unsubscribe from this group, send an email to: [EMAIL PROTECTED] <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.18/89 - Release Date: 9/2/2005
RE: GESO - My First
Thanks, Marnie. I actually put it together for another venue, then thought I'd post it to the list. I was quite serious in wanting to get Paul to put up a PESO - Paul with a car and a camera are always entertaining, and this time was no different. The "Rookery" photo has been up here before, and is the only digital (new ist D) shot in the group. The others are scans (Minolta Scan Dual III) from slides, which have not always shown the quality I would like. My hopes for what I can do with digital went WAY up with that photo. And it was done with about 840mm of telephoto lens, plus the digital magnification factor! Again, thank you for taking the time to review and comment on my photos Bill Sawyer Livonia, MI -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Saturday, September 10, 2005 4:19 AM == Some very nice stuff here. Good lens (or lenses) too -- photos are nice and crisp. All are good, but I especially like Blue Heron Rookery. Great timing on the action with good composition. Marnie aka Doe :-)
RE: First non DSLR digicam with 10MP APS sensor- contradiction
Secondly, I totally agree that increasing the nodal point away from the sensor while maintaining the same focal length will help the digital sensor / lens interface with respect to keep the lens rays more parallel incidence at sensor plane but there is a heavy price for that , the retrofocus lenses that do that are far larger, heaver, worse optically, and more expensive than if you don't need to do that. That's why the Pentax and other cameras that use APS sensors in old FF 35mm body designed lenses are at a disadvantage, the 45.5mm sensor plane to lens flange distance is way too large relative to the small format (APS), jco -Original Message- From: Godfrey DiGiorgi [mailto:[EMAIL PROTECTED] Sent: Sunday, September 11, 2005 6:05 PM To: pentax-discuss@pdml.net Subject: Re: First non DSLR digicam with 10MP APS sensor- contradiction On Sep 9, 2005, at 2:27 PM, J. C. O'Connell wrote: > I did a quick sketch to clarify what I said: > http://www.jcoconnell.com/temp/rearanglediagram.jpg Your sketch is misleading: it exaggerates the relative sizing of the sensor target compared to the lens and also does not indicate where the nodal point is. In a typical Cooke triplet, it's the distance from the nodal point to the imaging plane that determines the deviation from the orthogonal as you approach the edge of the film/ sensor format, not the distance between the rear element and the film/ sensor. The point of having a lens designed for a digital sensor that has its rearmost element very close to the sensor plane is that the rearmost elements of the lens performs correction designed to orient the light path from the nodal point (placed sufficiently far forward in the lens) such that the ray trace to the photosite plane is orthogonal, not that you'd place the nodal point further rearwards in the lens. This is quite similar to what a condenser enlarger head does: it positions a collimating lens group very close to the film plane in order to make the light pass evenly through all points of the negative, right to the corners, and oriented orthogonally through the film so that a flat field imaging objective (the enlarging lens) will exhibit very little light falloff at corners and edges. A large diameter element at the rear of a lens designed for the digital sensor helps in promoting this even illumination of the entire sensor area. Placing this rear lens group close to the sensor, relatively distant from the nodal point, allows the strength of the elements to be lower and thus promotes less distortion from the correction. Godfrey
Re: Colour profiles-PS-and home prining
I have my monitor calibrated with a Gretag-Macbeth Eye One Display and use the paper profiles provided HP and QuadToneRIP for color and B&W printing, respectively. The result, when using a fully color- managed workflow in Photoshop, is extremely consistent color/ grayscale rendering from screen to print. I used Adobe Gamma for years and wasted a lot of paper. Now I waste virtually none, although if I were truly picky about it, I'd buy the add-ons for doing custom paper profiling as well. There is no comparison to the consistency achievable this way vs doing calibration by eye without a hardware colorimeter. BTW: The 's' in sRGB stands for 'small' not 'standard'. It's a small RGB gamut designed to minimize clipping in the relationship between monitor and printer output gamuts. Godfrey On Sep 11, 2005, at 12:37 AM, [EMAIL PROTECTED] wrote: Hi gang. I know quite a few are up on colour profiles on this list so i thought i would ask here first. I'm still haveing problems getting my print to look like the monitor. I have only used Adobe Gamma to adjust my monitor and have not used the Spyder type of devices. First off, should i be using that type of device if i'm going to do this at least semi seriously. Second, when i shoot my D1 it does not have a real rgb or srgb colour space persay. I forget what it is but PS seems to call it srgb. My D2H is usually shot in Nikon RGB. When i print with my Canons (S800 or BJC8200) i have many options for colour space. I usually choose working space,but sometimes try the working srgb etc. Do i need to convert the file from say the Nikon RGB to srgb in PS, then select that otiopn in the drop down menu,or am i wasting my time until i trruly profile my monitor. In PS 6 if i load up a D2H file it asks what colour space to use. In PSEL3 it does not. Or are there profiles for these Canons out there that should be loaded and used. Any help is appreciated. Right now i need to up the curves past what looks good on my monitor then it prints out the way it should look in real life. Dave(getting back to home printing more)Brooks
RE: First non DSLR digicam with 10MP APS sensor- contradiction
-Original Message- From: Godfrey DiGiorgi [mailto:[EMAIL PROTECTED] Sent: Sunday, September 11, 2005 6:05 PM To: pentax-discuss@pdml.net Subject: Re: First non DSLR digicam with 10MP APS sensor- contradiction On Sep 9, 2005, at 2:27 PM, J. C. O'Connell wrote: > I did a quick sketch to clarify what I said: > http://www.jcoconnell.com/temp/rearanglediagram.jpg Your sketch is misleading: it exaggerates the relative sizing of the sensor target compared to the lens and also does not indicate where the nodal point is. In a typical Cooke triplet, it's the distance from the nodal point to the imaging plane that determines the deviation from the orthogonal as you approach the edge of the film/ sensor format, not the distance between the rear element and the film/ sensor. ===== My sketch was a simple sketch ( that obviously not a real lens design with two convex lenses) and I explaied I was showing the ACTIVE area of the rear element so it does not matter where the nodal point because if the entire active area gets closer to the sensor then the angles to the corners of the sensors get further away from perpendicular/ideal. = The point of having a lens designed for a digital sensor that has its rearmost element very close to the sensor plane is that the rearmost elements of the lens performs correction designed to orient the light path from the nodal point (placed sufficiently far forward in the lens) such that the ray trace to the photosite plane is orthogonal, not that you'd place the nodal point further rearwards in the lens. This is quite similar to what a condenser enlarger head does: it positions a collimating lens group very close to the film plane in order to make the light pass evenly through all points of the negative, right to the corners, and oriented orthogonally through the film so that a flat field imaging objective (the enlarging lens) will exhibit very little light falloff at corners and edges. === I totally disagree with the englarger light house because the output of an enlarger condensor assembly is PARALLEL light rays going to the film form a point light source. A camera, digital or otherwise has a POINT SOURCE image formed at the film/sensor from a point source REAL OBJECT, in other words the output of a camera lens is an image of the real object formed on the film/sensor while the output of an enlager condensor lamphouse is completely different, its NOT forming an image of the enlarger lamp, its forming a cylinder of parallel light rays instead of an image at the film. == A large diameter element at the rear of a lens designed for the digital sensor helps in promoting this even illumination of the entire sensor area. Placing this rear lens group close to the sensor, relatively distant from the nodal point, allows the strength of the elements to be lower and thus promotes less distortion from the correction. == You are overlooking that the "diameter" of the rear element is not "fixed" and it gets smaller in its active area ( optical path), quite small in fact at small fstops like f11/16 so that is changing with lens settings and cannot be maintained constant...So if the advantage of the large rear element is there its not constant and the angle at which the light rays hit the sensor corners is worse when the lens is stopped down. JCO ==
Re: Tokina 20~35 2.8 AF Pro
Actually, depending on what gear I bring, I'd be able to carry it around for you. Shel > [Original Message] > From: Shel Belinkoff > Hi Patsy ... > > Sure, if it's no trouble for you to bring it and carry it around. > > In addition to seeing Godfrey's 20-35, would you be interested in seeing a > > Tokina 20-35/3.5-4.5 autofocus lens at the Pixel Party? > >
PESO: Insects
Hello all, I have been busy as a bee trying to capture some pictures of insects. It's not so easy to photograph a motive flying away or move a lot. But it's good practice :-) http://www.photosig.com/go/photos/view?id=1604475 http://www.photosig.com/go/photos/view?id=1604525 http://www.photosig.com/go/photos/view?id=1604568 Any critique will be appreciated :-) Best regards, Jorn -- Jeg beskyttes af den gratis SPAMfighter til privatbrugere. Den har indtil videre sparet mig for at få 3626 spam-mails. Betalende brugere får ikke denne besked i deres e-mails. Hent gratis SPAMfighter her: www.spamfighter.dk
Re: Tokina 20~35 2.8 AF Pro
Hi Patsy ... Sure, if it's no trouble for you to bring it and carry it around. In all honesty, constant aperture lenses are of greater interest to me, but then again, I don't think I've ever seen, and certainly not used, a variable aperture lens. Oh, wait, I think John Celio's 18~35 is a variable aperture, and I made about five or seven shots with it. Shel > [Original Message] > From: Pat Kong > Shel, > > In addition to seeing Godfrey's 20-35, would you be interested in seeing a > Tokina 20-35/3.5-4.5 autofocus lens at the Pixel Party?
Re: PESO - In The Tower
On Sep 9, 2005, at 12:24 PM, Boris Liberman wrote: http://www.photoforum.ru/rate/photo.php?photo_id=215716 Please try to click on the image so that it will open on total black background - the way I intended it to be watched. It's beautiful, Boris. I opened it on the black background as you suggested and it looks very nice, I love the quality of the light. I then became curious and took a copy, removed all the bordering black, and put it on a white background. To make the relative contrasts and tonalities look the same to my eye with a white matte border, I had to add a Curves adjustment that expanded and raised the the grayscale values in the darker tonalities while compressing the brighter tonalities a little bit. A gentle curve in Photoshop's Curves tool accomplished this ... the histograms are different, but to the eye the result looks virtually identical in the image itself. This points out the importance of balancing photos for the environment they are to be displayed in very clearly, I think. I cobbled up this composite as an example to show the effect of matte color and the adjustment/histograms: http://homepage.mac.com/godders/BL-tower-backgrounds.jpg Godfrey
RE: PESO - Dimples X 2
Hi Bruce ... Both are great, although I prefer the second one for the facial expression and what is arguably a more comfortable and relaxed pose and feel to it. Both are quite nice, however. Shel > [Original Message] > From: Bruce Dayton > These two shots were of her own posing, more or less. Although taken > very close together, they each have a very different feel to them. > http://www.daytonphoto.com/PAW/bkd_2229.htm > http://www.daytonphoto.com/PAW/bkd_2230.htm
Re: PESO - Dimples X 2
Definitely number 2. The gravitas of the very young is quite appealing. The out of focus forground works in this case, althought traditionally it isn't supposed to. Nice job. J. --- Original Message - From: "Jack Davis" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 1:35 PM Subject: Re: PESO - Dimples X 2 Bruce, She's a beautiful dimple hostess. Extremely nice lighting. Delicate and appealing. Jack --- Bruce Dayton <[EMAIL PROTECTED]> wrote: This morning my daughter was watching the muppets on TV. I was sitting there and looked over at her and noticed how nice the side light from the far window was on her. I told her not to move and went and got my camera. Of course, as I walked back into the room, she had jumped down and got the dog. So I had to put her back in position. These two shots were of her own posing, more or less. Although taken very close together, they each have a very different feel to them. Pentax *istD, FA 50/1.4, handheld ISO 800, 1/45 sec @ f/2.0 Converted from Raw using Capture One LE http://www.daytonphoto.com/PAW/bkd_2229.htm http://www.daytonphoto.com/PAW/bkd_2230.htm Comments welcome -- Bruce __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
WTB: Pentax original older lens caps
i'm looking for two Asahi Pentax spring loaded lens caps for 49mm thread lenses. these caps will go onto an M50/2 and a M50/1.7. the silver paint must be in good condition and the caps must be reasonably clean and scratch free. i have a pair of slip-on 51mm ones that keep falling off. Herb
Re: First non DSLR digicam with 10MP APS sensor- contradiction
On Sep 9, 2005, at 2:27 PM, J. C. O'Connell wrote: I did a quick sketch to clarify what I said: http://www.jcoconnell.com/temp/rearanglediagram.jpg Your sketch is misleading: it exaggerates the relative sizing of the sensor target compared to the lens and also does not indicate where the nodal point is. In a typical Cooke triplet, it's the distance from the nodal point to the imaging plane that determines the deviation from the orthogonal as you approach the edge of the film/ sensor format, not the distance between the rear element and the film/ sensor. The point of having a lens designed for a digital sensor that has its rearmost element very close to the sensor plane is that the rearmost elements of the lens performs correction designed to orient the light path from the nodal point (placed sufficiently far forward in the lens) such that the ray trace to the photosite plane is orthogonal, not that you'd place the nodal point further rearwards in the lens. This is quite similar to what a condenser enlarger head does: it positions a collimating lens group very close to the film plane in order to make the light pass evenly through all points of the negative, right to the corners, and oriented orthogonally through the film so that a flat field imaging objective (the enlarging lens) will exhibit very little light falloff at corners and edges. A large diameter element at the rear of a lens designed for the digital sensor helps in promoting this even illumination of the entire sensor area. Placing this rear lens group close to the sensor, relatively distant from the nodal point, allows the strength of the elements to be lower and thus promotes less distortion from the correction. Godfrey
Re: Tokina 20~35 2.8 AF Pro
On Sep 11, 2005, at 11:50 AM, Shel Belinkoff wrote: Welcome back ... Thanks. I tend to agree with you, but I've just gotta see for myself. It's not just the extra stop that's of interest, although that's the prime consideration, but other factors such as the characteristics of the image and build quality are also factors that I'd consider. Those are certainly factors. It would be great to hear of some first hand experience with it on the DS. Godfrey
PESO: Bee and Flower
Hello, I have been busy as a bee trying to capture some pictures of insects. It's not so easy to photograph a motive flying away or move a lot. But it's good practice :-) http://www.photosig.com/go/photos/view?id=1604475 Best regards, Jorn -- Jeg beskyttes af den gratis SPAMfighter til privatbrugere. Den har indtil videre sparet mig for at få 3625 spam-mails. Betalende brugere får ikke denne besked i deres e-mails. Hent gratis SPAMfighter her: www.spamfighter.dk
Re: PESO PAW - 9/11
On 11/9/05, Shel Belinkoff, discombobulated, unleashed: >Here's an oldie, from a few years ago. Today being an anniversary, and my >mood being such as it is, I decided to post this again. Large file. > >http://home.earthlink.net/~my-pics/seibel.html Thanks Shel. I mentioned this is another thread, but it might be more appropriate here. I have 9 digest posts from that fateful day, if anyone wants to see them, please email me off list. Cheers, Cotty ___/\__ || (O) | People, Places, Pastiche ||=|http://www.cottysnaps.com _
Re: PDML Long term Archive
While we're on the subject, and since it's 9/11 today, I have 9 digest posts from 9/11 in 2001 in case anyone wants to see them. Email me off list. Cheers, Cotty ___/\__ || (O) | People, Places, Pastiche ||=|http://www.cottysnaps.com _
Re: Colour profiles-PS-and home prining
On 11/9/05, [EMAIL PROTECTED], discombobulated, unleashed: > >Dave(getting back to home printing more)Brooks Dave, I thought you were buying a Mac?? Cheers, Cotty ___/\__ || (O) | People, Places, Pastiche ||=|http://www.cottysnaps.com _
Re: Final SMP
No reason given? Perhaps just too much work? On Sep 11, 2005, at 3:47 PM, John Francis wrote: On Sun, Sep 11, 2005 at 11:30:25AM -0400, Scott Loveless wrote: Looks like Mikey's calling it quits on the SMP articles.. You won't be seeing anything from him on the dpreview site, either ..
Re: PESO - Dimples X 2
I agree. The first one is the best, but both are keepers. You have a beautiful daughter. Paul On Sep 11, 2005, at 3:19 PM, [EMAIL PROTECTED] wrote: In a message dated 9/11/2005 12:16:59 PM Pacific Standard Time, [EMAIL PROTECTED] writes: These two shots were of her own posing, more or less. Although taken very close together, they each have a very different feel to them. Pentax *istD, FA 50/1.4, handheld ISO 800, 1/45 sec @ f/2.0 Converted from Raw using Capture One LE http://www.daytonphoto.com/PAW/bkd_2229.htm http://www.daytonphoto.com/PAW/bkd_2230.htm Comments welcome -- Bruce == Both are nice, but I like #1 best. And it's probably "better" too. With a cutie like that it must be hard to resist shooting her all the time. :-) Marnie aka Doe
Re: PDML Long term Archive
Robert Whitehouse wrote: Is there a decent archive for PDML? - I know about the one on mail-archive.com but this only seems to go back a few weeks. It is surely a terrible waste if all the wonderful pearls of wisdom dispensed here over the years are not available in a searchable archive. Rob W This bothered me for some time until I realised that all PDML posts are kept but only the last 1000 are browsable. The rest have to be searched. You have to know what you are looking for and enter the term in the search engine. IIRC, on my browser, the "search" button is invisible. But if I click in the area where one should be, eventually I find it and off I go. 8-))) mike
RE: SMC-F 35-80mm is good?
Yes, it's not bad, actually. Quite good. Like most Pentax consumer lenses - surprisingly good for the price tag. I got mine for 50 USD and a faulty MZ-50 body. I have tested it against two Tokina lenses: http://gallery37564.fotopic.net/p9124135.html Don't forget to watch it full size (button bewlow) Judge for yourself, but I must admit that the AT-X zoom was slightly off, due to a impact damage. Regards Jens Bladt -Oprindelig meddelelse- Fra: Frankie Lee [mailto:[EMAIL PROTECTED] Sendt: 11. september 2005 19:07 Til: pentax-discuss@pdml.net Emne: SMC-F 35-80mm is good? Is it good although it is for entry level? http://www.ucatv.ne.jp/~tweety/Zoom/F3580_456/F3580_456Samp.htm -- __ Check out the latest SMS services @ http://www.asiamail.com Send and receive SMS through your mailbox. Powered by Outblaze
Re: Tokina 20~35 2.8 AF Pro
Shel, In addition to seeing Godfrey's 20-35, would you be interested in seeing a Tokina 20-35/3.5-4.5 autofocus lens at the Pixel Party? It's not the 2.8, but it's mostly metal constructed, as far as I can tell and quite a bit heavier than my other Pentax lenses. As far as image quality, you will have to decide for yourself. Like Godfrey, I find myself using this focal length a lot in addition to the 28-105/3.2-4.5 now that I am using the digital body. Pat in SF --- Shel Belinkoff <[EMAIL PROTECTED]> wrote: > Welcome back ... > > I tend to agree with you, but I've just gotta see for myself. It's not > just the extra stop that's of interest, although that's the prime > consideration, but other factors such as the characteristics of the image > and build quality are also factors that I'd consider. > > Shel > > > > [Original Message] > > From: Godfrey DiGiorgi > > > Just got back from a two-day jaunt to Tijuana and back. > > > Only 1 stop faster on the Tokina compared to the > > FA20-35/4 isn't enough to warrant the additional size and weight, > > even if the Tokina is a good performer, IMO.
Re: Final SMP
On Sun, Sep 11, 2005 at 11:30:25AM -0400, Scott Loveless wrote: > Looks like Mikey's calling it quits on the SMP articles.. You won't be seeing anything from him on the dpreview site, either ..
RE: G and A
Both are pretty good. For me it's not a tough choice, not at all. Num two is better composed, but the infants hand makes it in num one. They seem to be better "connected" in that one. Num two is more correct, but lacks the little extra "touch". Tim Mostly harmless (just plain Norwegian) Never underestimate the power of stupidity in large crowds (Very freely after Arthur C. Clarke, or some other clever guy) > -Original Message- > From: Kostas Kavoussanakis [mailto:[EMAIL PROTECTED] > Sent: 11. september 2005 20:29 > To: pentax-discuss@pdml.net > Subject: PAW: G and A > > > Never posted a PAW before. This is actually two, but very similar > pictures. I would normally dislike the first one, as I have chopped > the son's head on the left: > > http://www.epcc.ed.ac.uk/%7ekavousan/GandA.jpg (<100KB) > > However this one I like less, but do you agree/understand why? > > http://www.epcc.ed.ac.uk/%7ekavousan/GandA2.jpg (<100KB) > > Both are with the MZ-50, one of my 50s, Tri-X [EMAIL PROTECTED], scanned from > (traditional machine process, not digital scan, and B&W paper) print > using a bottom-line Canon scanner. > > Thanks in advance for any comments. > > Kostas >
Re: PESO - Dimples X 2
Bruce, She's a beautiful dimple hostess. Extremely nice lighting. Delicate and appealing. Jack --- Bruce Dayton <[EMAIL PROTECTED]> wrote: > This morning my daughter was watching the muppets on > TV. I was > sitting there and looked over at her and noticed how > nice the side > light from the far window was on her. I told her > not to move and went > and got my camera. Of course, as I walked back into > the room, she had > jumped down and got the dog. So I had to put her > back in position. > > These two shots were of her own posing, more or > less. Although taken > very close together, they each have a very different > feel to them. > > Pentax *istD, FA 50/1.4, handheld > ISO 800, 1/45 sec @ f/2.0 > Converted from Raw using Capture One LE > > http://www.daytonphoto.com/PAW/bkd_2229.htm > http://www.daytonphoto.com/PAW/bkd_2230.htm > > Comments welcome > > -- > Bruce > > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: PDML Long term Archive
Hi Robert, some of us have personal archives going quite far back - I have archived more interesting posts (and sometimes just the whole mailbox) on PDML from back when I joined - 2000? 2001? It could be possible to put these together from a lot of the oldtimers here (and I joined quite early compared with some), and get an archive of the _keepers_ :-) Frantisek
Re: pentax-discuss-d Digest V05 #2147
BH> The *istDS allow me to adjust the white balance to the lighting, BH> holding up a white or gray card before the camera etc. Hopefully, BH> this will work even with leds! For some high power LEDs, try Lumileds - I am trying to get some locally for use in a flashlight. One particular problem in photography with LED lights could be the spectrum - Tomasz mentioned that white leds _are_ continuous spectrum, but if the spectrum differs (as he says) a lot from daylight, ie it has peaks at different wavelengths and god knows what phosphors they use, nobody yet mentions Colour Rendition Index in their product brochures for LEDs (although they may publish some spectrum diagrams which you could compare with daylight) - digital cameras cannot adapt to much differing light sources, just because they are RGB devices with factory set filters and white balancing is done by multiplying/dividing R and B channels relative to G, plus some hue adjustment. This won't get you good balance _if_ the LED phosphor spectrum differs considerably from daylight... At least I think from my meager understanding of the matter. For example, if the spectrum has a significant peaks in just some wavelengths, you would have to use some special filters to diminish these wavelengths. And with these cheap white LEDs you can almost bet on their phosphors being not daylight white, just like with cheap fluorescents. Or perhaps not :) But most white LEDs have significant colour difference at the edge of the beam - with most going to strange yellow - this would affect the colours considerably. For some more information, try looking at the Lumileds.com site, and also search for LEDs in enlarger heads - several darkroom geeks have converted enlarger heads to LED lighting, although most probably just for B&W where the colour response is not so demanding... But it could give you more starting points. There are definitely LEDs with phosphors with excellent spectral charasteristics, as LEDs are used as backlighting for the newest 6000$ a piece LCD DTP displays (NEC, EIZO)... Good light! fra
Re: PESO - Dimples X 2
In a message dated 9/11/2005 12:16:59 PM Pacific Standard Time, [EMAIL PROTECTED] writes: These two shots were of her own posing, more or less. Although taken very close together, they each have a very different feel to them. Pentax *istD, FA 50/1.4, handheld ISO 800, 1/45 sec @ f/2.0 Converted from Raw using Capture One LE http://www.daytonphoto.com/PAW/bkd_2229.htm http://www.daytonphoto.com/PAW/bkd_2230.htm Comments welcome -- Bruce == Both are nice, but I like #1 best. And it's probably "better" too. With a cutie like that it must be hard to resist shooting her all the time. :-) Marnie aka Doe
PESO - Dimples X 2
This morning my daughter was watching the muppets on TV. I was sitting there and looked over at her and noticed how nice the side light from the far window was on her. I told her not to move and went and got my camera. Of course, as I walked back into the room, she had jumped down and got the dog. So I had to put her back in position. These two shots were of her own posing, more or less. Although taken very close together, they each have a very different feel to them. Pentax *istD, FA 50/1.4, handheld ISO 800, 1/45 sec @ f/2.0 Converted from Raw using Capture One LE http://www.daytonphoto.com/PAW/bkd_2229.htm http://www.daytonphoto.com/PAW/bkd_2230.htm Comments welcome -- Bruce
Re: PAW: G and A
I like them both. I think the reactions are a little more animated and interesting on the first. As you noted the frame is better on the second. Tough choice, but both are quite nice. Paul On Sep 11, 2005, at 2:28 PM, Kostas Kavoussanakis wrote: Never posted a PAW before. This is actually two, but very similar pictures. I would normally dislike the first one, as I have chopped the son's head on the left: http://www.epcc.ed.ac.uk/%7ekavousan/GandA.jpg (<100KB) However this one I like less, but do you agree/understand why? http://www.epcc.ed.ac.uk/%7ekavousan/GandA2.jpg (<100KB) Both are with the MZ-50, one of my 50s, Tri-X [EMAIL PROTECTED], scanned from (traditional machine process, not digital scan, and B&W paper) print using a bottom-line Canon scanner. Thanks in advance for any comments. Kostas
Re: PESO - Deep Blue Something
Nice composition. Interesting geometry. I like it. Paul On Sep 11, 2005, at 2:47 PM, [EMAIL PROTECTED] wrote: In a message dated 9/11/2005 10:09:33 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Hi! http://www.photoforum.ru/rate/photo.php?photo_id=216097 No manipulation except regular RAW processing, and resizing for web... Boris Rather nice, Boris. And the people shooters can't complain there are no people. :-) Too bad there was nothing really at the end, but it's nice diminishing perspective anyway. Rather nice. Marnie aka Doe
Re: Colour profiles-PS-and home prining
Hi Jens, I don't know the system they use. All I know is that they bought their hardware less than a year ago, and that it was a big investment for the company. They take NOK 500,- per profile they make. You will need one profile per paper type per printer. their web presence is this: http://www.fotosentralen.no/ But I suggest you call the Oslo office and talk to them about it directly. However, it would surprise me if there's no shop in Copenhagen that can do the same thing...:-) Cheers, Jostein - Original Message - From: "Jens Bladt" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 6:59 PM Subject: RE: Colour profiles-PS-and home prining This is very intersting, Jostein. We might find this very usefull at work. Can you give us the name of the company or the name of the system they are using. In Denmark we have a company called Pixl, that does the same thing you described (I believe). I've been reading their website, but it's sooo complicated and difficllt to understand. They can do the whole thing for us, but it costs a small fortune - somthing like 5000 USD or each printer. And it turned out that some of our printers can't really be calibrated at all. Regards Jens Bladt Arkitekt MAA http://hjem.get2net.dk/bladt -Oprindelig meddelelse- Fra: Jostein [mailto:[EMAIL PROTECTED] Sendt: 11. september 2005 18:40 Til: pentax-discuss@pdml.net Emne: Re: Colour profiles-PS-and home prining Dave, I gave up calibrating the printer. I have the Color Spyder for calibrating the screen, but never got the prints right. The solution for me was to order the service from a pro digital photo vendor. They sent me a file to print without colour correction. I sent the print back for the paper types I use, and got a ready-to-use colour profile to use for printing. In PSP, I have to select the custom made profile, turn off the adjustments in the printer driver, and voilá. Works every time. It was a bit expensive, but it's worth it IMHO. Jostein - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 9:37 AM Subject: Colour profiles-PS-and home prining Hi gang. I know quite a few are up on colour profiles on this list so i thought i would ask here first. I'm still haveing problems getting my print to look like the monitor. I have only used Adobe Gamma to adjust my monitor and have not used the Spyder type of devices. First off, should i be using that type of device if i'm going to do this at least semi seriously. Second, when i shoot my D1 it does not have a real rgb or srgb colour space persay. I forget what it is but PS seems to call it srgb. My D2H is usually shot in Nikon RGB. When i print with my Canons(S800 or BJC8200) i have many options for colour space. I usually choose working space,but sometimes try the working srgb etc. Do i need to convert the file from say the Nikon RGB to srgb in PS, then select that otiopn in the drop down menu,or am i wasting my time until i trruly profile my monitor. In PS 6 if i load up a D2H file it asks what colour space to use. In PSEL3 it does not. Or are there profiles for these Canons out there that should be loaded and used. Any help is appreciated. Right now i need to up the curves past what looks good on my monitor then it prints out the way it should look in real life. Dave(getting back to home printing more)Brooks
Re: Tokina 20~35 2.8 AF Pro
Welcome back ... I tend to agree with you, but I've just gotta see for myself. It's not just the extra stop that's of interest, although that's the prime consideration, but other factors such as the characteristics of the image and build quality are also factors that I'd consider. Shel > [Original Message] > From: Godfrey DiGiorgi > Just got back from a two-day jaunt to Tijuana and back. > Only 1 stop faster on the Tokina compared to the > FA20-35/4 isn't enough to warrant the additional size and weight, > even if the Tokina is a good performer, IMO.
Re: PESO - Deep Blue Something
In a message dated 9/11/2005 10:09:33 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Hi! http://www.photoforum.ru/rate/photo.php?photo_id=216097 No manipulation except regular RAW processing, and resizing for web... Boris Rather nice, Boris. And the people shooters can't complain there are no people. :-) Too bad there was nothing really at the end, but it's nice diminishing perspective anyway. Rather nice. Marnie aka Doe
RE: I'm back, did I miss anything?
Not so much a leap as just testing the waters - getting my feet wet, so to speak. However, I am excited about trying the camera and exploring the possibilities of digital a little more than with a P&S camera. Not having to process film is a very appealing ... and using a plastic zoom lens is certainly intriguing Shel > [Original Message] > From: Antti-Pekka > > I bet this was a MAJOR event! I know how much Shel enjoys the > mechanical era of cameras so it must have been quite a leap > for him ;-).
PAW: G and A
Never posted a PAW before. This is actually two, but very similar pictures. I would normally dislike the first one, as I have chopped the son's head on the left: http://www.epcc.ed.ac.uk/%7ekavousan/GandA.jpg (<100KB) However this one I like less, but do you agree/understand why? http://www.epcc.ed.ac.uk/%7ekavousan/GandA2.jpg (<100KB) Both are with the MZ-50, one of my 50s, Tri-X [EMAIL PROTECTED], scanned from (traditional machine process, not digital scan, and B&W paper) print using a bottom-line Canon scanner. Thanks in advance for any comments. Kostas
Re: OT: Back in the Pentaxian fold
About 11mb. They're not THAT large compared some scans, but they are larger than a lot of RAW files from 6mp cameras, and certainly a lot larger than the approximately 1.5mb files of the large JPEG's the camera generates. Shel > [Original Message] > From: keith_w Shel Belinkoff wrote: > > > I was working from the very large sized TIFF files the Sony generates, not > > JPEG's. > > How large ARE they, Shel? >
Re: PDML Long term Archive
In a message dated 9/11/2005 11:12:19 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Same here. No vintage posts. Tim Mostly harmless (just plain Norwegian) == Of course, the vintage posts have sepia tones. :-) I've never been able to go back far either. Marnie aka Doe
RE: Pentax SMC F 35-135 f3.5-4.5
On Sun, 11 Sep 2005, Don Sanderson wrote: -Original Message- From: Kostas Kavoussanakis [mailto:[EMAIL PROTECTED] Sent: Sunday, September 11, 2005 11:59 AM To: pentax-discuss@pdml.net Subject: RE: Pentax SMC F 35-135 f3.5-4.5 Look out for the bokeh (240KB, folks :-) http://www.epcc.ed.ac.uk/~kavousan/owl2_1200.jpg That's a beautiful shot Kostas. Thanks Don. I really like owls as well. I should get my act together and support it in our zoo. Shame about the Bokeh, makes it look like the owl was positioned in front of a painting of grass. ;-) Certainly seperated the subject though. I have not taken many pictures with that lens (as I have said in the past, although the FL looks ideal for my kind of things, the minimum focusing distance is very long). When I took that picture I was very near/touching the wire that keeps the owl in our zoo, so the bokeh may be affected. But I also saw quickly the "water cloud" pictures of one of the previous posters (Portuguese? Brazilian?) and again the bokeh looked suspect. Kostas
RE: PDML Long term Archive
Same here. No vintage posts. Tim Mostly harmless (just plain Norwegian) Never underestimate the power of stupidity in large crowds (Very freely after Arthur C. Clarke, or some other clever guy) > -Original Message- > From: Robert Whitehouse [mailto:[EMAIL PROTECTED] > Sent: 11. september 2005 19:22 > To: pentax-discuss@pdml.net > Subject: RE: PDML Long term Archive > > Perhaps doing something wrong but I can't seem to find anything older than > May '05 ? > > > -Original Message- > > From: Shel Belinkoff [mailto:[EMAIL PROTECTED] > > Sent: 11 September 2005 18:09 > > To: pentax-discuss@pdml.net > > Subject: RE: PDML Long term Archive > > > > I thought it went back quite a ways. Someone here (Gonz?) recently > pulled > > up a post from 2001. > > > > Shel > > > > > [Original Message] > > > From: Robert Whitehouse > > > > > > > > Is there a decent archive for PDML? - I know about the one on > > > mail-archive.com but this only seems to go back a few weeks. > >
Re: istDS Receives Award
Thanks Shel. Nice to see Pentax get some recognition for the DS. :-) Godfrey On Sep 10, 2005, at 8:26 AM, Shel Belinkoff wrote: September, 2005: DIWA (Digital Imaging Websites Association), a world-wide organization of collaborating websites, today announces that Pentax has received their first DIWA Award for a D-SLR camera. Their *istDS model is honored with a Silver medal for outstanding test results. To read the entire story, go here: http://www.steves-digicams.com/2004_reviews/istds.html and scroll down a bit. Shel
RE: Pentax SMC F 35-135 f3.5-4.5
That's a beautiful shot Kostas. Shame about the Bokeh, makes it look like the owl was positioned in front of a painting of grass. ;-) Certainly seperated the subject though. Don > -Original Message- > From: Kostas Kavoussanakis [mailto:[EMAIL PROTECTED] > Sent: Sunday, September 11, 2005 11:59 AM > To: pentax-discuss@pdml.net > Subject: RE: Pentax SMC F 35-135 f3.5-4.5 > > > On Sun, 11 Sep 2005, Robert Whitehouse wrote: > > > Thanks for the link - great photos. I "tested" this lens > against a Pentax AF > > 28-90 and it came out a lot sharper. (tested = took a few shots > in my back > > yard !) > > Look out for the bokeh (240KB, folks :-) > > http://www.epcc.ed.ac.uk/~kavousan/owl2_1200.jpg > > Kostas >
Re: PESO - Deep Blue Something
On Sep 11, 2005, at 11:03 AM, Boris Liberman wrote: http://www.photoforum.ru/rate/photo.php?photo_id=216097 No manipulation except regular RAW processing, and resizing for web... Very striking, beautiful colors and composition. Nice! Godfrey
RE: WOW(Was:First attemt on B&W conversion)
I meant; Shel is wise man. But if you prefer vice man, ok, it's up to you. My typos can be a "slightly" misleading ;-) I hate him, but he is my man. (I might end up being hooked on (virtual) darkroom chemicals) Tim Mostly harmless (just plain Norwegian) Never underestimate the power of stupidity in large crowds (Very freely after Arthur C. Clarke, or some other clever guy) > -Original Message- > From: Doug Brewer [mailto:[EMAIL PROTECTED] > Sent: 9. september 2005 05:46 > To: pentax-discuss@pdml.net > Subject: Re: WOW(Was:First attemt on B&W conversion) > > Yes, Shel is a vice man. > > heh heh heh >
Re: Final SMP
On Sep 11, 2005, at 8:30 AM, Scott Loveless wrote: Looks like Mikey's calling it quits on the SMP articles. I've thoroughly enjoyed them for the last couple years. I think I may have learned a thing or two from them, I've certainly disagreed with some of them, and I think my enablement bug can be partially blamed on Mr. Johnston. It was one of the SMP articles that brought the PDML to my attention, so I guess I can blame quite a bit on Mr. Johnston. Anyway, just thought I'd mention it. Here's the linky: http://www.steves-digicams.com/smp/09112005.html Thanks for posting that to the list. I've yakked with Mike from time to time over the past decade. While I've not been a consistent follower of SMP, I've always enjoyed his perspectives regardless of how different they might be from my own. Godfrey
Re: LED lighting
Making my own, I'd worry about spectral qualities particularly for color work. However, I prefer to use flash for small object photography anyway. The Patterson E-Flash units have caught my eye: they're not overly expensive and are only $75 apiece. Seems about perfect for lots of uses like this. http://www.bhphotovideo.com/bnh/controller/home?O=WishList.j sp&A=details&Q=&sku=296435&is=REG or http://tinyurl.com/93h63 Godfrey On Sep 10, 2005, at 9:48 AM, Bertil Holmberg wrote: Does anyone have experience of LED lighting panels in photography? Although there are commercial products available, it should not be that difficult for the electronics buff to make a couple of panels quite cheap. White high intensity LEDs are avaialble for about $50 per 100 and that should be enough for small object photography, I think. With 25-50 light sources mounted close together, a diffusor seems unnecessary. What kind of light intensity would be required at a distance of 50 cm (20 inches)? I'm afraid that I know little about the physics involved apart from that some of it is measured in Candela. Ah, the Wiki says that a 100W bulb emits about 120 Cd. A 5mm LED can give 20.000 mCd so 100 of the blighters should give 2000 Cd. That sounds pretty intense, does't it? Any help is appreciated :-) Bertil
Re: Rob Studdert
David Savage wrote: G'day Kieth, They came over in a Volkswagen Touareg V6 turbo diesel with all the bells and whistles. It's a very very very nice car. At least he can say that he's taken it off road, unlike most of the urban terrors on the streets Dave Thanks you sir! I tend to NOT get too hot under the collar with cars whose list prices range between $32,000 and nesr $60,000US... keith
Re: CR-2016 Lithium Batteries for istDS
On Sep 10, 2005, at 10:52 AM, Charles Robinson wrote: Does that mean the S loses its setting if you don't use it for 48 hours? Or only if the main batteries are removed for 48 hours? The latter. But I always toss a set of fresh batteries in RIGHT AWAY when I remove dead ones for charging. I've never tested that "48 hours" claim. I've left the DS batteryless for two days when I put the second body's NiMH batteries into the charger and simply forgot to put them back ... I took them along as backups for a photo session. The capacitor stayed up and I didn't lose any settings. So the 48 hour number is probably conservative. Godfrey
FS: Pentax gear
i'm cleaning out stuff i hardly or never use anymore. all items are in original boxes with original documentation. Pentax 77mm circular polarizer - opened, never used $100 Pentax AA-Battery Pack FG - never opened, never used $20 Pentax SMCP A50/2 - opened, never used $35 Pentax SMCP FA 80-320/4.5-5.6 - lightly used, some signs of wear on paint $150 Gitzo 1377M Center Ball Head - moderate use, some wear marks on the knobs and body $125 also, for those of you who know about these things. again, all original boxes and documentation. Radio Shack HTX-202 - very light wear, NiCds need replacing, and probably so does memory backup battery - $25 Icom IC-2800H - lightly used $250 buyer pays actual shipping. Paypal, or check or money order when they clear. Herb
Re: Tokina 20~35 2.8 AF Pro
Just got back from a two-day jaunt to Tijuana and back. Not really a photographic trip, but I did carry the camera and 20-35/4, 35/2, 50/1.7 and 28-105/3.2-4.5 lenses. With the Pentax gear, this all fits in a nice, small, light bag. Such a difference from trying to carry my 10D in a similar manner! All but 10 of the 80 exposures I made were made with the 20-35. (The other 10 were made with the 35/2 and 28-105; the 50 never got out of the bag.) This is a perfect focal length range for so much of my photography, and the optical performance combined with the physically small, non-intrusive size is a bang-on winner for me. Switching to the FA35/2 AL, yes, the 35mm prime is a better performer and made a couple of exposures that would have been difficult with the f/4 lens. Only 1 stop faster on the Tokina compared to the FA20-35/4 isn't enough to warrant the additional size and weight, even if the Tokina is a good performer, IMO. Godfrey On Sep 10, 2005, at 10:48 AM, Shel Belinkoff wrote: Smaller, lighter lenses are preferable, but the extra stop of the Tokina is also desirable. Maybe I can find one somewhere and check the quality. Working with a slower lens, if the quality (i.e., the desired characteristics) is superior, is worthwhile. Thanks! Frantisek wrote: GD> I have no direct experience with the Tokina. However, on specs alone, GD> I wouldn't want the Tokina due to its size and weight. Specs can be misleading. The Tokina is the smallest 2.8 wide zoom ever produced, and for the speed and reach, it's quite small.Unfortunately, the samples I have tried were quite bad on digital, with lot of purple fringing and other failures. I have heard good things about it on film, and one news shooter quite liked his paper's, so maybe it could be worth a look. Perhaps it's sample variation, or whatever.
RE: PDML Long term Archive
Perhaps doing something wrong but I can't seem to find anything older than May '05 ? > -Original Message- > From: Shel Belinkoff [mailto:[EMAIL PROTECTED] > Sent: 11 September 2005 18:09 > To: pentax-discuss@pdml.net > Subject: RE: PDML Long term Archive > > I thought it went back quite a ways. Someone here (Gonz?) recently pulled > up a post from 2001. > > Shel > > > [Original Message] > > From: Robert Whitehouse > > > > > Is there a decent archive for PDML? - I know about the one on > > mail-archive.com but this only seems to go back a few weeks.
Re: PESO: Grace discovers birthday cake
Thanks Boris. Toddlers are a lot of fun. On Sep 11, 2005, at 2:01 PM, Boris Liberman wrote: Hi! We celebrated my grand daughter's first birthday today. My wife was going to feed her a piece of cake with a spoon, but Grace beat her to it. She picked it up and got right to it. That's my girl. http://www.photo.net/photodb/photo?photo_id=3717131&size=lg DA 16-45/4 with the Sigma 500Super and the Omnibounce 80/20 reflector. f8 @ 1/30, iso 400 Gee, that would be life-shaping discovery... Very disco! Paul, you definitely rule! Boris
Re: Am I an Ignorant Klutz ....
On Sep 10, 2005, at 6:03 AM, Fred wrote: http://perso.wanadoo.fr/krg/temp/pad-istd.jpg Thanks, guys - now I see what you mean - I'm gonna see if I can find one of those critters... I've not found this modification necessary on the DS, but you can get such bumpers or feet at Home Depot in several sizes. Godfrey
Re: OT: Stock Photography - once again
i meant above. Herb - Original Message - From: "Herb Chong" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 1:14 PM Subject: Re: OT: Stock Photography - once again that is definitely about average. Herb - Original Message - From: "Jens Bladt" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 11:46 AM Subject: RE: OT: Stock Photography - once again Thanks, Paul. That's appr.: Post 40 photgraphs, sell 1 a year! It doesn't sound like much, but I'm sure you're doing better than most people.
Re: I'm back, did I miss anything?
On Sep 9, 2005, at 7:09 AM, Shel Belinkoff wrote: No more distraught than I am. I had the camera but three days and only made 9,786 exposures. I was just starting to get used to it. Jeez. Hardly even got started. ]'-) Godfrey
Re: PESO: Grace discovers birthday cake
Thanks Bruce. On Sep 11, 2005, at 12:24 PM, Bruce Dayton wrote: Hello Paul, The lighting worked out very well to capture this cute moment. This will be a pic that others, including her, will want to see well into the future. Very nicely done. -- Best regards, Bruce Saturday, September 10, 2005, 4:34:05 PM, you wrote: PS> We celebrated my grand daughter's first birthday today. My wife was PS> going to feed her a piece of cake with a spoon, but Grace beat her to PS> it. She picked it up and got right to it. That's my girl. PS> http://www.photo.net/photodb/photo?photo_id=3717131&size=lg PS> DA 16-45/4 with the Sigma 500Super and the Omnibounce 80/20 reflector. PS> f8 @ 1/30, iso 400
Re: MZ-5
5n also has bracketing. Less useful feature but it is still there. 2005/9/10, Frankie Lee <[EMAIL PROTECTED]>: > Hi > > Anyone could tell me the major functional difference between MZ-5 and MZ-3? I > may choose one of them. Thanks. > > -- > __ > Check out the latest SMS services @ http://www.asiamail.com > Send and receive SMS through your mailbox. > > Powered by Outblaze > > -- -- Thibouille -- *ist-D,Z1,SFXn,SuperA,KX,MX, P30t and KR-10x ...
Re: OT: Stock Photography - once again
that is definitely about average. Herb - Original Message - From: "Jens Bladt" <[EMAIL PROTECTED]> To: Sent: Sunday, September 11, 2005 11:46 AM Subject: RE: OT: Stock Photography - once again Thanks, Paul. That's appr.: Post 40 photgraphs, sell 1 a year! It doesn't sound like much, but I'm sure you're doing better than most people.
