Re: File names and iPhoto questions

[Godfrey DiGiorgi]

On Oct 29, 2005, at 4:31 PM, [EMAIL PROTECTED] wrote:
As a side question. Anyone know if iphoto can display file names. I  
asked Cotty, but he

does not use the program, so didi
not have an answer.
Either that or he was having supper when i emailed.:-)


Responding in the context of iPhoto v5.0.4:

Yes, of course. When you import a batch of photos into iPhoto, by  
default the Title of an image is the file name minus the  
'.extension', i.e.: PICT0659.jpg is given the title "PICT0659". You  
can show the titles in the main browser window (View->Titles command).


If you click on the "i" button on the bottom left, an Information  
panel will appear right above it. When you click on an image  
thumbnail in the browser window, the title of the image will appear  
along with other data. If you then use the Photos->Get Info command,  
an information box will appear with more detailed information about  
the picture in question, including the full filename and other  
information extracted from the EXIF metadata.


Godfrey

Re: my day in SF with Shel...

[Godfrey DiGiorgi]

On Oct 29, 2005, at 2:26 PM, Mark Roberts wrote:


Godfrey DiGiorgi <[EMAIL PROTECTED]> wrote:

Is the histogram also generated from the in-camera JPEG?
That would explain why shots that look as if they're clipping at the
white end on the camera's histogram come into RAW converters with
latitude to spare.


Yes.

Godfrey

RE: PAW: People & Portraits #43 - GDG (SF with Shel foray)

[Shel Belinkoff]

Hi,

I've looked at this several times, and I'm of mixed feelings about it. 
It's not that I so much dislike the blurred image, for sometimes such
photos can be interesting and provocative - although this particular one
leaves me on the fence.  Perhaps for me the biggest issue is the lack of a
background, even something as subtle and as light as the floor in the lower
right of the pic.  The photo feels somewhat incomplete - lacking something,
but, unfortunately I can't define it any better.

Funny thing that you mentioned doing a B&W conversion in the RAW converter.
Earlier today I did just that.  I wasn't pleased with the results, but the
concept is appealing and the technique I used is somewhat similar to the
double hue/sat technique.  Not sure if the photo didn't lend itself well to
conversion or if the technique needs to be refined or is inadequate.  More
exploration and experimentation is necessary.

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Godfrey DiGiorgi

> In SF yesterday, at a gallery, I couldn't help but notice this  
> gentleman sitting reviewing the gallery notes. I thought I'd try a  
> different take on photographing him. With my respects to the  
> theraultian amongst us...
>
> http://homepage.mac.com/ramarren/photo/PAW5/43.htm
>
> Comments, critique, flames always appreciated.
>
> One of the interesting things about this photo is that I'm  
> experimenting with a new technique to rendering in B&W at the RAW  
> conversion level. It looks promising, so far, but I'm not yet done  
> with working it out.

RE: What's wrong with this picture?

[Anthony Farr]

Comments interspersed:

> -Original Message-
> From: Rob Studdert [mailto:[EMAIL PROTECTED]

(snip)
> 
> OK I really don't think that was the cause, the light appears to have come
in
> through the light box.
> 

Definitely.  You can see how the fog bleeds outwards from frame 18, yet the
edges of the film are quite clean.

> >2. As you can see, I was playing around with a wide-angle lens at the
> >   time. It was the Zenitar 16, which has a rear filter arrangement
> >   (as you may know), and I was also changing the filters around a
> >   bit, trying some shots with the coloured ones (being bored, and
> >   lacking the inspiration to take really interesting pictures...)
> 
> Yes, red or yellow :-)
> 

Such as the sun?

> >3. It is definitely possible that I messed up somehow on frame 18 -
> >   that's why frame 19 has essentially the same shot.
> 
> I'll bet it was gross over-exposure.
> 

Overexposed so much that the exposure was piped along the film.   See my
previous post.

> > So can overexposure really have consequences like this? I never
realised...
> 
> Well you know now :-)
> 

I've seen it before.

> Cheers,
> 
> 
> Rob Studdert
> HURSTVILLE AUSTRALIA
> 

regards,
Anthony Farr

Re: PAW: People & Portraits #43 - GDG (SF with Shel foray)

[Boris Liberman]

Hi!

In SF yesterday, at a gallery, I couldn't help but notice this  
gentleman sitting reviewing the gallery notes. I thought I'd try a  
different take on photographing him. With my respects to the  
theraultian amongst us...


   http://homepage.mac.com/ramarren/photo/PAW5/43.htm

Comments, critique, flames always appreciated.

One of the interesting things about this photo is that I'm  
experimenting with a new technique to rendering in B&W at the RAW  
conversion level. It looks promising, so far, but I'm not yet done  with 
working it out.


Frank is now given a run for his money... This is one of the best 
samples of Theraultian Style!


Godfrey, when you will be done with B&W conversion at RAW stage may I 
humbly ask you to publish the results including the instructions?


Thanks in advance.

Boris

Re: PESO: Chimp with offspring

[Boris Liberman]

Hi!


The title says it all.
http://www.photo.net/photodb/photo?photo_id=3836659&size=lg


LOL... I was fooled to expect to see some chimp-anzees...

Well done.

Boris

Re: PESO - Snapshot of Naisha

[Boris Liberman]

Hi!


This was taken yesterday on the bus to San Francisco.  It was so nice to be
able to relate to and photograph these kids (Naisha and her brother)
without being concerned about cops, being labeled as a pervert or
pedophile.  The kids' mom was aboard and she had no problem with the
situation.  So refreshing in light of recent experiences and discussions
here.

The greatest thing was that, after getting off the bus to grab the train,
Naisha's brother, who had been sitting in the seat behind me and who had
been playing with Satan earlier, grabbed my hand and walked with me to the
platform, where we parted ways.  What a nice experience - so reminiscent of
the experiences I had years ago when working with street kids and kids in
the old San Francisco neighborhood.

Perhaps the world isn't the same as it used to be, but some people are ...
;-)

http://home.earthlink.net/~shel-pix/naisha2.html


I have just one word to describe this picture - "honesty"... This 
picture is honest.


Like I said earlier, Shel is back to his style where he does excel...

I should also mention the change of signature...

Boris

Re: PESO The land of coke and honey

[Ann Sanfedele]

Rob Studdert wrote:
> 
> On 29 Oct 2005 at 20:09, Ann Sanfedele wrote:
> 
> > Well it sure looks like babbling coke -- what is
> > really going on here?
> > polluted waters? just reflections? inquiring minds
> > want to know...
> 
> Hi Ann,
> 
> It's just a naturally tannin-stained otherwise fresh water stream though it's
> the darkest one I've seen, deep still waters under shade looked ink black.

I cant recall seeing anything quite that color
that also was that sparkly -
seen plenty of deep still waters in shade, and
glacial green and ,Peter,
my grandparents house was walking distance from
the mighty muddy.  I know
mud doesn't equal pollution, though there is
precious little of it left
that isn't polluted I'd wager.  

I think I would have liked to have seen a bit of
land or something for scale
in the shot, Rob... 

Of course--- coke is a pollutant :)

annsan

> 
> > Now I have to go to the fridge...
> 
> :-)
> 
> Rob Studdert
> HURSTVILLE AUSTRALIA
> Tel +61-2-9554-4110
> UTC(GMT)  +10 Hours
> [EMAIL PROTECTED]
> http://members.ozemail.com.au/~distudio/publications/
> Pentax user since 1986, PDMLer since 1998

Re: PES0 PAW - Colson and the Devil

[Paul Stenquist]

A nice shot regardless. I kind of like Colson down there in the corner. 
I like your new sig as well. Big improvement :-).

Paul
On Oct 29, 2005, at 10:20 PM, Shel Belinkoff wrote:

Colson is Naisha's brother.  As noted elsewhere, a few of us had a 
great
time on the bus yesterday morning - strangers coming together to share 
a

nice experience.  Here's young Colson fooling around with the Devil ...

http://home.earthlink.net/~shel-pix/colson_satan.html

My apologies for the poor framing.  The bus was bouncing around quite a
bit, plus Colson was pretty energetic and active.  I knew he wasn't 
going

to remain more than a fraction of a second or so in that position.  I
mostly posted this to show the fun and camaraderie we were having ;-))


Shel
"You meet the nicest people with a Pentax"

RE: PESO PAW - The Devil Rides a Bus

[Shel Belinkoff]

Hi Bob,

There weren't but two other passengers on the bus, apart from the kids and
their mom.  One was sitting in the very front of the bus, and another in
the rearmost seat.  There were no passengers for him to ride amongst. 
Also, he couldn't help seeing me with the camera.  I came on the bus with
camera in hand and out in the open.  He took a shine to being photographed,
and since he wanted to pose, and because I think it's just fine for a
subject to pose if they want to - it reveals something about them, imo -
that's what we ended up doing.  There's another shot of him that I just
posted ... 


Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Bob W <[EMAIL PROTECTED]>
> To: 
> Date: 10/29/2005 1:30:41 AM
> Subject: RE: PESO PAW - The Devil Rides a Bus
>
> Hi Shel,
>
> I must admit I was disappointed when I saw this photo. I was looking
forward
> to seeing someone dressed as Satan riding a bus. Although there are some
bus
> clues in the photo they are not prominent enough. There's too much Satan
and
> not enough bus. Also, I don't like that he's posing for you. I was hoping
> for something more casual - here he is, riding among the other passengers
> just like a normal person, and no-one (maybe just one person) is taking
any
> notice.
>
> I do like his label though. I'm glad he's telling us who he is, in case of
> doubt or confusion.
>
> --
> Cheers,

> > http://home.earthlink.net/~shel-pix/satan1.html

PES0 PAW - Colson and the Devil

[Shel Belinkoff]

Colson is Naisha's brother.  As noted elsewhere, a few of us had a great
time on the bus yesterday morning - strangers coming together to share a
nice experience.  Here's young Colson fooling around with the Devil ...

http://home.earthlink.net/~shel-pix/colson_satan.html

My apologies for the poor framing.  The bus was bouncing around quite a
bit, plus Colson was pretty energetic and active.  I knew he wasn't going
to remain more than a fraction of a second or so in that position.  I
mostly posted this to show the fun and camaraderie we were having ;-))


Shel 
"You meet the nicest people with a Pentax" 

Re: PESO: Others 2005 - 46q - GDG

[Shel Belinkoff]

Bigger is better ... good one.

Shel 
"You meet the nicest people with a Pentax" 


>Don't know what moved me, but I decided to work with an exposure I  
>made last fall when I returned home from San Francisco this evening.

>   http://homepage.mac.com/ramarren/photo/PAW5/42q.htm

>Godfrey

Re: PESO - Snapshot of Naisha

[Shel Belinkoff]

;-)))  need I say more?

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Jack Davis 

> Shel, This one somehow, got through my PDML filter and into my inbox.
> Glad it did. Brought it to my attention.
> Your experience with the brother grabbing your hand, was a pure
> compliment that could only be granted by an Innocent child.
> Gives me an emotional feeling as I write this.
> Congratulations!

> > http://home.earthlink.net/~shel-pix/naisha2.html

RE: PESO: The Devil's Secretary

[Shel Belinkoff]

  I guess Halloween can't be too far off.

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Paul Stenquist

> http://www.photo.net/photodb/photo?photo_id=3835745

RE: PESO: Chimp with offspring

[Shel Belinkoff]

I like it Paul ... a nice little slice of life - celebrating family and
closeness  ;-))

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Paul Stenquist 

> The title says it all.
> http://www.photo.net/photodb/photo?photo_id=3836659&size=lg

Re: PESO - Snapshot of Naisha

[Shel Belinkoff]

Hi G ...

We had a lot of fun on that bus.  Satan, mom, Naisha and Colson, and I,
strangers, who all came together for a few minutes and shared a small
experience.  One of lifes treasured little moments ;-))

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]
> From: Godfrey DiGiorgi 

> >> http://home.earthlink.net/~shel-pix/naisha2.html

> > That's an absolutely beautiful shot, Shel!
>
> I agree. Beautiful. And a great way to start the day too.
>
> Godfrey

RE: PESO - Snapshot of Naisha

[Shel Belinkoff]

Hi Jens,

Coming from you I consider this to be quite a compliment.  So glad you
liked it, and that  you could get some small sense of Naisha.  She's a
sweet, shy girl, and very charming, as well.

Shel 
"You meet the nicest people with a Pentax" 


> [Original Message]

> It's a very nice picture. Very honest and almost touching.I think this
> photograph beats most of the model, studio shots I see on the web, by
> looking very genuine.


> Fra: Shel Belinkoff 
> Sendt: 29. oktober 2005 20:13
> Til: Pentax-discuss@pdml.net
> Emne: PESO - Snapshot of Naisha
>
>
> This was taken yesterday on the bus to San Francisco.  It was so nice to
be
> able to relate to and photograph these kids (Naisha and her brother)
> without being concerned about cops, being labeled as a pervert or
> pedophile.  The kids' mom was aboard and she had no problem with the
> situation.  So refreshing in light of recent experiences and discussions
> here.
>
> The greatest thing was that, after getting off the bus to grab the train,
> Naisha's brother, who had been sitting in the seat behind me and who had
> been playing with Satan earlier, grabbed my hand and walked with me to the
> platform, where we parted ways.  What a nice experience - so reminiscent
of
> the experiences I had years ago when working with street kids and kids in
> the old San Francisco neighborhood.
>
> Perhaps the world isn't the same as it used to be, but some people are ...
> ;-)
>
> http://home.earthlink.net/~shel-pix/naisha2.html

Re: Sent My Brother to the Dark Side

[Herb Chong]

Rob frequently uses better lenses. i think that the 31 Limited is one of the 
ones that is easily capable of more. the macros are too.


Herb
- Original Message - 
From: "William Robb" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, October 29, 2005 10:36 AM
Subject: Re: Sent My Brother to the Dark Side



Didn't you figure the istD was good for about 45 lppm resolution?
Thats pretty close to what most lenses will resolve in pictorial use.

Re: Sent My Brother to the Dark Side

[Herb Chong]

the 20D 5fps for 5 frames in RAW vs 5fps for 18 frames RAW. RAW performance 
is much more important than the high JPEG throughput, as far as i am 
concerned. as for AF, we'll see. the Canon is good, but it is older.


Herb
- Original Message - 
From: "Adam Maas" <[EMAIL PROTECTED]>

To: 
Sent: Saturday, October 29, 2005 10:13 AM
Subject: Re: Sent My Brother to the Dark Side


If the AF Unt is cut down as reported (Single cross sensor, new layout 
with less frame coverage), it should not exceed the 20d in either respect. 
The 20d is a 5fps body with good AF, although the AF unit is not a match 
for a full-on Multi-CAM2000.

Anyone want to buy a kidney?

[Mat Maessen]

Took a hike today in the Catskills today with Herb Chong and his
friend Loren. Herb was kind (evil?) enough to lend me his Sigma 12-24
and his 31mm limited lens.

I know have serious lens lust.
Anyone want to buy a body part or two to fund an enablement purchase?

-Mat

P.S. - pictures from the hike will be forthcoming, since I still shoot
film. Buy the second kidney so I can get an *istD(S)?

Re: PDML Map

[skye]

"shoutout" is urban slang, e.g. "I'm giving a shoutout to my homies"

On 10/29/05, Paul Ewins <[EMAIL PROTECTED]> wrote:
> Nope, that would be a "cooee".
>
> It's a beta version, maybe they will come up with a real word for the real
> version. But I wouldn't hold my breath.
>
> Paul
>
> -Original Message-
> From: graywolf [mailto:[EMAIL PROTECTED]
> Subject: Re: PDML Map
>
> I think it is Aussie slang.
>
> graywolf
>
>
>
>

Re: PESO The land of coke and honey

[P. J. Alling]

There are many places in the world where waters are naturally 
contaminated with Tannins which turn the water the color of tea.  The 
Mississippi isn't polluted because it's muddy...


Ann Sanfedele wrote:


Rob Studdert wrote:
 


Another pic from my trip. I shot a whole heap of these but over a very short
time, I was a bit rushed, now looking back at them there's so much more I could
have done and I'm having great difficulty editing what I did shoot down. Pity
it's the other side of the country :-(

http://home.swiftdsl.com.au/~distudio/temp/IMGP6304.jpg (~350B)

Tech: *ist D, ISO200, 1/800s FA77/1.8 FE @ f8

Comments, questions and critiques welcome.

Cheers,

Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998
   



Well it sure looks like babbling coke -- what is
really going on here?
polluted waters? just reflections? inquiring minds
want to know...

Now I have to go to the fridge...
ann


 




--
When you're worried or in doubt, 
	Run in circles, (scream and shout).

Re: PESO The land of coke and honey

[Rob Studdert]

On 29 Oct 2005 at 20:09, Ann Sanfedele wrote:

> Well it sure looks like babbling coke -- what is
> really going on here?
> polluted waters? just reflections? inquiring minds
> want to know...

Hi Ann,

It's just a naturally tannin-stained otherwise fresh water stream though it's 
the darkest one I've seen, deep still waters under shade looked ink black.

> Now I have to go to the fridge...

:-)


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

RE: PDML Map

[Paul Ewins]

Nope, that would be a "cooee". 

It's a beta version, maybe they will come up with a real word for the real
version. But I wouldn't hold my breath.

Paul

-Original Message-
From: graywolf [mailto:[EMAIL PROTECTED] 
Subject: Re: PDML Map

I think it is Aussie slang.

graywolf

Re: PESO The land of coke and honey

[Ann Sanfedele]

Rob Studdert wrote:
> 
> Another pic from my trip. I shot a whole heap of these but over a very short
> time, I was a bit rushed, now looking back at them there's so much more I 
> could
> have done and I'm having great difficulty editing what I did shoot down. Pity
> it's the other side of the country :-(
> 
> http://home.swiftdsl.com.au/~distudio/temp/IMGP6304.jpg (~350B)
> 
> Tech: *ist D, ISO200, 1/800s FA77/1.8 FE @ f8
> 
> Comments, questions and critiques welcome.
> 
> Cheers,
> 
> Rob Studdert
> HURSTVILLE AUSTRALIA
> Tel +61-2-9554-4110
> UTC(GMT)  +10 Hours
> [EMAIL PROTECTED]
> http://members.ozemail.com.au/~distudio/publications/
> Pentax user since 1986, PDMLer since 1998

Well it sure looks like babbling coke -- what is
really going on here?
polluted waters? just reflections? inquiring minds
want to know...

Now I have to go to the fridge...
ann

Re: Peso - Another view of Frank's curve?

[Ann Sanfedele]

Kenneth Waller wrote:
> 
> Check out
> http://mypeoplepc.com/members/kwaller/offwallphoto/id2.html
> 
> Yeah, nay, and/or comments
> what would you do differently?
> 
> Thanks in advance
> 
> Kenneth Waller

I think I'm getting motion sickness - just
remembering 
going down that road in the passenger seat with
some crazy
pentaxian at the wheel


Frank - finally photo.net let me see your shot...
equally scary :)

ann

Re: Sent My Brother to the Dark Side

[P. J. Alling]

You're not a defector, you're a defiler...

Cotty wrote:


On 29/10/05, Frank, discombobulated, unleashed:

 


you can remain on this list and continue to be welcome, as have many
defectors over the years.  christian, marnie, cotty, all come to mind,
and i know i've forgotten quite a few.
   



Pardon me Frank, but I still own and use Pentax photographic equipment. I
don't consider myself a defector.

Besides, as you often post pics shot with a blooming Leica, isn't this
the pot calling the kettle black??

!!!



Cheers,
 Cotty


___/\__
||   (O)   | People, Places, Pastiche
||=|http://www.cottysnaps.com
_



 




--
When you're worried or in doubt, 
	Run in circles, (scream and shout).

Re: Brotherhood lenses on digital bodies?

[Ann Sanfedele]

Thanks to all who replied on this. I'm guessing,
then, if he wants to sell 
 the lenses (and body) it would more likely
 be to someone who wants to stay in the film
shooting world.  

ann


Ann Sanfedele wrote:
> 
> Neighbor of mine has the 6x7 and 3 lenses -
> cant remember which - will investigate - but did I
> see
> somewhere that one or more of the larger format
> camera's lenses work on the *istD ?
> 
> Curious about that and/or anyone is interested in
> this stuff.
> 
> ann

Re: Sent My Brother to the Dark Side

[Cotty]

On 29/10/05, Frank, discombobulated, unleashed:

> you can remain on this list and continue to be welcome, as have many
> defectors over the years.  christian, marnie, cotty, all come to mind,
> and i know i've forgotten quite a few.

Pardon me Frank, but I still own and use Pentax photographic equipment. I
don't consider myself a defector.

Besides, as you often post pics shot with a blooming Leica, isn't this
the pot calling the kettle black??

!!!



Cheers,
  Cotty


___/\__
||   (O)   | People, Places, Pastiche
||=|http://www.cottysnaps.com
_

Re: Cleaning Sensors

[brooksdj]

I find my istD requires a blow off, every week or so. For some reason, the D2H 
which is
used in very dusty conditions, 
might need a cleaning every few months.
I have no explaination for this.

I just use a good huricane blower.Seems to work for most applications.


Word of warning.Don't blow on sensor with your mouth. It cost me $90.00 to have 
the thing
cleaned at Nikon.Not from me 
but the guy i bought the camera off of did that, and i get to fix.

Dave


> WR> - Original Message - 
> WR> From: "Markus Maurer"
> WR> Subject: RE: Cleaning Sensors
> 
> 
> >> Hi William and Shel
> >>
> >> Does every digital SLR need that sensor cleaning or are there better dust
> >> sealed bodies and are the Pentax ones better or worse in this regard than
> >> other brands?
> >> For me as a film user, that "cleaning sensor thing" seems to be necessary
> >> quite often, Shel's camera is nearly new.
> >> I seldom clean my film bodies, I just have a look at the film pressure
> >> plate
> >> when I change film if it is clean.
> 
> WR> Film is nice, the dust has a moving target..
> 
> WR> William Robb 
> 
> 
> 
> 

Re: PESO - Snapshot of Naisha

[Cotty]

On 29/10/05, Shel Belinkoff, discombobulated, unleashed:

>http://home.earthlink.net/~shel-pix/naisha2.html

Lovely pic.




Cheers,
  Cotty


___/\__
||   (O)   | People, Places, Pastiche
||=|http://www.cottysnaps.com
_

Re: File names and iPhoto questions

[brooksdj]

As a side question. Anyone know if iphoto can display file names. I asked 
Cotty, but he
does not use the program, so didi 
not have an answer.
Either that or he was having supper when i emailed.:-)

Dave   


> On 27/10/05, Mark Roberts, discombobulated, 
unleashed:
> 
> >...and start looking for an alternative to iPhoto again.
> 
> I have used this in the past and found it pretty capable:
> 
> 
> 
> $25 - can't go wrong.
> 
> HTH
> 
> 
> 
> 
> Cheers,
>   Cotty
> 
> 
> ___/\__
> ||   (O)   | People, Places, Pastiche
> ||=|http://www.cottysnaps.com
> _
> 
> 

Re: The Devil's Secretary

[Paul Stenquist]

Thanks Ken. Don't know about that last part, other than the physical 
evidence in the photo:-).

Paul
On Oct 29, 2005, at 6:29 PM, Kenneth Waller wrote:

Great display of the cameras versatility & photog's  capability. Looks 
like a horny little devil too ;>)


Kenneth Waller

- Original Message - From: "Paul Stenquist" 
<[EMAIL PROTECTED]>


Subject: PESO: The Devil's Secretary


Reservations are now being accepted. DA 16-45 on *istD, ISO 1600, f8 
@ 1/15th, 45mm. Just a snapshot, but it shows that when shooting RAW 
and setting the color temp in post, one can achieve a relatively 
pleasing hue even when the subject is seated between two different 
kinds of lighting.

http://www.photo.net/photodb/photo?photo_id=3835745

Re: Brotherhood lenses on digital bodies?

[Jim Colwell]

You can see photos of the 6x7 and 645 K-mount adapters under Lenses,
Lens-Related Adapters at www.bdimitrov.de/kmp/ 

Re: Brotherhood lenses on digital bodies?

[Rob Studdert]

On 29 Oct 2005 at 16:26, Ann Sanfedele wrote:

> 
> Neighbor of mine has the 6x7 and 3 lenses -
> cant remember which - will investigate - but did I
> see
> somewhere that one or more of the larger format
> camera's lenses work on the *istD ?

Yes as others have said using the 67 to K adaptor, but use will be a bit clunky 
so from a practicality stand-point not all that attractive. To see pics of 67 
lenses on a k-mount body see:

http://members.ozemail.com.au/~distudio/mfv35lenstest/#Gallery

Cheers,


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: my day in SF with Shel...

[Rob Studdert]

On 29 Oct 2005 at 10:48, Shel Belinkoff wrote:

> Hi Steve ...
> 
> Essentially, set the exposure comp to 1/3 to 2/3 stop ~over~ exposure. 
> You'll see fried highlights on the LCD screen, but that's just from the low
> quality JPEG.  When looking at the files in the RAW converter, little, and 
> most
> often nothing, is burnt out (I've not yet come across any frame that had fried
> highlights).  The raw files have a lot more latitude than the viewed JPEGs.  
> I'd
> say - perhaps somewhat exaggerated - working with RAW and JPEG is like using
> color neg vs slide film.  Anyway, the idea is to get more detail and 
> information
> in the darker parts of the image and deal with the highlights in the post
> processing.

This is a bit like déjà vu :-)

It's good to hear that you are starting to understand and appreciate the tool.

Cheers,


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: Skills - was Re: Sent My Brother to the Dark Side

[graywolf]

Or as I always say, I knew everything when I was sixteen!

graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



keith_w wrote:


graywolf wrote:

[...]

Then the economy improved and I could make a lot more money doing 
something else with a lot less effort and minimal worrys. Besides, I 
do not have a bullet proof ego, and the need for relentless self 
promotion wearied me relentlessly. I do like to think I have a good 
eye for an image.


One of the things I want to say is that 12 for 12 I mentioned, was 
for routine work. Experimental stuff or learning a new technique was 
more like 1 for 100, but you did that on your own not for a client. 
With my free reshoot policy I was not about to take a job I did not 
already know I could do properly. I guess that is what bothers me 
about those posts that read something like, "I just took a job 
shooting a jewery catalog. Will someone tell me how to shoot jewery. 
I need the information real quick".



graywolf



Hah! I love it! Thanks for mentioning that, Tom...

Might as well be asking about a quick course in shooting crystal 
glassware. Same ol' same ol'.


I'm glad you mentioned that. The raw chutzpah of beginner "shutter 
clickers" is just plain amazing!


Much like a male child of 17. Old enough to know he is immortal and 
can do quite literally anything he puts his mind to.
Then he spends the next 60+ years of his life experiencing how much he 
really _doesn't_ know, and gathering enough skills to get along...


Like the more you know, the more ignorant you find out you really are!

Best,  keith

Re: Skills - was Re: Sent My Brother to the Dark Side

[graywolf]

Why? Your boss will provide one.



graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Kenneth Waller wrote:


Gee, I woulda thunk you needed a camera, Black of course. ;>)

Kenneth Waller

- Original Message - From: "graywolf" <[EMAIL PROTECTED]>

Subject: Re: Skills - was Re: Sent My Brother to the Dark Side


Well, from my experience to be a financially successful professional 
photographer you need three things.


1. A really tough ego.
2. Relentless self promotion.
3. An eye for an image.
All else is optional.

graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Mark Roberts wrote:


"William Robb" <[EMAIL PROTECTED]> wrote:



From: "Herb Chong"


the assumption among many professional photographers is that you 
have the skill or you wouldn't be there.



That is not a safe assumption for them to make.



That's an understatement.


I've run into a lot of pro photographers who are only able to do 
what they do because the automation in the camera has enough skill 
to cover for them.
I suspect that the % of truly skilled pro photographers is now 
hovering at an all time low.




I've saw evidence of that at the photo shop. We used to do a lot of
processing for pros. When they started making the transition to digital
you could see who really had a handle on exposure and who didn't. Not
many did.

Re: Skills - was Re: Sent My Brother to the Dark Side

[graywolf]

Keith, I used to use my MXen without thinking. It was so automatic, the 
cameras seemed like an extension of myself. Unfortunately I have two 
things against me now, I do not shoot enough to regain that ability, and 
my short term memory and coordination are flaky even if I did. If my 
long term memory is not shot to hell too, it took about 2 years of 
shooting a few hours almost  every day to reach that point (it might 
have been shorter if I had been deliberately trying to develop that 
skill). Most people today do not even keep their cameras that long.


graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



keith_w wrote:

I remember reading about some of the old photographers I idolized, 
whose photographs stick in my mind, and will be there forever.
Almost without exception, they found what [camera/gear] they liked, or 
used what they could afford at the time, and it became a constant 
companion.

Used it day and night. Lived with it, literally.

Done that way, you become intimately familiar with this mechanical 
wonder, and if it's capable of it, you can do it, almost without 
thinking.

Changing all aspects of the exposure on the run, automatically.

How many of us know our cameras *that* well?

I used to with my old Retina Ia folder. I don't anymore with any of my 
FAR more expesive cameras...


I need to start applying myself. Thanks for prompting that thought 
process, Shel.


keith

Re: Skills - was Re: Sent My Brother to the Dark Side

[Rob Studdert]

On 29 Oct 2005 at 18:42, graywolf wrote:

> There was a bit here about automatic cameras and consistent exposure, I 
> was just trying out the Oly for some eBay photos. With the camera 
> mounted in a fixed position, fixed lighting, and the same subject, shiny 
> against a medium dark background, moved about to show different details, 
> and the cameras set on aperture preferred mode at f5.6 I got shutter 
> speeds ranging for 0.6 to 4.0 seconds. That is 4 full stops! I would 
> certainly call that inconsistent. I will have to reshoot, but have 
> decided I want a different background, so will have to wait until I can 
> get the material. Next time around it will be manual exposure all the way.

Metering is probably off the subject using the sensor so my guess is that the 
camera was taking care of preserving the dynamics of the scene vis a vis 
preserving specular highlights.


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: Skills - was Re: Sent My Brother to the Dark Side

[graywolf]

There was a bit here about automatic cameras and consistent exposure, I 
was just trying out the Oly for some eBay photos. With the camera 
mounted in a fixed position, fixed lighting, and the same subject, shiny 
against a medium dark background, moved about to show different details, 
and the cameras set on aperture preferred mode at f5.6 I got shutter 
speeds ranging for 0.6 to 4.0 seconds. That is 4 full stops! I would 
certainly call that inconsistent. I will have to reshoot, but have 
decided I want a different background, so will have to wait until I can 
get the material. Next time around it will be manual exposure all the way.


graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---


 

Re: PDML'er visiting Oslo. Anybody want to join me?

[DagT]

My kids are raw, all three of them .-)

I´ll be there, but according to the family biorythm we´ll not be able  
to be there before 12.


My phone number is 95805990

Anybody else coming?

DagT

Den 29. okt. 2005 kl. 11.07 skrev Tim Øsleby:


Great!

There are two interesting concerts at Saturday. The first is Anouar  
Brahem
Trio, a Tunisian Oud playing jazz man, at Kulturkirken at 20:00.  
There is
also a cool Malian act at Cosmopolite, Amadou & Mariam who has  
collaborated

with Manu Chao (that name may ring a bell for somebody on the list) at
Cosmopolite at 22:00. Most likely I will be at both places, acting  
peculiar,
photographing while diging wildly. The events in Kulturkirken,  
usually has
pretty good, and predictable light. The disadvantage is that you  
must crawl

around at the floor to get to the good angles.

Before this I am open to anything (almost, don't get any ideas  
anybody).
Anytime, anywhere, but Vigelandparken is a good starting point. If  
we are

lucky with the light, we can shoot some birds.

BTW: DagT. You sent a kids warning. I like kids. I like them cooked  
and I

like them raw ;-)
What I'm saying, is bring them with you. Sounds fun.

Now I'm packing my gear and other stuff. Off soon.


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: Jostein [mailto:[EMAIL PROTECTED]
Sent: 29. oktober 2005 10:05
To: pentax-discuss@pdml.net
Subject: Re: PDML'er visiting Oslo. Anybody want to join me?


Next week-end is reserved in the calendar, but I don't think I can
take any week-nights off. :-(

We need to organise at least a meeting point and -time. The rest can
be improvised from there.

Vigelandsparken has been mentioned. I suggest we meet at the parking
lot beside Frognerbadet on Saturday.

Any ideas for time? If none, I'll pick one to suit my own biorythm by
Monday...:-)

Here's my cellphone number for lurkers wanting to join: (+47) 958 928
22. eMail is OK too, of course.

Jostein

- Original Message -
From: "Tim Øsleby" <[EMAIL PROTECTED]>
To: 
Sent: Saturday, October 29, 2005 1:23 AM
Subject: PDML'er visiting Oslo. Anybody want to join me?




We have talked about a Fiddly Bits PDML in Oslo next weekend. I had
a look
in my almanac, and realized I had run out of time. I have been
rather busy
talking shit here, fixing my car (the brakes was no good), deciding
what to
do with my roof falling down on me and my beloved in my house, etc.
Panic.
Now I am leaving tomorrow. The idea of going away is wonderful ;-)

So, now it is no time to make proper plans for PDML meetings.
Jostein, DagT,
Toralf, and lurkers in the area: Shall we just skip this
opportunity? Or
shall we try to make it, despite the chaos in my life? I'm talking
mostly
about next weekend, but I am available most of the rest of the week
(except
Monday).

Think I'll just have to leave my cell phone number and see what
happenes:
45 42 91 96
Surprise me. Call me if you want to have a shoot in Vigeland parken
or any
other suggestion. Jostein: you said something about not having shot
at
concerts before. Any other PDML'ers are more than welcome to join me
too.
Concert shooting is fun. Just make arrangements in good time. Some
of the
concerts are nearly sold out.


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: Raimo K [mailto:[EMAIL PROTECTED]
Sent: 28. oktober 2005 17:21
To: pentax-discuss@pdml.net
Subject: Re: PDML Map

This is great! Thank you for the initiative.
All the best!
Raimo K
Personal photography homepage at:
http://www.uusikaupunki.fi/~raikorho


- Original Message -
From: "Juan Buhler" <[EMAIL PROTECTED]>
To: 
Sent: Friday, October 28, 2005 12:47 AM
Subject: PDML Map




Hi list,

I found Frappr, a site that uses Google maps to let people place
themselves in the world. It is organized in groups, so people
from
various internet communities can map where they are.

I started a PDML map there. Go to

http://www.frappr.com/pdml

And map yourself, if you care to do so. No need (or possibility)
to
add an exact address, so privacy should not be a problem.

Let's see where we all are!

j

--
Juan Buhler
http://www.jbuhler.com
photoblog at http://photoblog.jbuhler.com

Re: Sent My Brother to the Dark Side

[Rob Studdert]

On 29 Oct 2005 at 8:36, William Robb wrote:

> 
> - Original Message - 
> From: "Rob Studdert"
> Subject: Re: Sent My Brother to the Dark Side
> 
> 
> >
> > Every DSLRs imposes its own absolute limit
> > WRT image quality, this has created a significant change in the philosophy
> > camera body purchase.
> 
> Didn't you figure the istD was good for about 45 lppm resolution?
> Thats pretty close to what most lenses will resolve in pictorial use.

I'd say the better lenses such as the limiteds would provide 60 lppmm given 
good hand held technique but even if we consider the 45 lppmm figure (or 
thereabouts) that I did test practically then you've confirmed my position. The 
fact is per print size you need greater magnification for an image shot on an 
APS body. So using a camera like the *ist D you loose maximum lens resolution 
and a good chunk of the lenses coverage too.


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: The Devil's Secretary

[Kenneth Waller]

Great display of the cameras versatility & photog's  capability. 
Looks like a horny little devil too ;>)


Kenneth Waller

- Original Message - 
From: "Paul Stenquist" <[EMAIL PROTECTED]>


Subject: PESO: The Devil's Secretary


Reservations are now being accepted. DA 16-45 on *istD, ISO 1600, f8 @ 
1/15th, 45mm. Just a snapshot, but it shows that when shooting RAW and 
setting the color temp in post, one can achieve a relatively pleasing 
hue even when the subject is seated between two different kinds of 
lighting.

http://www.photo.net/photodb/photo?photo_id=3835745

Re: Skills - was Re: Sent My Brother to the Dark Side

[Rob Studdert]

On 29 Oct 2005 at 13:28, graywolf wrote:

> One of the things I want to say is that 12 for 12 I mentioned, was for 
> routine work. Experimental stuff or learning a new technique was more 
> like 1 for 100, but you did that on your own not for a client. With my 
> free reshoot policy I was not about to take a job I did not already know 
> I could do properly. I guess that is what bothers me about those posts 
> that read something like, "I just took a job shooting a jewery catalog. 
> Will someone tell me how to shoot jewery. I need the information real 
> quick".

Well I suspect that that's just a function of the present, unfortunately too 
many young folk (I can say that now I'm an old fart :-) have it drummed into 
their heads that they can do anything or be anything. That's why they leave Uni 
and get pissed when they can't snare managerial jobs too


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: What's wrong with this picture?

[Rob Studdert]

On 29 Oct 2005 at 18:43, Toralf Lund wrote:

> So, you think the actual pattern suggests that this happened while the 
> film was in the camera? Would the fact that frame 15 has a similar, but 
> narrower, band also be consistent with that.

Definitely, if there is a band on frame 15 too that confirms it.

> Well, it's been a while since I shot those frames - the film has been 
> sitting in the camera for a while - so I don't remember exactly what I 
> did, and I didn't bother to take notes, either. What I can say, however, is
> 
>1. I'm quite certain that the back wasn't opened at the time, or at
>   least, that I didn't ever notice that it was. There is of course a
>   slight possibility that it opened, then shut itself, as I carried
>   the camera in a bag.

OK I really don't think that was the cause, the light appears to have come in 
through the light box.

>2. As you can see, I was playing around with a wide-angle lens at the
>   time. It was the Zenitar 16, which has a rear filter arrangement
>   (as you may know), and I was also changing the filters around a
>   bit, trying some shots with the coloured ones (being bored, and
>   lacking the inspiration to take really interesting pictures...)

Yes, red or yellow :-)

>3. It is definitely possible that I messed up somehow on frame 18 -
>   that's why frame 19 has essentially the same shot.

I'll bet it was gross over-exposure.

> So can overexposure really have consequences like this? I never realised...

Well you know now :-)

Cheers,


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

RE: help - mailbox full

[Jens Bladt]

Scot.
Go to www.twigger.com
You must have your access codes etc. ready for you mail account.
At Twigger you can delete emails before they reach your computer.
All the best
Regards

Jens Bladt
Arkitekt MAA
http://hjem.get2net.dk/bladt


-Oprindelig meddelelse-
Fra: Cotty [mailto:[EMAIL PROTECTED]
Sendt: 22. oktober 2005 23:59
Til: pentax list
Emne: Re: help - mailbox full


On 22/10/05, Scott Loveless, discombobulated, unleashed:

>I signed up in February.  158MB as of now.  It's still on the gmail
>server.  Francois, if you want a Gmail account, there are quite a few
>of us on the list.  I'd be happy to send an invite your way, as I'm
>sure most others would, too.

Hi Scot,

None for me thanks.




Cheers,
  Cotty


___/\__
||   (O)   | People, Places, Pastiche
||=|http://www.cottysnaps.com
_

Re: PESO PAW - The Devil Rides a Bus

[Kenneth Waller]

Funny, my wife & I just returned from Hell (Mi.) & we didn't see him.
A great fall day to be out and about in Michigan. Maybe the last for a 
while.


Kenneth Waller

- Original Message - 
From: "Shel Belinkoff" <[EMAIL PROTECTED]>

Subject: PESO PAW - The Devil Rides a Bus



I took a bus into San Francisco today and met Satan incarnate. He was
getting off at the next stop ;-))

http://home.earthlink.net/~shel-pix/satan1.html

Comments welcome ...




Shel

RE: PESO - Snapshot of Naisha

[Jens Bladt]

It's a very nice picture. Very honest and almost touching.I think this
photograph beats most of the model, studio shots I see on the web, by
looking very genuine.
Regards
Jens

http://hjem.get2net.dk/bladt


-Oprindelig meddelelse-
Fra: Shel Belinkoff [mailto:[EMAIL PROTECTED]
Sendt: 29. oktober 2005 20:13
Til: Pentax-discuss@pdml.net
Emne: PESO - Snapshot of Naisha


This was taken yesterday on the bus to San Francisco.  It was so nice to be
able to relate to and photograph these kids (Naisha and her brother)
without being concerned about cops, being labeled as a pervert or
pedophile.  The kids' mom was aboard and she had no problem with the
situation.  So refreshing in light of recent experiences and discussions
here.

The greatest thing was that, after getting off the bus to grab the train,
Naisha's brother, who had been sitting in the seat behind me and who had
been playing with Satan earlier, grabbed my hand and walked with me to the
platform, where we parted ways.  What a nice experience - so reminiscent of
the experiences I had years ago when working with street kids and kids in
the old San Francisco neighborhood.

Perhaps the world isn't the same as it used to be, but some people are ...
;-)

http://home.earthlink.net/~shel-pix/naisha2.html


Shel

Re: Skills - was Re: Sent My Brother to the Dark Side

[Kenneth Waller]

Gee, I woulda thunk you needed a camera, Black of course. ;>)

Kenneth Waller

- Original Message - 
From: "graywolf" <[EMAIL PROTECTED]>


Subject: Re: Skills - was Re: Sent My Brother to the Dark Side


Well, from my experience to be a financially successful professional 
photographer you need three things.


1. A really tough ego.
2. Relentless self promotion.
3. An eye for an image.
All else is optional.

graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Mark Roberts wrote:


"William Robb" <[EMAIL PROTECTED]> wrote:



From: "Herb Chong"


the assumption among many professional photographers is that you have 
the skill or you wouldn't be there.



That is not a safe assumption for them to make.


That's an understatement.


I've run into a lot of pro photographers who are only able to do what 
they do because the automation in the camera has enough skill to cover 
for them.
I suspect that the % of truly skilled pro photographers is now hovering 
at an all time low.




I've saw evidence of that at the photo shop. We used to do a lot of
processing for pros. When they started making the transition to digital
you could see who really had a handle on exposure and who didn't. Not
many did.

PAW: People & Portraits #43 - GDG (SF with Shel foray)

[Godfrey DiGiorgi]

In SF yesterday, at a gallery, I couldn't help but notice this  
gentleman sitting reviewing the gallery notes. I thought I'd try a  
different take on photographing him. With my respects to the  
theraultian amongst us...


   http://homepage.mac.com/ramarren/photo/PAW5/43.htm

Comments, critique, flames always appreciated.

One of the interesting things about this photo is that I'm  
experimenting with a new technique to rendering in B&W at the RAW  
conversion level. It looks promising, so far, but I'm not yet done  
with working it out.


enjoy,
Godfrey

Re: my day in SF with Shel...

[Paul Stenquist]

I think that the Pentax calibration is meant to avoid clipping 
highlights, whether it be in jpeg or RAW. In situations where there are 
very bright highlights it can result in underexposure. I add a half 
stop of exposure comp when the seen includes a bright highlight that's 
not part of the intended subject. With extreme background highlights, I 
sometimes add more. Although I find I still want to control those 
highlights as much as possible. It's easy to bring up the brightness of 
the midtones if necessary.

Paul
On Oct 29, 2005, at 4:47 PM, Godfrey DiGiorgi wrote:


On Oct 29, 2005, at 10:56 AM, David Savage wrote:


Yeah it does work on the D. I find I generally have anywhere between
+1/2 to +1 stop of  compensation always dialed in.


It seems to me that Pentax has calibrated the exposure meter in these 
cameras for the JPEG rendering in camera and does not make any 
adjustment when the camera is switched to RAW format capture. That 
would explain the need for adding in more exposure for best results.


In average lighting, however, the meter calibration seems accurate 
enough and I don't need the added exposure.


Godfrey

Re: my day in SF with Shel...

[Mark Roberts]

Godfrey DiGiorgi <[EMAIL PROTECTED]> wrote:

>Remember that the thumbnail display on the LCD (and hotspot warning  
>in the DS) is derived from the standard in-camera JPEG rendering to  
>RGB. 

Is the histogram also generated from the in-camera JPEG?
That would explain why shots that look as if they're clipping at the
white end on the camera's histogram come into RAW converters with
latitude to spare.
 
 
-- 
Mark Roberts
Photography and writing
www.robertstech.com

Re: What's wrong with this picture?

[Butch Black]

It's a light leak.

Was it the first or last frame on the roll? If so it may have been a loading 
error with the lab. If not, it may be that your sponge light seal on your 
film inspection window may be getting a bit old/worn. Those would be my 2 
best guesses


Butch 

Re: PESO - Snapshot of Naisha

[Godfrey DiGiorgi]

On Oct 29, 2005, at 1:31 PM, keith_w wrote:


http://home.earthlink.net/~shel-pix/naisha2.html
Shel



That's an absolutely beautiful shot, Shel!


I agree. Beautiful. And a great way to start the day too.

Godfrey

Re: Brotherhood lenses on digital bodies?

[Adam Maas]

There are 645 and 67 adaptors for K mount, which will allow the lenses 
to be used with stop-down metering on any body which supports that 
(including all the Pentax DSLR's).


-Adam


Ann Sanfedele wrote:


Neighbor of mine has the 6x7 and 3 lenses -
cant remember which - will investigate - but did I
see
somewhere that one or more of the larger format
camera's lenses work on the *istD ?

Curious about that and/or anyone is interested in
this stuff.

ann
 

Re: Brotherhood lenses on digital bodies?

[Godfrey DiGiorgi]

There's evidently an adapter to mount Pentax 645 and 6x7 lenses on K- 
mount bodies. Whether it's worth the effort is hard to say as you'll  
then have a large and heavy lens which will only work manual focus  
and stop down metering/exposure, and there are choices that are much  
better in K-mount for any of them.


Godfrey

On Oct 29, 2005, at 1:26 PM, Ann Sanfedele wrote:



Neighbor of mine has the 6x7 and 3 lenses -
cant remember which - will investigate - but did I
see
somewhere that one or more of the larger format
camera's lenses work on the *istD ?

Curious about that and/or anyone is interested in
this stuff.

ann

Re: PESO: The Devil's Secretary

[Godfrey DiGiorgi]

I particularly like the spider accessorizing.

Godfrey

On Oct 29, 2005, at 1:12 PM, Paul Stenquist wrote:

Reservations are now being accepted. DA 16-45 on *istD, ISO 1600,  
f8 @ 1/15th, 45mm. Just a snapshot, but it shows that when shooting  
RAW and setting the color temp in post, one can achieve a  
relatively pleasing hue even when the subject is seated between two  
different kinds of lighting.

http://www.photo.net/photodb/photo?photo_id=3835745

Re: Brotherhood lenses on digital bodies?

[P. J. Alling]

I think all you need is the adapter.

Ann Sanfedele wrote:


Neighbor of mine has the 6x7 and 3 lenses -
cant remember which - will investigate - but did I
see
somewhere that one or more of the larger format
camera's lenses work on the *istD ?

Curious about that and/or anyone is interested in
this stuff.

ann


 




--
When you're worried or in doubt, 
	Run in circles, (scream and shout).

Re: Skills - was Re: Sent My Brother to the Dark Side

[Godfrey DiGiorgi]

On Oct 29, 2005, at 11:04 AM, keith_w wrote:


... How many of us know our cameras *that* well? ...


Um, well, I make between 200 and 400 exposures per week, of all kinds  
of subjects in all kinds of lighting, regardless - in order to obtain  
and maintain that working relationship with my gear (cameras, lenses,  
computer and processing software, printer). I read and study as much  
as I can find that might be useful to know to improve the work. It's  
what I do with *most* of my waking time.


Other than read the PDML list of course. ;-)

Godfrey

PESO - Taku

[Adam Maas]

http://www.flickr.com/photos/mawz/57182627/

*istD, Kenlock Auto 135mm f2.8 screwmount at f2.8 1/1000 ISO3200

-Adam

Re: my day in SF with Shel...

[Godfrey DiGiorgi]

On Oct 29, 2005, at 10:56 AM, David Savage wrote:


Yeah it does work on the D. I find I generally have anywhere between
+1/2 to +1 stop of  compensation always dialed in.


It seems to me that Pentax has calibrated the exposure meter in these  
cameras for the JPEG rendering in camera and does not make any  
adjustment when the camera is switched to RAW format capture. That  
would explain the need for adding in more exposure for best results.


In average lighting, however, the meter calibration seems accurate  
enough and I don't need the added exposure.


Godfrey

Re: Skills - was Re: Sent My Brother to the Dark Side

[P. J. Alling]

Don't forget the free wedding meals...

keith_w wrote:


Powell Hargrave wrote:

When I was shooting weddings, something like 100-150 proofs went 
into the album. Generally, I would shoot in around 200 frames to 
give me some room to delete bad pictures and have some spares for 
padding out the album pages.
The guys I am working with now, shooting digital, are having 400-500 
images printed, and are shooting in the range of 750 pictures at a 
wedding.
William Robb 




I spent a summer working for a wedding factory in Vancouver.  The 
photogs
were given 5 or 6 rolls of 120 film per wedding.  Job was to fill the 
rolls
with usable images and turn the film in to the office the next 
morning in

exchange for $50.00.
With duplicates and blown shots there were likely less than 40 
keepers per

wedding.

Powell



A "wedding factory!" Why not...

Never thought of it, but why not?

Sell us your estimable skills for $50.
Probably works out to some $4 an hour, but what the hey? What ELSE do 
you have to do, to put $50 in your pocket?  Breeze!


keith  <== shaking his head...





--
When you're worried or in doubt, 
	Run in circles, (scream and shout).

Re: my day in SF with Shel...

[Godfrey DiGiorgi]

Shel and Steve ...

Important: this is for working with contrasty, sunlit scenes.  
+0.3-0.7EV compensation in Auto modes or the same amount of  
overexposure in Manual mode will net a better RAW format file for  
processing. In normal to flat average lighting, just make the usual  
exposure corrections based on the average scene reflectance you're  
working with.


Remember that the thumbnail display on the LCD (and hotspot warning  
in the DS) is derived from the standard in-camera JPEG rendering to  
RGB. JPEG format rendering in-camera has approximately 5-6 stops of  
latitude, similar to slide film (a bit more than most, really), but  
with a hard saturation clip at the high end (slide film goes clear a  
bit more gradually). RAW format data has more tonal scale bits to  
work with and more adjustability, nets 7-9 stops of latitude with  
appropriate processing. This is greater than most color negative  
films and nearly as much as the widest latitude B&W available for  
pictorial work.


I've been working with these basic concepts in mind for three years  
with four cameras that can save to RAW format files (Oly C8080WZ, KM  
A2, Canon 10D, Pentax *ist DS), and about 30,000 exposures all told.  
It works and its consistent, although each of the four cameras render  
thumbnails to the LCD somewhat differently.


Godfrey


On Oct 29, 2005, at 10:48 AM, Shel Belinkoff wrote:


Essentially, set the exposure comp to 1/3 to 2/3 stop ~over~ exposure.
You'll see fried highlights on the LCD screen, but that's just from  
the low
quality JPEG.  When looking at the files in the RAW converter,  
little, and
most often nothing, is burnt out (I've not yet come across any  
frame that
had fried highlights).  The raw files have a lot more latitude than  
the
viewed JPEGs.  I'd say - perhaps somewhat exaggerated - working  
with RAW
and JPEG is like using color neg vs slide film.  Anyway, the idea  
is to get
more detail and information in the darker parts of the image and  
deal with

the highlights in the post processing.

Since trying this technique (and admittedly there has only been a days
worth of shooting to work with) my exposures have improved quite a  
bit.

Can't say if this technique will work on the istD, or other digital
cameras, as they may be set up differently.


Care to share?  Compensatory coffee available in London upon
application... ;-)


G gave me some exposure advice which ran counter to what
I'd been doing with the camera, and the results were great - much  
better

than expected.

Re: PESO: Chimp with offspring

[keith_w]

Paul Stenquist wrote:


The title says it all.
http://www.photo.net/photodb/photo?photo_id=3836659&size=lg


Look at those eyes, the excitement in them...
Great catch!

keith

Re: PESO - Snapshot of Naisha

[keith_w]

Shel Belinkoff wrote:


This was taken yesterday on the bus to San Francisco.  It was so nice to be
able to relate to and photograph these kids (Naisha and her brother)
without being concerned about cops, being labeled as a pervert or
pedophile.  The kids' mom was aboard and she had no problem with the
situation.  So refreshing in light of recent experiences and discussions
here.

The greatest thing was that, after getting off the bus to grab the train,
Naisha's brother, who had been sitting in the seat behind me and who had
been playing with Satan earlier, grabbed my hand and walked with me to the
platform, where we parted ways.  What a nice experience - so reminiscent of
the experiences I had years ago when working with street kids and kids in
the old San Francisco neighborhood.

Perhaps the world isn't the same as it used to be, but some people are ...
;-)


You bet! What an experience...


http://home.earthlink.net/~shel-pix/naisha2.html


Shel 


That's an absolutely beautiful shot, Shel!

I hope the mom gets a copy she can frame.

keith

PESO: Chimp with offspring

[Paul Stenquist]

The title says it all.
http://www.photo.net/photodb/photo?photo_id=3836659&size=lg

Re: Skills - was Re: Sent My Brother to the Dark Side

[keith_w]

William Robb wrote:

[...]


One of the last weddings I shot, and it was one of the reasons I retired 
from shooting them, was one with a lot of acrimony between the now 
divorced parents of the bride, and pretty much everyone else in the party.

Pretty much everything that could have gone wrong went wrong that day.
Everything ran late, the parents were acting worse than the flower girl 
and ring bearer, and they were non too happy either. The maid of honour 
was a complete bitch, the bride was an emotional train wreck, the guys 
didn't want anything to do with it and were intent on getting quite 
roaring drunk, and one of the bridesmaids was drunk from the get go.
Personally, I don't blame the wedding party at all for the boozing, I 
would probably have done the same, given the circumstances.
Anyway, to top it off, when the bride had chosen her outdoor location, 
she had neglected to take into consideration that she was going to be 
wearing about twenty pounds of dress on an August afternoon (it turned 
out to be really hot and muggy), and that the creek that was beside the 
shoot would be a mosquito bog by that point in the year.


It was an experience that, were I faced with it again, would run from, 
screaming like a girl.


The shots done with the 6x7 actually showed clouds of mosquitos buzzing 
around the wedding party, and I probably got bit about a hundred and 
fifty times.


William Robb


Good God, Bill, you could sell that to an indy film maker, and it would 
become a photog's cult film!


Love it!

keith

Brotherhood lenses on digital bodies?

[Ann Sanfedele]

Neighbor of mine has the 6x7 and 3 lenses -
cant remember which - will investigate - but did I
see
somewhere that one or more of the larger format
camera's lenses work on the *istD ?

Curious about that and/or anyone is interested in
this stuff.

ann

PESO: The Devil's Secretary

[Paul Stenquist]

Reservations are now being accepted. DA 16-45 on *istD, ISO 1600, f8 @ 
1/15th, 45mm. Just a snapshot, but it shows that when shooting RAW and 
setting the color temp in post, one can achieve a relatively pleasing 
hue even when the subject is seated between two different kinds of 
lighting.

http://www.photo.net/photodb/photo?photo_id=3835745

Re: PESO: Others 2005 - 46q - GDG

[Godfrey DiGiorgi]

On Oct 29, 2005, at 10:15 AM, Powell Hargrave wrote:


  http://homepage.mac.com/ramarren/photo/PAW5/42q.htm


Size really matters with this one.  The small web image does little  
for me
but clicking on it to bring up the larger size dramatically changes  
things.

You can get right down into that thick grass and in amongst the trees.
Very nice tonality. I like it.


Thanks Powell.

I agree ... the small rendering does not have the feel of the larger  
rendering at all. I like it at A3 and A3 Super sizing. And  
resharpening at the lower resolution size turns it to junk too.


Size Does Matter. ;-)

Godfrey

Re: Skills - was Re: Sent My Brother to the Dark Side

[William Robb]

- Original Message - 
From: "Powell Hargrave"

Subject: Re: Skills - was Re: Sent My Brother to the Dark Side



>

Although I did come to very much dislike weddings in general.  Some are
great.  Many are inhabited but up-tight pushy people and inter/intra 
family

clan wars.


One of the last weddings I shot, and it was one of the reasons I retired 
from shooting them, was one with a lot of acrimony between the now divorced 
parents of the bride, and pretty much everyone else in the party.

Pretty much everything that could have gone wrong went wrong that day.
Everything ran late, the parents were acting worse than the flower girl and 
ring bearer, and they were non too happy either. The maid of honour was a 
complete bitch, the bride was an emotional train wreck, the guys didn't want 
anything to do with it and were intent on getting quite roaring drunk, and 
one of the bridesmaids was drunk from the get go.
Personally, I don't blame the wedding party at all for the boozing, I would 
probably have done the same, given the circumstances.
Anyway, to top it off, when the bride had chosen her outdoor location, she 
had neglected to take into consideration that she was going to be wearing 
about twenty pounds of dress on an August afternoon (it turned out to be 
really hot and muggy), and that the creek that was beside the shoot would be 
a mosquito bog by that point in the year.


It was an experience that, were I faced with it again, would run from, 
screaming like a girl.


The shots done with the 6x7 actually showed clouds of mosquitos buzzing 
around the wedding party, and I probably got bit about a hundred and fifty 
times.


William Robb 

Re: Sent My Brother to the Dark Side

[William Robb]

- Original Message - 
From: "graywolf"

Subject: Re: Sent My Brother to the Dark Side


Yeh! I am wondering if anyone else has noticed that most of the 
anti-Pentax posts seem to be from people who also say that you don''t need 
to waste all that time learning the skills of photography. Maybe they 
believe that a newer camera will make up for lack of skill?


Not skill, per se, but the newer cameras can make up for an alarming lack of 
knowledge of the science of photography.


William Robb 

Re: Skills - was Re: Sent My Brother to the Dark Side

[William Robb]

- Original Message - 
From: "Powell Hargrave"

Subject: Re: Skills - was Re: Sent My Brother to the Dark Side





I spent a summer working for a wedding factory in Vancouver.  The photogs
were given 5 or 6 rolls of 120 film per wedding.  Job was to fill the 
rolls

with usable images and turn the film in to the office the next morning in
exchange for $50.00.
With duplicates and blown shots there were likely less than 40 keepers per
wedding.


Was that for a full meal deal, right from pre-bridals till the last dawg was 
hung?
I've taken a few jobs where all they wanted was my skills at the ceremony 
and the bridal party portraits, usually totalling about 4 hours of time.
For something like that, I have shot a couple of rolls of 36, and 1 or 2 
rolls of 220 on the 6x7.


William Robb

Re: PESO Incidental panos #2

[David Savage]

I have to agree with Jens. The black background works well.

Dave

On 10/30/05, Jens Bladt <[EMAIL PROTECTED]> wrote:
> I like the Opera Hosue shot. Very impressive. The curved roof really come
> through in this image.
> It's not hard to imagine, that the architect (Jorgen Utzon) was a son of a
> ship builder (from Elsinor).
> I actually think it looks nice, that you didn't crop out the black parts.
> Regards
>
> Jens Bladt
> Arkitekt MAA
> http://hjem.get2net.dk/bladt
>
>
> -Oprindelig meddelelse-
> Fra: Rob Studdert [mailto:[EMAIL PROTECTED]
> Sendt: 29. oktober 2005 16:18
> Til: pentax-discuss@pdml.net
> Emne: PESO Incidental panos #2
>
>
> Another quick and dirty pano using 3 disparate files captured using my
> old Oly E-10 from a few years back. Again these images weren't shot with the
> intention of stitching, I didn't trim this one so that the original but
> contorted frames are visible.
>
> http://home.swiftdsl.com.au/~distudio/temp/pano_13a.jpg (~240kB)
>
> Again autostitch was used to create this pano:
>
> http://www.cs.ubc.ca/~mbrown/autostitch/autostitch.html
>
> Comments, questions and critiques welcome.
>
> Cheers,
>
>
> Rob Studdert
> HURSTVILLE AUSTRALIA
> Tel +61-2-9554-4110
> UTC(GMT)  +10 Hours
> [EMAIL PROTECTED]
> http://members.ozemail.com.au/~distudio/publications/
> Pentax user since 1986, PDMLer since 1998
>
>
>

RE: PESO Incidental panos #2

[Jens Bladt]

I like the Opera Hosue shot. Very impressive. The curved roof really come
through in this image.
It's not hard to imagine, that the architect (Jorgen Utzon) was a son of a
ship builder (from Elsinor).
I actually think it looks nice, that you didn't crop out the black parts.
Regards

Jens Bladt
Arkitekt MAA
http://hjem.get2net.dk/bladt


-Oprindelig meddelelse-
Fra: Rob Studdert [mailto:[EMAIL PROTECTED]
Sendt: 29. oktober 2005 16:18
Til: pentax-discuss@pdml.net
Emne: PESO Incidental panos #2


Another quick and dirty pano using 3 disparate files captured using my
old Oly E-10 from a few years back. Again these images weren't shot with the
intention of stitching, I didn't trim this one so that the original but
contorted frames are visible.

http://home.swiftdsl.com.au/~distudio/temp/pano_13a.jpg (~240kB)

Again autostitch was used to create this pano:

http://www.cs.ubc.ca/~mbrown/autostitch/autostitch.html

Comments, questions and critiques welcome.

Cheers,


Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998

Re: PESO - Snapshot of Naisha

[Jack Davis]

Shel, This one somehow, got through my PDML filter and into my inbox.
Glad it did. Brought it to my attention.
Your experience with the brother grabbing your hand, was a pure
compliment that could only be granted by an Innocent child.
Gives me an emotional feeling as I write this.
Congratulations!

Jack

--- Shel Belinkoff <[EMAIL PROTECTED]> wrote:

> This was taken yesterday on the bus to San Francisco.  It was so nice
> to be
> able to relate to and photograph these kids (Naisha and her brother)
> without being concerned about cops, being labeled as a pervert or
> pedophile.  The kids' mom was aboard and she had no problem with the
> situation.  So refreshing in light of recent experiences and
> discussions
> here.
> 
> The greatest thing was that, after getting off the bus to grab the
> train,
> Naisha's brother, who had been sitting in the seat behind me and who
> had
> been playing with Satan earlier, grabbed my hand and walked with me
> to the
> platform, where we parted ways.  What a nice experience - so
> reminiscent of
> the experiences I had years ago when working with street kids and
> kids in
> the old San Francisco neighborhood.
> 
> Perhaps the world isn't the same as it used to be, but some people
> are ...
> ;-)
> 
> http://home.earthlink.net/~shel-pix/naisha2.html
> 
> 
> Shel 
> 
> 
> 





__ 
Yahoo! Mail - PC Magazine Editors' Choice 2005 
http://mail.yahoo.com

Re: 50mm/F2 lens worth a CLA

[Patrick Schork]

That would work

On 10/29/05, Lucas Rijnders <[EMAIL PROTECTED]> wrote:
> On Sat, 29 Oct 2005 20:05:33 +0200, Patrick Schork <[EMAIL PROTECTED]>
> wrote:
>
> > Elements 4&5 alone produce a soft focus 50. However the aperture
> > mechanism is left exposed. Adding element 1 turns it into a macro.
>
> You could simply screw on a UV filter to solve that, couldn't you?
>
> --
> Regards, Lucas
> (intrigued, but without 50mm to spare)
>
>

Re: 50mm/F2 lens worth a CLA

[Lucas Rijnders]

On Sat, 29 Oct 2005 20:05:33 +0200, Patrick Schork <[EMAIL PROTECTED]>  
wrote:



Elements 4&5 alone produce a soft focus 50. However the aperture
mechanism is left exposed. Adding element 1 turns it into a macro.


You could simply screw on a UV filter to solve that, couldn't you?

--
Regards, Lucas
(intrigued, but without 50mm to spare)

PESO - Snapshot of Naisha

[Shel Belinkoff]

This was taken yesterday on the bus to San Francisco.  It was so nice to be
able to relate to and photograph these kids (Naisha and her brother)
without being concerned about cops, being labeled as a pervert or
pedophile.  The kids' mom was aboard and she had no problem with the
situation.  So refreshing in light of recent experiences and discussions
here.

The greatest thing was that, after getting off the bus to grab the train,
Naisha's brother, who had been sitting in the seat behind me and who had
been playing with Satan earlier, grabbed my hand and walked with me to the
platform, where we parted ways.  What a nice experience - so reminiscent of
the experiences I had years ago when working with street kids and kids in
the old San Francisco neighborhood.

Perhaps the world isn't the same as it used to be, but some people are ...
;-)

http://home.earthlink.net/~shel-pix/naisha2.html


Shel 

Re: Skills - was Re: Sent My Brother to the Dark Side

[Powell Hargrave]

>A "wedding factory!" Why not...
>
>Never thought of it, but why not?
>
>Sell us your estimable skills for $50.
>Probably works out to some $4 an hour, but what the hey? What ELSE do 
>you have to do, to put $50 in your pocket?  Breeze!
>
>keith  <== shaking his head...


Well it was in the '60s when the Cdn dollar was worth at least as much as
the US$.  Took on average about five hours.

So that would be more like $20-25/hour these days.  Not too bad for part
time student wages. :)

Although I did come to very much dislike weddings in general.  Some are
great.  Many are inhabited but up-tight pushy people and inter/intra family
clan wars.

Powell

Re: 50mm/F2 lens worth a CLA

[Patrick Schork]

Elements 4&5 alone produce a soft focus 50. However the aperture
mechanism is left exposed. Adding element 1 turns it into a macro.

BTW Element 3 is a real bugger to get out. It is glued to the rear of
the cone that 1 2 3 are all attached to. I had to put the cone in a
vice and lightly hammer it out.

On 10/29/05, Derby Chang <[EMAIL PROTECTED]> wrote:
>
> That rules. I want to do this too. I have an M50/2 that is a dust
> collector.
>
>  From Boris' description...
> http://boris.isra-shop.com/monocle.htm
>
> and numbering the elements from 1 to 5 left to right...
> http://www.bdimitrov.de/kmp/lenses/primes/_optics/50f2.gif
>
> ...am I removing elements 1, 2, 4, and 5?
>
> D
>
>
>
>
> Patrick Schork wrote:
>
> >Here are some test shots from my modification of a SMC-A 50/2
> >
> >http://istds.blogspot.com/2005/10/modified-smc-502.html
> >
> >
> >
> >On 10/28/05, Barry Rice <[EMAIL PROTECTED]> wrote:
> >
> >
> >>Hey Folks,
> >>
> >>OK, I guess I'll probably tear the thing apart just to see what's inside it.
> >>
> >>
> >>B
> >>
> >>Barry A. Rice, Ph.D.
> >>Invasive Species Specialist
> >>Global Invasive Species Initiative
> >>The Nature Conservancy
> >>V: 530-754-8891
> >>http://tncweeds.ucdavis.edu
> >>
> >>
> >>
> >>
> >
> >
> >
> >
>
>
> --
> [EMAIL PROTECTED]
> http://members.iinet.net.au/~derbyc
>
>

Re: Skills - was Re: Sent My Brother to the Dark Side

[keith_w]

Shel Belinkoff wrote:


Hi,

Having had a good lesson from Godfrey yesterday about exposure, and some
tips on processing RAW,  you'll find no disagreement here. 


It's not "too hard to get it right" (although I'm still working on honing
the skills needed to do so), you just have to know what to do and then
practice and experiment a bit.  And you've got to know your gear - how it
works, its idiosyncrasies, and so on.  For example, what Bruce taught me
that works for him on the istD is not the best approach for working with
the istDS - at least as I understood what Bruce had to say.  It took a long
time, and many mistakes, before I could properly process or expose B&W
film.  What the problem is, imo, is that too many photogs have removed
themselves from the process, just snapping the shutter and then sending the
film to a lab for processing. 

Shel 


I remember reading about some of the old photographers I idolized, whose 
photographs stick in my mind, and will be there forever.
Almost without exception, they found what [camera/gear] they liked, or 
used what they could afford at the time, and it became a constant companion.

Used it day and night. Lived with it, literally.

Done that way, you become intimately familiar with this mechanical 
wonder, and if it's capable of it, you can do it, almost without thinking.

Changing all aspects of the exposure on the run, automatically.

How many of us know our cameras *that* well?

I used to with my old Retina Ia folder. I don't anymore with any of my 
FAR more expesive cameras...


I need to start applying myself. Thanks for prompting that thought 
process, Shel.


keith

Re: my day in SF with Shel...

[David Savage]

On 10/30/05, Shel Belinkoff <[EMAIL PROTECTED]> wrote:
> Hi Steve ...
>
> Essentially, set the exposure comp to 1/3 to 2/3 stop ~over~ exposure.
> You'll see fried highlights on the LCD screen, but that's just from the low
> quality JPEG.  When looking at the files in the RAW converter, little, and
> most often nothing, is burnt out (I've not yet come across any frame that
> had fried highlights).  The raw files have a lot more latitude than the
> viewed JPEGs.  I'd say - perhaps somewhat exaggerated - working with RAW
> and JPEG is like using color neg vs slide film.  Anyway, the idea is to get
> more detail and information in the darker parts of the image and deal with
> the highlights in the post processing.
>
> Since trying this technique (and admittedly there has only been a days
> worth of shooting to work with) my exposures have improved quite a bit.
> Can't say if this technique will work on the istD, or other digital
> cameras, as they may be set up differently.
>
> Shel
>


Yeah it does work on the D. I find I generally have anywhere between
+1/2 to +1 stop of  compensation always dialed in.

Dave

RE: What's wrong with this picture?

[Anthony Farr]

I reckon it's happened in camera too.

To get a better handle on the problem I inverted the image of the negative
strip at http://www.procaptura.com/~toralf/bilde.php?navn=neg
and saw to my amazement that the grossly overexposed frame 18, as well as
the better exposed but very flared frame 19 had the sun in the frame.
Looking at the inverted (thus true toned) neg strip I can trace the path of
the light from the sun as it travelled through the emulsion by means of
'light-piping', which is the same principle used by fibre-optics.  This
passage of fogging light would have continued all the while diminishing to
nothing, except that a short way from its source it struck the architecture
of the camera.  The stainless steel pinch roller just beyond the edge of the
pressure plate is the likely cause of the band across frame 17, which had
already passed the film-gate on its way to the take-up spool.  The partial
band of fog across frame 19 would correspond to the limit of the film
outside the velvet light trap of the cassette.

regards,
Anthony Farr 

> -Original Message-
> From: William Robb [mailto:[EMAIL PROTECTED]
> Sent: Sunday, 30 October 2005 4:19 AM
> To: pentax-discuss@pdml.net
> Subject: Re: What's wrong with this picture?
> 
> 
> - Original Message -
> From: "Toralf Lund"
> Subject: Re: What's wrong with this picture?
> 
> 
> 
> 
> >>
> > So, you think the actual pattern suggests that this happened while the
> > film was in the camera? Would the fact that frame 15 has a similar, but
> > narrower, band also be consistent with that.
> 
> 
> It definitely happened in camera. I don't see how it could be a processing
> error.
> On looking again at the film strip as posted, I am tending to agree with
Rob
> that the shutter was hung open for a very long time, probably 30 or more
> seconds, in full daylight with the lens relatively wide open, and what you
> are seeing is extreme overexposure on the frame that is totally
obliterated,
> and then a combination of halation and light bouncing around inside the
> camera causing the rest.
> 
> William Robb

Re: Skills - was Re: Sent My Brother to the Dark Side

[keith_w]

Powell Hargrave wrote:

When I was shooting weddings, something like 100-150 proofs went into the 
album. Generally, I would shoot in around 200 frames to give me some room to 
delete bad pictures and have some spares for padding out the album pages.
The guys I am working with now, shooting digital, are having 400-500 images 
printed, and are shooting in the range of 750 pictures at a wedding.
William Robb 



I spent a summer working for a wedding factory in Vancouver.  The photogs
were given 5 or 6 rolls of 120 film per wedding.  Job was to fill the rolls
with usable images and turn the film in to the office the next morning in
exchange for $50.00.
With duplicates and blown shots there were likely less than 40 keepers per
wedding.

Powell


A "wedding factory!" Why not...

Never thought of it, but why not?

Sell us your estimable skills for $50.
Probably works out to some $4 an hour, but what the hey? What ELSE do 
you have to do, to put $50 in your pocket?  Breeze!


keith  <== shaking his head...

Re: Skills - was Re: Sent My Brother to the Dark Side

[keith_w]

graywolf wrote:

[...]

Then the economy improved and I could make a lot more money doing 
something else with a lot less effort and minimal worrys. Besides, I do 
not have a bullet proof ego, and the need for relentless self promotion 
wearied me relentlessly. I do like to think I have a good eye for an image.


One of the things I want to say is that 12 for 12 I mentioned, was for 
routine work. Experimental stuff or learning a new technique was more 
like 1 for 100, but you did that on your own not for a client. With my 
free reshoot policy I was not about to take a job I did not already know 
I could do properly. I guess that is what bothers me about those posts 
that read something like, "I just took a job shooting a jewery catalog. 
Will someone tell me how to shoot jewery. I need the information real 
quick".



graywolf


Hah! I love it! Thanks for mentioning that, Tom...

Might as well be asking about a quick course in shooting crystal 
glassware. Same ol' same ol'.


I'm glad you mentioned that. The raw chutzpah of beginner "shutter 
clickers" is just plain amazing!


Much like a male child of 17. Old enough to know he is immortal and can 
do quite literally anything he puts his mind to.
Then he spends the next 60+ years of his life experiencing how much he 
really _doesn't_ know, and gathering enough skills to get along...


Like the more you know, the more ignorant you find out you really are!

Best,  keith

Re: my day in SF with Shel...

[Shel Belinkoff]

Hi Steve ...

Essentially, set the exposure comp to 1/3 to 2/3 stop ~over~ exposure. 
You'll see fried highlights on the LCD screen, but that's just from the low
quality JPEG.  When looking at the files in the RAW converter, little, and
most often nothing, is burnt out (I've not yet come across any frame that
had fried highlights).  The raw files have a lot more latitude than the
viewed JPEGs.  I'd say - perhaps somewhat exaggerated - working with RAW
and JPEG is like using color neg vs slide film.  Anyway, the idea is to get
more detail and information in the darker parts of the image and deal with
the highlights in the post processing.

Since trying this technique (and admittedly there has only been a days
worth of shooting to work with) my exposures have improved quite a bit. 
Can't say if this technique will work on the istD, or other digital
cameras, as they may be set up differently.

Shel 


> [Original Message]
> From: Steve Jolly 

> Shel Belinkoff wrote:
> > G gave me some exposure advice which ran counter to what
> > I'd been doing with the camera, and the results were great - much better
> > than expected.
>
> Care to share?  Compensatory coffee available in London upon 
> application... ;-)

Re: Skills - was Re: Sent My Brother to the Dark Side

[Shel Belinkoff]

Hi,

Having had a good lesson from Godfrey yesterday about exposure, and some
tips on processing RAW,  you'll find no disagreement here. 

It's not "too hard to get it right" (although I'm still working on honing
the skills needed to do so), you just have to know what to do and then
practice and experiment a bit.  And you've got to know your gear - how it
works, its idiosyncrasies, and so on.  For example, what Bruce taught me
that works for him on the istD is not the best approach for working with
the istDS - at least as I understood what Bruce had to say.  It took a long
time, and many mistakes, before I could properly process or expose B&W
film.  What the problem is, imo, is that too many photogs have removed
themselves from the process, just snapping the shutter and then sending the
film to a lab for processing. 

Shel 


> [Original Message]
> From: Paul Stenquist 


> I've seen where digital has in some ways raised the bar. To get the 
> exposure latitude with digital that is inherent in color negative film, 
> you have to shoot RAW and you have to know what you're doing. For the 
> time being at least, that means doing it yourself. A few of the 
> lightweight pros I've met who went back to film after a brief foray in 
> digital, complained that it "was too hard to get it right." By the way, 
> I see a business opportunity for someone who opens a pro lab that knows 
> how to handle RAW and can automate the process -- or charge enough to 
> make piecemeal work pay. I've talked to a number of wedding 
> photographers who are looking for just such a lab.
> Paul
> On Oct 29, 2005, at 12:22 AM, graywolf wrote:
>
> > I think I have to agree with that, Shel.
> >
> > graywolf
> > http://www.graywolfphoto.com
> > "Idiot Proof" <==> "Expert Proof"
> > ---
> >
> >
> >
> > Shel Belinkoff wrote:
> >
> >> It's just that attitude that has contributed to the lowering of the 
> >> quality
> >> bar.  Usable results - maybe.  But high quality results - maybe not.
> >>
> >> Shel
> >>
> >>
> >>> [Original Message]
> >>> From: Tom Reese
> >>
> >>
> >>> They don't need to worry about exposure with color negative film. 
> >>> There's
> >>> enough latitude that a three stop miss will still give usable 
> >>> results.
> >>>
> >>>
>  I've saw evidence of that at the photo shop. We used to do a lot of
>  processing for pros. When they started making the transition to 
>  digital
>  you could see who really had a handle on exposure and who didn't. 
>  Not
>  many did.
> 
> >>
> >>
> >>
> >>
> >

Re: Sent My Brother to the Dark Side

[graywolf]

Yeh! I am wondering if anyone else has noticed that most of the 
anti-Pentax posts seem to be from people who also say that you don''t 
need to waste all that time learning the skills of photography. Maybe 
they believe that a newer camera will make up for lack of skill?


graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Shel Belinkoff wrote:


Well said Frank ... your posts are far more interesting when you're cranky
;-))

Shel 



 


[Original Message]
From: frank theriault 
   



 


well then, all those people here (not referring to you, rob) who
constantly bitch and whine about pentax should shut the fuck up and go
buy another camera system.  you're life will then be complete, and
you'll be able to die happy.

you can remain on this list and continue to be welcome, as have many
defectors over the years.  christian, marnie, cotty, all come to mind,
and i know i've forgotten quite a few.

i just don't understand this "pentax doesn't make what i want, so i'm
going to complain about it and if that doesn't work i'll threaten to
move to another brand" rant that we so often hear on this list.

go!  we won't hate you. really.

funny, but the "defectors" made their switch very quietly, iirc,
telling us pretty much after the fact what they did and why, without a
lot of histrionics.  otoh, the whiners have been whining for years,
and they're still here.  h

i say:  be good capitalists and vote with your feet.  pentax (by your
accounts) seems not to be listening anyway;  maybe they'll listen to
the bottom line (ie:  lost sales).

what?  what's that?  the ds is a huge success and seems to be selling
well and is getting good reviews?  (including a three camera dslr
shootout in the last american photo magazine, btw).  well what can i
say.  bottom line is that pentax ain't coming out with a "pro" 35mm
equivalent dslr in our lifetimes.  if that doesn't suit you, please,
put us out of our misery.

rant over.

-frank (only slept 3 hours last night due to throbbing arm and hand,
so i'm crankier than usual) 




--
"Sharpness is a bourgeois concept."  -Henri Cartier-Bresson
   





 

Re: Skills - was Re: Sent My Brother to the Dark Side

[Powell Hargrave]

>When I was shooting weddings, something like 100-150 proofs went into the 
>album. Generally, I would shoot in around 200 frames to give me some room to 
>delete bad pictures and have some spares for padding out the album pages.
>The guys I am working with now, shooting digital, are having 400-500 images 
>printed, and are shooting in the range of 750 pictures at a wedding.
>William Robb 

I spent a summer working for a wedding factory in Vancouver.  The photogs
were given 5 or 6 rolls of 120 film per wedding.  Job was to fill the rolls
with usable images and turn the film in to the office the next morning in
exchange for $50.00.
With duplicates and blown shots there were likely less than 40 keepers per
wedding.

Powell

Re: What's wrong with this picture?

[graywolf]

It could be bad light seals on the back, exposing the film only when the 
camera is at certain angles to the sun. That is a fairly common problem 
with older cameras, and a cheap one to repair.


graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Toralf Lund wrote:


William Robb wrote:



- Original Message - From: "Toralf Lund" Subject: Re: What's 
wrong with this picture?






In any case, I've now also done a quick scan of the entire negative 
strip. Not a very good one as I used a plain A4 document scanner, 
but I think it illustrates the problem well enough. You'll find it 
here:


http://www.procaptura.com/~toralf/bilde.php?navn=neg



Camera back was opened briefly.



I haven't noticed it being opened, obviously, or I wouldn't have 
asked. But maybe something may somehow have happened while I was 
carrying the camera in a bag full of other stuff?


There is also a somewhat narrower vertical band across frame no 15, by 
the way - this is what I was referring to in the original post (first 
frame in the strip shown is no 17), and also a couple of small, green 
marks outside the actual image area at around no. 13. The rest of the 
film is OK.


- T

Re: Skills - was Re: Sent My Brother to the Dark Side

[graywolf]

Well, a lot depends upon what market area you are in. Back then (and we 
are talking about in the middle of the worse recession since the great 
depression of the 1930's, and one of the areas hardest hit by it) in the 
market I was in, the norm was you delivered about 100 proofs, for a 
contracted album of 12, hoping that you might get that upped another 
dozen which would provide you with a nice profit. The base album was 
priced to get the job and you pretty much broke even on it. Of course, I 
was not in the upscale market like TV is, you needed to be one of them 
yourself or own a brick and mortar studio to break into that. Nowadays 
it seems like you contract to deliver a couple hundred images for a big 
price, and shoot a thousand or so to get them; but that is only heresay 
I have no experience in the current wedding market.


However, most of my commercial work was such that one roll of film and a 
half dozen prints was all that was involved. New York ad agencies were 
not knocking on my door. On the other hand my policy was the client was 
happy, or it got reshot free. Since I could not afford to reshoot a job 
for nothing, I worked real hard to make him happy the first time around.


Then the economy improved and I could make a lot more money doing 
something else with a lot less effort and minimal worrys. Besides, I do 
not have a bullet proof ego, and the need for relentless self promotion 
wearied me relentlessly. I do like to think I have a good eye for an image.


One of the things I want to say is that 12 for 12 I mentioned, was for 
routine work. Experimental stuff or learning a new technique was more 
like 1 for 100, but you did that on your own not for a client. With my 
free reshoot policy I was not about to take a job I did not already know 
I could do properly. I guess that is what bothers me about those posts 
that read something like, "I just took a job shooting a jewery catalog. 
Will someone tell me how to shoot jewery. I need the information real 
quick".



graywolf
http://www.graywolfphoto.com
"Idiot Proof" <==> "Expert Proof"
---



Rob Studdert wrote:


On 29 Oct 2005 at 0:38, graywolf wrote:

 

Back in the 80's when I was trying to make a living with my cameras, I 
expected to get 1 great shot out of 12 and that all 12 would be salable 
(Which is why I hated weddings there were always duds that were not the 
photographer's fault, often of critical shots. However, I think 
successful wedding photographers were far more controlling than I was 
comfortable with). I wonder what the ratio out there is now in this 
digital age.
   



I guess you should also consider how many shots were expected in an average 
wedding portfolio back then vs what's expected for the average wedding these 
days?



Rob Studdert
HURSTVILLE AUSTRALIA
Tel +61-2-9554-4110
UTC(GMT)  +10 Hours
[EMAIL PROTECTED]
http://members.ozemail.com.au/~distudio/publications/
Pentax user since 1986, PDMLer since 1998


 

Re: What's wrong with this picture?

[William Robb]

- Original Message - 
From: "Toralf Lund"

Subject: Re: What's wrong with this picture?






So, you think the actual pattern suggests that this happened while the 
film was in the camera? Would the fact that frame 15 has a similar, but 
narrower, band also be consistent with that.



It definitely happened in camera. I don't see how it could be a processing 
error.
On looking again at the film strip as posted, I am tending to agree with Rob 
that the shutter was hung open for a very long time, probably 30 or more 
seconds, in full daylight with the lens relatively wide open, and what you 
are seeing is extreme overexposure on the frame that is totally obliterated, 
and then a combination of halation and light bouncing around inside the 
camera causing the rest.


William Robb 

Re: PESO: Others 2005 - 46q - GDG

[Powell Hargrave]

>Don't know what moved me, but I decided to work with an exposure I  
>made last fall when I returned home from San Francisco this evening.
>
>   http://homepage.mac.com/ramarren/photo/PAW5/42q.htm
>
>Godfrey

Size really matters with this one.  The small web image does little for me
but clicking on it to bring up the larger size dramatically changes things.
You can get right down into that thick grass and in amongst the trees.
Very nice tonality. I like it.
Powell

Re: PESO - Michael's Spoon

[Shel Belinkoff]

Hi Paul,

Yes, there were one or two photos that were posted from the same day. 
Don't recall when - last year some time?  Twasn't the same shot ... this
was one of them:  

http://home.earthlink.net/~pdml-pics/shooting.html

Shel 


> [Original Message]
> From: Paul Stenquist 

Michael's Spoon
>
> I like this as well. Poignant imagery, well executed. Didn't you post a 
> similar shot several years ago? Was it from the same day? I don't think 
> it was the same shot, although my memory frequently fails me.

> http://home.earthlink.net/~shel-pix/mikesspoon.html

Re: PESO: Others 2005 - 46r - GDG (Shel using his DS)

[Shel Belinkoff]

Hi Boris,

I suppose some people call it that.  Since yesterday was a day of learning
for me - learning about new lenses, testing older lenses, about how to
expose on the DS, about trap focus, and where to get a good piece of
cheesecake, a little chimping seemed acceptable 

Shel 

> [Original Message]
> From: Boris Liberman 

> > Thought y'all might like this...
> > 
> >   http://homepage.mac.com/ramarren/photo/PAW5/42r.htm
>
> Ok then... So Shel is reviewing his stuff on the little screen of his 
> Ds... Isn't it called "chimping"? ;-)

Re: PESO - Others 2005 - 46r - GDG (Shel using his DS)

[Shel Belinkoff]

Hi Bruce  from the few pix made with the 14mm, I'd say it's worth
getting a sample and trying it for a day or so.  I didn't shoot much with
it, but it would be great to spend a full day exploring the possibilities
the lens offers and getting a good handle on its quality.

Shel 


> [Original Message]
> From: Bruce Dayton 

>   And a very appropriate use of a 14mm, says I!


> SB> Here's one that I call "Too Much Cheesecake Will Shrink Your Head"
>
> SB> http://home.earthlink.net/~shel-pix/2muchcheesecake.html
>
> SB> The pix that G posted were of my first successful attempt with trap
focus.
> SB> A very neat feature!  
>
>
> SB> Shel 
>
>
> >> [Original Message]
> >> From: Godfrey DiGiorgi 
>
> >> Thought y'all might like this...
> >>
> >>http://homepage.mac.com/ramarren/photo/PAW5/42r.htm
>
>
>

Re: PESO PAW - The Devil Rides a Bus

[Boris Liberman]

Hi!


I took a bus into San Francisco today and met Satan incarnate. He was
getting off at the next stop ;-))

http://home.earthlink.net/~shel-pix/satan1.html

Comments welcome ...


"You're the devil in (out of) disguise...", Madonna ;-).

San Francisco is a mysterious city...

Boris

Re: PESO - Others 2005 - 46r - GDG (Shel using his DS)

[Boris Liberman]

Hi!


Here's one that I call "Too Much Cheesecake Will Shrink Your Head"

http://home.earthlink.net/~shel-pix/2muchcheesecake.html

The pix that G posted were of my first successful attempt with trap focus. 
A very neat feature!  


Godfrey is indeed trapped... No way to escape the shrinking powers of 
mighty 14 mm lens ;-).


I guess we can say Godfrey and Shel are even ;-).

Boris