Re: Question about finding "Missing folder" in LR

[Boris Liberman]

Igor, can't you use "subst" command and assign another "virtual" drive 
letter to the same physical drive?


This little program:
http://www.ntwind.com/software/utilities/visual-subst.html

may help you to make your virtual arrangement more permanent as you can 
make it run at start time and restore the subst drives even before you 
run your LR.


On 10/31/2013 6:53 AM, Igor Roshchin wrote:


Hi All:

I encountered the following situation (LR 3.4, Win7):
I have photos that are stored on an external HDD (connceted via USB).
They are in a LR catalog, but it happened that they were imported on
different occasions, - while the HDD had two different drive letters
assigned to it.

So, no matter what letter the drive has at the moment, a portion of the
photos is "missing".
So, I wanted to find those photos by "Find missing folder" (they are all
under the same main folder (directory) which has sub-folders.
The problem is that when LR opens an "explorer" window so that I
can point to the "new" location of the folder, that one only
offers the internal HDD, and not the one connected via the USB (it doesn't have 
"Computer" or any other high-level mounting points). So,
(This is a laptop, so I cannot connect this drive as an internal one.)

Any idea how I can work around this problem?

Thanks,

Igor






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Question about finding "Missing folder" in LR

[Igor Roshchin]

Hi All:

I encountered the following situation (LR 3.4, Win7): 
I have photos that are stored on an external HDD (connceted via USB).
They are in a LR catalog, but it happened that they were imported on
different occasions, - while the HDD had two different drive letters
assigned to it.

So, no matter what letter the drive has at the moment, a portion of the
photos is "missing".
So, I wanted to find those photos by "Find missing folder" (they are all
under the same main folder (directory) which has sub-folders.
The problem is that when LR opens an "explorer" window so that I
can point to the "new" location of the folder, that one only
offers the internal HDD, and not the one connected via the USB (it doesn't have 
"Computer" or any other high-level mounting points). So, 
(This is a laptop, so I cannot connect this drive as an internal one.)

Any idea how I can work around this problem?

Thanks,

Igor



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Re: PESO: White-Faced Heron

[David Mann]

On Oct 31, 2013, at 9:02 am, Darren Addy  wrote:

> It is unfortunate that this thread has devolved into the crapfest that
> one can now (apparently) expect whenever Tom decides to post something
> to this list. I almost forgot to look that image that David originally
> posted:
> http://gallery.multi.net.nz/photo/673/#peso
> 
> I was taken aback at it's beauty. Yes, it is a beautiful creature, but
> the capture (lighting, DOF, sharpness, color, etc) is STUNNING. One of
> the best I've seen on PDML this year. That is publication quality or
> should be commemorated as a postage stamp or something. Superb!

Thanks for the comments Darren but you're too kind!

In response to what Larry said, it turns out I took 18 photos of the heron.  On 
my first quick pass I marked 4 of them for a closer look.  Most of the rest are 
a little soft, plus a there are a couple of groups of similar shots where I 
chose the one I liked best.

For the other bird I mentioned I have 34 to start with, many of which are very 
similar... so I'm procrastinating for now :)

And Godfrey was correct, he had commented beforehand.  I do appreciate the kind 
comments (and the not-so-kind ones as long as they're constructive), even if I 
don't clutter the list by replying to each and every one :)

Cheers,
Dave



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Re: I've been tempted

[Boris Liberman]

On 10/30/2013 6:52 PM, CollinB wrote:

Local shop has a used 16-50/2.8 for $900.
First one I've been able to physically get my hands on.
So ... the FA28/2.8 and FA35/2 could equal a little over 1/2 of that lens'
price.
Could do it if I also sol either the 70/2.4 or the F50/1.7 + the 18-55WR.
Let's see -- FA28/2.8 @ $250, FA35/2 @ $300, 18-55WR @ 125
Oh, the pain.


Too expensive if you ask me... Like 1.5 times more expensive.


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Re: My K3.....

[Peter Loveday]

In Oz, the silver 'kit' was A$200 more, which is a bargain for the grip and 
a spare battery.


There's no kit available with the black version including grip though, so I 
can't really compare pricing there.


Still, I ordered the black one.  I have plenty of D-LI90s.. I'll probably 
pay more than $200 for the grip - but I just couldn't bring myself to buy 
the ugly silver monstrosity version :)


- Peter


-Original Message- 
From: John Francis

Sent: Thursday, October 31, 2013 2:09 PM
To: Pentax-Discuss Mail List
Subject: Re: My K3.

On Wed, Oct 30, 2013 at 06:20:02PM -0600, Bill wrote:

On 30/10/2013 1:08 PM, Darren Addy wrote:
>Congrats on the K-3 and getting the limited for the same price as the
>"plain chocolate" version, Bill!
>


Honestly, I thought about telling him to forget it, just get me a
black one, but it seems foolish to give up the thrown in battery and
grip because I don't like the silver cosmetics. I took a bath on my
silver Limited lenses because I wanted black ones once they became
available.

bill


It sounds to me as though one of you is getting a bit confused.

AFAIK the Silver K-3 kit (with the matching grip and an extra battery)
costs round about the same as the same package in black, not the same
as a black K-3 'body only'.


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Re: My K3.....

[Jens]

Yes, it seems to me too, that the silver one is less expensive, if you want a 
grip anyway (I do). 
I own the grip for the K20D and the K-5 and I love this for vertical shots - 
and I never run out of power.

However, in my country I get a fine discount at a special store (Dustin Home), 
provided by my employer - appr. 125 USD. But this store only sells the black 
version. 
So, I guess I'll settle for black :-)
 
Regards
Jens
-- 
Treat others as you would like to be treated yourself.

On Oct 30, 2013 19:41 "Steve Cottrell"  wrote:
> On 28/10/13, Bill, discombobulated, unleashed:
> >.Will apparently be silver. I don't know if Pentax is doing this
> >
> >just for me, or if my pusher is, or what, but apparently the silver
> >K3 
> >and the black K3 are coming in at the same price, but the silver one
> >
> >comes with the grip and an extra battery. I guess I can live with a 
> >silver one.
> >Estimated delivery is third week of November.
> 
> I normally lust after black but I must say the silver - with the grip
> -
> looks pretty cool.
> 
> -- 
> 
> 
> Cheers,
>   Cotty
> 
> 
> ___/\__Broadcast, Corporate,
> ||  (O)  |Web Video Production
> --
> _
> 
> 
> 
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Re: Maverick OSX

[steve harley]

on 2013-10-27 18:49 P.J. Alling wrote

If they're going to use Maverick as a code name I hope they at least supplied a
kick ass poker game...


well the actual name is "Mavericks", from the name for a beach of which few of 
us had previously known; and it's not just a code name — "OS X Mavericks" (with 
a thin space between the S and X) is the full proper marketing term for the 
product; OS X 10.9 is still technically valid, and what i'll call it from my 
stubborn perch on the high branch in the cage



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Re: K-3 and AF540FGZ II Flash availability

[Bob Sullivan]

What, WHAT!!  I've got to check my order!  Bob S.

On Wed, Oct 30, 2013 at 8:09 PM, Stan Halpin
 wrote:
> I've been waiting since forever but finally this evening got a notice from 
> B&H that the AF540FGZ II Flash is in stock. While I was abusing my credit 
> card, I figured "what the heck" and also ordered a (black) K-3 and grip. The 
> K-3 body showed up as "in stock" and moved right into my shopping cart. The 
> grip was available pre-order only.
>
> stan
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Re: My K3.....

[John Francis]

On Wed, Oct 30, 2013 at 06:20:02PM -0600, Bill wrote:
> On 30/10/2013 1:08 PM, Darren Addy wrote:
> >Congrats on the K-3 and getting the limited for the same price as the
> >"plain chocolate" version, Bill!
> >
> 
> 
> Honestly, I thought about telling him to forget it, just get me a
> black one, but it seems foolish to give up the thrown in battery and
> grip because I don't like the silver cosmetics. I took a bath on my
> silver Limited lenses because I wanted black ones once they became
> available.
> 
> bill

It sounds to me as though one of you is getting a bit confused.

AFAIK the Silver K-3 kit (with the matching grip and an extra battery)
costs round about the same as the same package in black, not the same
as a black K-3 'body only'.


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PESO: Stream Monster (Halloween Special)

[Stan Halpin]

I took this shot 3 weeks ago, had looked at it several times since, and the 
creature did not choose to reveal himself to me until tonight. On Halloween Eve 
. . . Not that I am spooked or anything, but just sayin'.
(;-)

stan

http://photos.stanhalpin.com/p155717848/h111e0bf1#h111e0bf1
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Re: GFM news

[Ann Sanfedele]

darn -
well - I probably won't be able to go this year anyway - but she is such 
a terrific gal I'd miss her


ann

On 10/30/2013 19:58, Mark Roberts wrote:

Those of you who've attended the GFM photography workshops over the
past few years will be disappointed to learn that Grandfather
Mountain's publicity director Landis is leaving the job and moving on
to another position. It sounds like a great career move for her but
it's a loss for the rest of us who'll miss her presence.

Doug and I plan on terrifying her successor next June...





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Re: OT - Cycle Mounts - Request

[David Mann]

On Oct 31, 2013, at 12:55 pm, Steve Cottrell  wrote:

> I take your humour but in reality, I do use gaffer tape (and the less
> sticky version 'camera tape') on many things - but these cyclists are
> prickly customers. They get a bit fickle when they see a roll of tape
> near their big-bucks bikes

The previous owner of my race wheels damaged one of the decals when they used 
some electrical tape when transporting them, and that stuff's not particularly 
sticky.  The carbon itself wasn't damaged though.  I could buy a new set of 
stickers but can't be bothered.

I hope you get some stills of these bikes :)

Cheers,
Dave


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K-3 and AF540FGZ II Flash availability

[Stan Halpin]

I've been waiting since forever but finally this evening got a notice from B&H 
that the AF540FGZ II Flash is in stock. While I was abusing my credit card, I 
figured "what the heck" and also ordered a (black) K-3 and grip. The K-3 body 
showed up as "in stock" and moved right into my shopping cart. The grip was 
available pre-order only.

stan
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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 7:31 PM, Stan Halpin  wrote:

> On Oct 30, 2013, at 3:20 PM, Eric Weir wrote:
> 
>> On Oct 30, 2013, at 3:01 PM, Tom C  wrote:
>> 
>>> In my opinion taking a lot of shots does not improve one's photography
>>> any more than throwing a 1000 darts at a dartboard blind folded
>>> improves one's game….
>>> 
>>> I'm probably stating the obvious, but getting good shots is usually a
>>> matter of having a good eye for composition, paying attention to
>>> technical details, shooting in the right light, using the right tool
>>> for the job, knowing one's gear. 
>> 
>> Yeah, you definitely are. 
>> 
>> You don’t need to size up the situation? You don’t need to look through the 
>> viewfinder? You don’t need to think about what you want to accomplish? You 
>> don’t need to check your settings? You don’t need to think about what 
>> settings are called for in the situation given what you want to accomplish? 
>> You don’t need to check the results you’re getting and adjust? 
>> 
>> How stupid do you think I am?
> 
> I am not sure where you are coming from in your response to Tom, Eric. He was 
> stating some fundamental truths, presumably to bring the discussion back on 
> center. 
> 
> There are two separate notions confabulated here. One is: what does it take 
> to improve in one's photography. The second is: what does it take to take a 
> good image.

Thanks, Stan. 

To answer your question, they could be considered fundamental truths or things 
that go without saying. Whichever, in neither case was I either ignorant of 
them or dismissing them. I wouldn’t say you'd have to be stupid to take such 
ridiculous position. I’d say no one would be so stupid as to do so. Yet in his 
comment, and his followup as well, that is how Tom chose to interpret me—as 
advocating “throwing darts at a dartboard blind folded”. 

The distinction between learning to take good shots and taking good shots is 
helpful. Learning to take good shots is clearly a necessary condition of taking 
good shots. It’s obviously not sufficient. I’m obviously a learner. That 
probably conditioned my response to David. But in I would point out that I was 
responding specifically to what he said: "I took quite a few photos, most of 
which just slightly missed focus, and I think that was the last one I took.”

I’ve probably just muddied the waters even more here. It’s probably the best I 
can do.

Regards,
--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"Hatred destroys. Love heals."

- Eknath Easwaran


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Re: OT is Photoshop evil?

[Rob Studdert]

On 31 October 2013 10:03, Bruce Walker  wrote:

> Passing off retouched models as real is the same as passing off beer
> as a lifestyle or shiny cars as life-changing objects -- it's all
> marketing. Don't folks these days know fictions when they see 'em?

Apparently not when it's a camera ad :)

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Re: White-Faced Heron

[Rob Studdert]

I shoot a lot of shows along side other photographers, sometimes I
shoot more than them, sometimes less but generally the feedback I get
from artists is complementary with relation to my ability to capture
their most meaningful facial expressions. My images are sometimes
technically better than others but all the technical stuff aside the
absolute differentiator is timing, and sometimes you just need to
shoot the hell out of a subject in order to capture the perfect
expression. That said I rarely set my drive mode to continuous but the
shutter still seems to become pretty rapid fire when the action
demands.

On 31 October 2013 10:50, Mark Roberts  wrote:
> Paul Stenquist wrote:
>
>>On Oct 30, 2013, at 4:37 PM, Mark Roberts  wrote:
>>>
>>> BTW: In the case of fashion photographers the answer to why they take
>>> so many shots is often "because that's what the editors demand". Some
>>> will totally decompensate if they don't have thousands of images, with
>>> the slightest variation between any two, to choose from. If you're a
>>> working pro you have to deliver what the client wants (unless you're
>>> one of a handful of elites who can dictate to editors what you're
>>> going to give them).
>>
>>To that add that trying to get a model to strike that perfect pose with the
>>perfect expression is extremely difficult. So you have them try different
>>things and you keep snapping away. You simply can't get it in a reasonable
>>number of shots with most models.
>
> Yep. At the college where I teach we have a bi-annual student-produced
> fashion magazine. On Tuesday at our Graphic Design club meeting were
> going through possible cover photos. Probably a thousand of them. The
> difference a small change in pose can make is astonishing.
>
>
> --
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> www.robertstech.com
>
>
>
>
>
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Re: geso big sur

[Larry Colen]

On Wed, Oct 30, 2013 at 11:25:38PM +, Steve Cottrell wrote:
> On 28/10/13, Larry Colen, discombobulated, unleashed:
> 
> >Didn't get any real outstanding shots on our drive through big sur,
> >but I think that this is a pleasant collection:
> >http://www.flickr.com/photos/ellarsee/sets/72157637075885303/
> 
> Disagree.
> 
> These are super:
> 
> 
> 
> 

Thanks Cotty. I guess that I'm a terrible judge of my own photos.  Both of those
were pretty much a case of walk up to a tourist outlook, aim my camera at
the scenic bits, snap a bunch of pictures then choose the better ones. 
I used a bigma with the first, and Candice's ND filter with the second, so 
while someone with an iPhone couldn't have gotten them, pretty much anyone 
with a reasonably complete SLR kit could have, and with little effort.

It's hard for me to think of a photo that "anybody" could have taken as
particularly special. 


-- 
Larry Colen  l...@red4est.com http://red4est.com/lrc


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Re: GFM news

[Bruce Walker]

On Wed, Oct 30, 2013 at 8:15 PM, Mark Roberts
 wrote:
> Steve Cottrell wrote:
>
>>The positions I've ever seen her in were pretty dandy ;-)
>
> You've risen to a new low. :)

Mark!

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Re: My K3.....

[Bill]

On 30/10/2013 1:08 PM, Darren Addy wrote:

Congrats on the K-3 and getting the limited for the same price as the
"plain chocolate" version, Bill!




Honestly, I thought about telling him to forget it, just get me a black 
one, but it seems foolish to give up the thrown in battery and grip 
because I don't like the silver cosmetics. I took a bath on my silver 
Limited lenses because I wanted black ones once they became available.


bill

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Re: GFM news

[Mark Roberts]

Steve Cottrell wrote:

>On 30/10/13, Mark Roberts, discombobulated, unleashed:
>
>>Those of you who've attended the GFM photography workshops over the
>>past few years will be disappointed to learn that Grandfather
>>Mountain's publicity director Landis is leaving the job and moving on
>>to another position.
>
>The positions I've ever seen her in were pretty dandy ;-)

You've risen to a new low. :)
 
-- 
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www.robertstech.com





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Re: UK PDML: Coming to London in January

[Steve Cottrell]

On 30/10/13, Mark Roberts, discombobulated, unleashed:

>Dr. Lisa and I will be hitting the UK again in January. 11 through 18
>January, to be precise. We've got theatre tickets and have a few other
>things planned (Wildlife Photographer of the Year at the Natural
>History Museum and Astronomy Photographer of the Year in Greenwich, to
>name two) but are still working out the rest of our plans. Lisa wants
>to see Cambridge so we may spend a day or two there, but that's not
>definite yet.
>
>And suggestions from UK PDML people for activities/events will be
>joyously entertained.

Excellent!

Any excuse to visit the drunks and pubs in Greenwich is good for me :)



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  Cotty


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Re: GFM news

[Steve Cottrell]

On 30/10/13, Mark Roberts, discombobulated, unleashed:

>Those of you who've attended the GFM photography workshops over the
>past few years will be disappointed to learn that Grandfather
>Mountain's publicity director Landis is leaving the job and moving on
>to another position.

The positions I've ever seen her in were pretty dandy ;-)

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  Cotty


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Re: OT - Cycle Mounts - Request

[Mark Roberts]

Steve Cottrell wrote:

>On 30/10/13, mike wilson, discombobulated, unleashed:
>
>>Can't believe a TV (that's television...) cameraperson didn't just
>>pick up the roll of gaffer tape.  I'm so shocked it's taken me two
>>days to respond.
>
>I take your humour but in reality, I do use gaffer tape (and the less
>sticky version 'camera tape') on many things - but these cyclists are
>prickly customers. They get a bit fickle when they see a roll of tape
>near their big-bucks bikes

Who said anything about taping the camera to the bike? You tape it to
the *cyclist*...
;-)

 
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UK PDML: Coming to London in January

[Mark Roberts]

Dr. Lisa and I will be hitting the UK again in January. 11 through 18
January, to be precise. We've got theatre tickets and have a few other
things planned (Wildlife Photographer of the Year at the Natural
History Museum and Astronomy Photographer of the Year in Greenwich, to
name two) but are still working out the rest of our plans. Lisa wants
to see Cambridge so we may spend a day or two there, but that's not
definite yet.

And suggestions from UK PDML people for activities/events will be
joyously entertained.
 
-- 
Mark Roberts - Photography & Multimedia
www.robertstech.com





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GFM news

[Mark Roberts]

Those of you who've attended the GFM photography workshops over the
past few years will be disappointed to learn that Grandfather
Mountain's publicity director Landis is leaving the job and moving on
to another position. It sounds like a great career move for her but
it's a loss for the rest of us who'll miss her presence. 

Doug and I plan on terrifying her successor next June...
 
 
-- 
Mark Roberts - Photography & Multimedia
www.robertstech.com





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Re: OT - Cycle Mounts - Request

[Steve Cottrell]

On 30/10/13, mike wilson, discombobulated, unleashed:

>Can't believe a TV (that's television...) cameraperson didn't just
>pick up the roll of gaffer tape.  I'm so shocked it's taken me two
>days to respond.

I take your humour but in reality, I do use gaffer tape (and the less
sticky version 'camera tape') on many things - but these cyclists are
prickly customers. They get a bit fickle when they see a roll of tape
near their big-bucks bikes

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Re: OT - Cycle Mounts - Request

[Steve Cottrell]

On 29/10/13, Mark Roberts, discombobulated, unleashed:

>Here's a pretty good cycle mount for a camera. Made for a motorcycle
>but perhaps could be adapted:

https://scontent-b-sea.xx.fbcdn.net/hphotos-
prn2/1393362_708721125822899_562094127_n.jpg

LOL! Thanks mate ;-)

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Re: White-Faced Heron

[Mark Roberts]

Paul Stenquist wrote:

>On Oct 30, 2013, at 4:37 PM, Mark Roberts  wrote:
>> 
>> BTW: In the case of fashion photographers the answer to why they take
>> so many shots is often "because that's what the editors demand". Some
>> will totally decompensate if they don't have thousands of images, with
>> the slightest variation between any two, to choose from. If you're a
>> working pro you have to deliver what the client wants (unless you're
>> one of a handful of elites who can dictate to editors what you're
>> going to give them).
>
>To that add that trying to get a model to strike that perfect pose with the 
>perfect expression is extremely difficult. So you have them try different 
>things and you keep snapping away. You simply can't get it in a reasonable 
>number of shots with most models. 

Yep. At the college where I teach we have a bi-annual student-produced
fashion magazine. On Tuesday at our Graphic Design club meeting were
going through possible cover photos. Probably a thousand of them. The
difference a small change in pose can make is astonishing.

 
-- 
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Re: OT - Cycle Mounts - Request

[Steve Cottrell]

On 29/10/13, Malcolm Smith, discombobulated, unleashed:

>No doubt you have other similar replies, but I've used a short length of
>inner tube (very useful old inner tubes). Wrap once around the tube and a
>second time, this time fitting in a pencil or biro piece or equivalent. You
>can then nip some cable ties up, and when it comes to removing it, you can
>slide out the sandwiched packing part to give you room to cut the cable
>ties, without any damage to whatever shape the tube is.
>
>I did this once with mine, no evidence of anything ever being fitted.

Great idea - thanks!

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Re: In Honer of the World Series & K-01

[Steve Cottrell]

On 28/10/13, Joseph McAllister, discombobulated, unleashed:

>Hohner made harmonicas

Still do. Mine's a C :-)

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Re: White-Faced Heron

[Stan Halpin]

On Oct 30, 2013, at 3:20 PM, Eric Weir wrote:

> 
> On Oct 30, 2013, at 3:01 PM, Tom C  wrote:
> 
>> In my opinion taking a lot of shots does not improve one's photography
>> any more than throwing a 1000 darts at a dartboard blind folded
>> improves one's game….
>> 
>> I'm probably stating the obvious, but getting good shots is usually a
>> matter of having a good eye for composition, paying attention to
>> technical details, shooting in the right light, using the right tool
>> for the job, knowing one's gear. 
> 
> Yeah, you definitely are. 
> 
> You don’t need to size up the situation? You don’t need to look through the 
> viewfinder? You don’t need to think about what you want to accomplish? You 
> don’t need to check your settings? You don’t need to think about what 
> settings are called for in the situation given what you want to accomplish? 
> You don’t need to check the results you’re getting and adjust? 
> 
> How stupid do you think I am?
> 
> --
> Eric Weir
> Decatur, GA  USA
> eew...@bellsouth.net
> 

I am not sure where you are coming from in your response to Tom, Eric. He was 
stating some fundamental truths, presumably to bring the discussion back on 
center. 

There are two separate notions confabulated here. One is: what does it take to 
improve in one's photography. The second is: what does it take to take a good 
image.

The answer to the first question is that you need to practice, study, observe, 
practice some more. That means taking many shots, thoughtfully, then examining 
the results and thinking about what went right and what went wrong, then going 
back and doing it again (hopefully applying some of the lessons learned from 
the intervening study and reflection). In the process of taking your first 
10,000 or first 100,000 images, some will most likely be "keepers." Good 
subject, good composition, appropriate settings on aperture, shutter speed, and 
ISO, no camera shake, no glare. etc. The more you shoot, the higher your odds 
are of getting those special images that you will treasure. Taking lots of 
shots can not only help you get better, it can also help you get lucky. 
Presumably we all want to rely on more than luck.

What it takes to learn a craft, to gain the skills, is not what it takes to 
execute those skills. Yes, photographers who have moved from beginner to novice 
to journeyman to some level of expertise will still practice techniques, study 
and reflect on the results. But they don't need great volumes of images to 
enable that study because they have learned to look at the subtleties that make 
the difference between a good picture and a great one. So, yes they are still 
in a learning mode, hopefully always will be, and most of what it takes to 
learn as a novice is still true of what it takes to learn even after becoming 
an expert or master. But going into the studio or into the field is something 
else. Setting aside the special case of fast-moving wildlife or race cars or 
athletes, getting good shots isn't about taking a lot of shots. It is about 
choosing the right subject, the right composition, the right lens, the right 
level of artificial illumination when called for, appropriate settings  for 
speed, aperture, & ISO. When you have all of that right, there is no need for 
more than one shot. Take it and move 3 feet and recompose and do it again.

Which is what I thought Tom was saying in fewer words: quality of process beats 
quantity in the long run. 

stan



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Re: geso big sur

[Steve Cottrell]

On 28/10/13, Larry Colen, discombobulated, unleashed:

>Didn't get any real outstanding shots on our drive through big sur,
>but I think that this is a pleasant collection:
>http://www.flickr.com/photos/ellarsee/sets/72157637075885303/

Disagree.

These are super:






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Re: White-Faced Heron

[Bruce Walker]

On Wed, Oct 30, 2013 at 5:13 PM, Paul Stenquist  wrote:
>
> On Oct 30, 2013, at 4:37 PM, Mark Roberts  wrote:
>
>> Doug Brewer wrote:
>>
>>> On 10/30/13 10:25 AM, Alan C wrote:
 Why do fashion photographers take so many shots then?

 Alan
>>>
>>> There is a difference between working a subject, or having a range of
>>> good shots in which you will find one that works best, and machine
>>> gunning with the hope that one will be passable.
>>>
>>> I frequently, when working with a subject, will over-shoot, looking for
>>> variations on shots already in the bag, or to work past what we have
>>> done before. I get a pile of good shots that way, but a smaller pile of
>>> special shots.
>>>
>>> It's true that you must take many photos before you can start getting
>>> good ones regularly. I believe HCB said it takes ten thousand. I think I
>>> took considerably more than that before I got where I am, and I'm not
>>> where I want to be yet.
>>
>> BTW: In the case of fashion photographers the answer to why they take
>> so many shots is often "because that's what the editors demand". Some
>> will totally decompensate if they don't have thousands of images, with
>> the slightest variation between any two, to choose from. If you're a
>> working pro you have to deliver what the client wants (unless you're
>> one of a handful of elites who can dictate to editors what you're
>> going to give them).
>>
>
> To that add that trying to get a model to strike that perfect pose with the 
> perfect expression is extremely difficult. So you have them try different 
> things and you keep snapping away. You simply can't get it in a reasonable 
> number of shots with most models.

Yes, unlike many other kinds of shooting, portraits and models is one
of stepwise refinement. Start with a pose, shoot that, then direct
model to move in some way to improve on what you have. Shoot, repeat.
Stop when you feel you've exhausted that one or you're sure you got a
great one in there.

Numbers fans: from my last model shoot ("corsets"):

- 329 shots total taken during 4.5 hours (including 4 wardrobe and
makeup changes, lighting changes, props, etc.).
- 224 shots deemed technically okay.
- 71 shots deemed contenders for post-processing
- 23 shots rated strong; discussed with "clients" (model, my wife)
- 8 selected for retouching and delivered.
- 4 are what I myself consider to be good work.

So yeah, shoot lots. :-)

-- 
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Re: GESO 2013 - 107-114 - GDG

[Steve Cottrell]

On 29/10/13, Godfrey DiGiorgi, discombobulated, unleashed:

>http://www.flickr.com/photos/gdgphoto/10566820334/lightbox

VERY atmospheric! Love it

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Re: GESO 2013 - 107-114 - GDG

[Steve Cottrell]

On 29/10/13, Godfrey DiGiorgi, discombobulated, unleashed:

>http://www.flickr.com/photos/gdgphoto/10566765105/lightbox

Like

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Re: OT is Photoshop evil?

[Bruce Walker]

Alexandros of Antioch _could_ have left that big rough block of marble
in its beautiful and natural state. Instead he used his dastardly
tools to create an idealized female form, forever warping our minds
into thinking that the Venus de Milo was something to admire.

Passing off retouched models as real is the same as passing off beer
as a lifestyle or shiny cars as life-changing objects -- it's all
marketing. Don't folks these days know fictions when they see 'em?

Pffft. Yet another non-event.


On Wed, Oct 30, 2013 at 5:52 PM, CollinB  wrote:
> http://www.upworthy.com/see-why-we-have-an-absolutely-ridiculous-standard-of-beauty-in-just-37-seconds
>
> Of course not but sometimes ...
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Re: Is Pentax now in vogue?

[Zos Xavius]

I'm guessing they needed a old school camera prop and the photog
happened to have his old 67 laying around. Just a guess. Pentax was
actually quite in vogue when the 6x7 came out and certainly remained
the weapon of choice for many a fashion photographer.

On Wed, Oct 30, 2013 at 6:36 PM, David J Brooks  wrote:
> On Wed, Oct 30, 2013 at 10:31 AM, Paul Stenquist
>  wrote:
> ]. The 6x7 is somewhat difficult to load, and on a fashion shoot, a
> reload might come every couple of minutes.
>
> I hear ya Brother Paul
>
> Dave
>
>
>
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>
>
>
> --
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Re: OT is Photoshop evil?

[Zos Xavius]

A gay friend of mine was a model when he was younger. He quit doing it
because the person he saw in the pictures was not him. I'll never
forget how he put it that way. I don't look at women in magazines.
They look really fake. Those kinds of girls looks equally as fake in
real life too, just in a different sort of way. People have been
airbrushing since the days of pictorialism and it isn't going to stop
now. These magazines need to show some restraint though. They are
presenting a fantasy world to people where everyone weights 90lbs, is
six feet tall and has huge perfect eyes and smiles. Anorexia is a
hugely growing problem unfortunately, so that makes this all bad in
the end I guess. Don't let your kids watch TV or read vogue. There.
Evil influences eradicated. I don't even own a television anymore.

On Wed, Oct 30, 2013 at 5:58 PM, Darren Addy  wrote:
> I blame Barbie dolls. Perhaps makeup is evil also.
>
> Photoshop is a tool and any tool can be used for good or ill.
>
> On Wed, Oct 30, 2013 at 4:52 PM, CollinB  wrote:
>> http://www.upworthy.com/see-why-we-have-an-absolutely-ridiculous-standard-of-beauty-in-just-37-seconds
>>
>> Of course not but sometimes ...
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>
>
> --
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>
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Re: Is Pentax now in vogue?

[David J Brooks]

On Wed, Oct 30, 2013 at 10:31 AM, Paul Stenquist
 wrote:
]. The 6x7 is somewhat difficult to load, and on a fashion shoot, a
reload might come every couple of minutes.

I hear ya Brother Paul

Dave



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York Region, Ontario, Canada

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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 6:18 PM, Matthew Hunt  wrote:

> On Wed, Oct 30, 2013 at 3:20 PM, Eric Weir  wrote:
> 
>> How stupid do you think I am?
> 
> Well, you shoot Pentax, so I have a guess as to Tom's opinion.

That may be part of it. I suspect there’s something else going on.  

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"What does it mean...that the world is so beautiful?" 

- Mary Oliver 







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Re: White-Faced Heron

[Matthew Hunt]

On Wed, Oct 30, 2013 at 3:20 PM, Eric Weir  wrote:

> How stupid do you think I am?

Well, you shoot Pentax, so I have a guess as to Tom's opinion.

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Re: White-Faced Heron

[Matthew Hunt]

On Wed, Oct 30, 2013 at 3:01 PM, Tom C  wrote:

> I'm probably stating the obvious, but getting good shots is usually a
> matter of having a good eye for composition, paying attention to
> technical details, shooting in the right light, using the right tool
> for the job, knowing one's gear. All those will contribute more to
> getting a good image than simply taking a lot of shots.

Most of us develop those skills through experience and practice, and I
expect that's the "take lots of shots" approach that Eric is
advocating.

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Re: You Know What Darren?

[Tom C]

Darren you're a blowhard.


Tom C.

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Re: OT is Photoshop evil?

[Darren Addy]

I blame Barbie dolls. Perhaps makeup is evil also.

Photoshop is a tool and any tool can be used for good or ill.

On Wed, Oct 30, 2013 at 4:52 PM, CollinB  wrote:
> http://www.upworthy.com/see-why-we-have-an-absolutely-ridiculous-standard-of-beauty-in-just-37-seconds
>
> Of course not but sometimes ...
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OT is Photoshop evil?

[CollinB]

http://www.upworthy.com/see-why-we-have-an-absolutely-ridiculous-standard-of-beauty-in-just-37-seconds

Of course not but sometimes ...
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Re: You Know What Darren?

[Darren Addy]

On Wed, Oct 30, 2013 at 3:57 PM, Tom C  wrote:
> I've come to the conclusion that I probably don't really like you very much.

I know it will be a supreme struggle, but I'll just have to get over that.

> You've seen fit to unload on me a number of times and demean me simply
> because I don't share your choice of favorite camera brand. How
> trivial is that?
>
> Tom

I have to admit that I always find it amusing when the demeaner
objects when they perceive that *they* are being demeaned. Please use
some of the intellectual honesty on which you seem to feel you have
the market cornered and review each & every one of your posts to PDML
over the last 6 months (or more). Virtually each and every time it has
been to put someone down, tacitly elevate yourself, or talk trash in
some form or other. If you are butt-hurt for me noting that and
calling you out for it, I guess that is to be expected.

I'm not sure whether your problem when you post to PDML is that: you
started drinking too early in the day, OR if it is that you didn't
start drinking early enough. In any event, I've had more than enough
and henceforth your mail will be going straight to my Gmail trash. If
any other Gmail user's wish to learn about such filters, here's a
link. https://support.google.com/mail/answer/8151?hl=en
(As a rule, I like my posts to be helpful or informative in *some* way)

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PESO: Fall Drive in the Sierra Foothills

[Jack Davis]

Wife and I just returned from what the SUBJECT heading describes. I'm sure we 
never were over 1,000 ft, but saw a bit of muted fall tones.
We were in an area where there are a number of exclusive wineries. No 
admittance unless you have a wine tasting appointment. Tried one gate guard who 
turned us away with little ceremony. Told him we were looking for fall color 
draped hillside vineyards to photograph. His answer was, "'you can turn around 
over there." 
 
Comments welcome 
 
Jack
 
K-5, church: DA 16~45, mobile: DA* 50~135
 
http://photolightimages.com/aspupload/detail.asp?ID=715
 
http://photolightimages.com/aspupload/detail.asp?ID=716 

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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 4:18 PM, Tom C  wrote:

>> Yeah, you definitely are.
> 
>> You don’t need to size up the situation? You don’t need to look through the
>> viewfinder? You don’t need to think about what you want to accomplish? You
>> don’t need to check your settings? You don’t need to think about what 
>> settings
>> are called for in the situation given what you want to accomplish? You don’t
>> need to check the results you’re getting and adjust?
> 
>> How stupid do you think I am?
> 
> Well Eric there's plenty of people who proscribe exactly to the
> rationale you just outlined.

I find that *very* hard to believe. And despite the fact that it’s stupidity 
goes without saying you attributed it to me. You would profit from trying a 
little charitability in your interpretations  

> In answer to you're question, I believe you're the most qualified to
> answer. That's the smartest answer I can give.

I’ll let that speak for itself.

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"Imagining the other is a powerful antidote to fanaticism and hatred." 

- Amos Oz


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Re: PESO: White-Faced Heron

[Godfrey DiGiorgi]

I know I looked at it and I thought I complimented David on it. 

It's a lovely photo. :-)

G

On Oct 30, 2013, at 1:02 PM, Darren Addy  wrote:

> I almost forgot to look that image that David originally
> posted:
> http://gallery.multi.net.nz/photo/673/#peso


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Re: White-Faced Heron

[Paul Stenquist]

On Oct 30, 2013, at 4:37 PM, Mark Roberts  wrote:

> Doug Brewer wrote:
> 
>> On 10/30/13 10:25 AM, Alan C wrote:
>>> Why do fashion photographers take so many shots then?
>>> 
>>> Alan
>> 
>> There is a difference between working a subject, or having a range of 
>> good shots in which you will find one that works best, and machine 
>> gunning with the hope that one will be passable.
>> 
>> I frequently, when working with a subject, will over-shoot, looking for 
>> variations on shots already in the bag, or to work past what we have 
>> done before. I get a pile of good shots that way, but a smaller pile of 
>> special shots.
>> 
>> It's true that you must take many photos before you can start getting 
>> good ones regularly. I believe HCB said it takes ten thousand. I think I 
>> took considerably more than that before I got where I am, and I'm not 
>> where I want to be yet.
> 
> BTW: In the case of fashion photographers the answer to why they take
> so many shots is often "because that's what the editors demand". Some
> will totally decompensate if they don't have thousands of images, with
> the slightest variation between any two, to choose from. If you're a
> working pro you have to deliver what the client wants (unless you're
> one of a handful of elites who can dictate to editors what you're
> going to give them).
> 

To that add that trying to get a model to strike that perfect pose with the 
perfect expression is extremely difficult. So you have them try different 
things and you keep snapping away. You simply can't get it in a reasonable 
number of shots with most models. 
> -- 
> Mark Roberts - Photography & Multimedia
> www.robertstech.com
> 
> 
> 
> 
> 
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Re: White-Faced Heron

[Tom C]

Darren wrote:

> It is unfortunate that this thread has devolved into the crapfest that
> one can now (apparently) expect whenever Tom decides to post something
> to this list.

ad hominem

Tom C.

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Re: OT - Cycle Mounts - Request

[mike wilson]

Can't believe a TV (that's television...) cameraperson didn't just
pick up the roll of gaffer tape.  I'm so shocked it's taken me two
days to respond.

On 28/10/2013, Steve Cottrell  wrote:
> Throwing this open to the list as there are plenty of cycle-holics on
> here. Anyone know of any decent clamp-on specially-shaped mounts for
> GoPro (or similar) cameras for attaching to expensive and sensitive
> aerodynamically contoured carbon fibre cycle frames?
>
> GoPro mounts are ten-a-penny but when you come to try and attach them to
> high-end racing bikes, not only do their riders get very skittish about
> clamping onto irregular shaped carbon fiber, but actually it's
> impossible to do quickly and easily. If I had to design it and build it
> myself, I know exactly what I need, but perhaps someone knows of a good
> starting point?
>
> Any pointers to existing web pages or images gratefully appreciated.
>
> I recently filmed an Olympic cyclist but had very little time. With my
> existing kit I could have done it, but not in the few minutes I had
> available. Woulda taken me 15 or 20 to set up. I need it to be 1 or 2
> minutes!
>
> Thanks.
>
> --
>
>
> Cheers,
>   Cotty
>
>
> ___/\__Broadcast, Corporate,
> ||  (O)  |Web Video Production
> --
> _
>
>
>
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OT: Turn your smartphone into a digital microscope for around $10

[Darren Addy]

Ever wanted to try your hand at microphotography but lacked the
requisite microscope? Why let a little thing like that stop you?

Overview and video:
http://www.tuaw.com/2013/10/25/turn-your-iphone-into-a-high-power-digital-microscope-for-around/

Actual Instructable:
http://www.instructables.com/id/10-Smartphone-to-digital-microscope-conversion/

The lens from a cheap laser pointer is brilliant. Now that I have an
iPhone I will have to try this.

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OT: "Spray and Pray" app for iPhone

[Darren Addy]

While this may not be necessary if your subject is a pine tree or a
mountain, for sports, kids and pets you may find this app more than
occasionally useful: SnappyCam
http://techcrunch.com/2013/07/31/fastest-iphone-camera/

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Re: PESO: White-Faced Heron

[Larry Colen]

On Wed, Oct 30, 2013 at 03:02:40PM -0500, Darren Addy wrote:
> It is unfortunate that this thread has devolved into the crapfest that
> one can now (apparently) expect whenever Tom decides to post something
> to this list. I almost forgot to look that image that David originally
> posted:
> http://gallery.multi.net.nz/photo/673/#peso
> 
> I was taken aback at it's beauty. Yes, it is a beautiful creature, but
> the capture (lighting, DOF, sharpness, color, etc) is STUNNING. One of
> the best I've seen on PDML this year. That is publication quality or
> should be commemorated as a postage stamp or something. Superb!

Yes, it is a great shot.  Frankly, I don't care whether he got it in
one shutter press, or it took 100 tries.  Whatever he did worked to 
get that photo, and in the end, that is what matters. 

> 
> On Wed, Oct 30, 2013 at 2:00 PM, Mark Roberts
>  wrote:
> > Here's a great article on motorsports photography describing a
> > situation in which "machine-gunning" is the only way to go. Scott
> > Jones is one of the top pros in the business (as you'll notice when
> > you see his photos) and in this blog entry he describes the making of
> > one particular shot.
> >
> > http://www.motogpmatters.com/blog/2012/02/16/photographer_s_blog_motogp_story_the_cat.html
> >
> >
> > --
> > Mark Roberts - Photography & Multimedia
> > www.robertstech.com
> >
> >
> >
> >
> >
> > --
> > PDML Pentax-Discuss Mail List
> > PDML@pdml.net
> > http://pdml.net/mailman/listinfo/pdml_pdml.net
> > to UNSUBSCRIBE from the PDML, please visit the link directly above and 
> > follow the directions.
> 
> 
> 
> -- 
> Nothing is sure but death and Pentaxes.
> 
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-- 
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Re: White-Faced Heron

[Mark Roberts]

Doug Brewer wrote:

>On 10/30/13 10:25 AM, Alan C wrote:
>> Why do fashion photographers take so many shots then?
>>
>> Alan
>
>There is a difference between working a subject, or having a range of 
>good shots in which you will find one that works best, and machine 
>gunning with the hope that one will be passable.
>
>I frequently, when working with a subject, will over-shoot, looking for 
>variations on shots already in the bag, or to work past what we have 
>done before. I get a pile of good shots that way, but a smaller pile of 
>special shots.
>
>It's true that you must take many photos before you can start getting 
>good ones regularly. I believe HCB said it takes ten thousand. I think I 
>took considerably more than that before I got where I am, and I'm not 
>where I want to be yet.

BTW: In the case of fashion photographers the answer to why they take
so many shots is often "because that's what the editors demand". Some
will totally decompensate if they don't have thousands of images, with
the slightest variation between any two, to choose from. If you're a
working pro you have to deliver what the client wants (unless you're
one of a handful of elites who can dictate to editors what you're
going to give them).
 
-- 
Mark Roberts - Photography & Multimedia
www.robertstech.com





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Re: White-Faced Heron

[Tom C]

> Yeah, you definitely are.

> You don’t need to size up the situation? You don’t need to look through the
> viewfinder? You don’t need to think about what you want to accomplish? You
> don’t need to check your settings? You don’t need to think about what settings
> are called for in the situation given what you want to accomplish? You don’t
> need to check the results you’re getting and adjust?

> How stupid do you think I am?

Well Eric there's plenty of people who proscribe exactly to the
rationale you just outlined.

In answer to you're question, I believe you're the most qualified to
answer. That's the smartest answer I can give.

Tom C.

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Re: PESO: White-Faced Heron

[Darren Addy]

It is unfortunate that this thread has devolved into the crapfest that
one can now (apparently) expect whenever Tom decides to post something
to this list. I almost forgot to look that image that David originally
posted:
http://gallery.multi.net.nz/photo/673/#peso

I was taken aback at it's beauty. Yes, it is a beautiful creature, but
the capture (lighting, DOF, sharpness, color, etc) is STUNNING. One of
the best I've seen on PDML this year. That is publication quality or
should be commemorated as a postage stamp or something. Superb!

On Wed, Oct 30, 2013 at 2:00 PM, Mark Roberts
 wrote:
> Here's a great article on motorsports photography describing a
> situation in which "machine-gunning" is the only way to go. Scott
> Jones is one of the top pros in the business (as you'll notice when
> you see his photos) and in this blog entry he describes the making of
> one particular shot.
>
> http://www.motogpmatters.com/blog/2012/02/16/photographer_s_blog_motogp_story_the_cat.html
>
>
> --
> Mark Roberts - Photography & Multimedia
> www.robertstech.com
>
>
>
>
>
> --
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> the directions.



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Re: White-Faced Heron

[David Mann]

Oh dear, what have I started :)

On Oct 31, 2013, at 7:21 am, knarf  wrote:

> The "shoot lots" thing is valid. As you said, Doug, if you're working the 
> subject, playing with angles, doing it with some awareness and mindfulness, 
> then it's worthwhile. 

That's pretty much my take on it.

With the shots of the next bird that I haven't shown yet, and to a lesser 
extent this heron, I was intentionally taking a lot because of AF limitations.  
I know this camera/lens combo is a bit hit-and-miss as DOF is very limited and 
the sensor isn't selective enough to lock onto the eye every time (neither's my 
aim when the subject is moving).  With the heron walking about I had plenty of 
different lighting angles, poses and background arrangements to play with as 
well.

Most of the time I only take one or two photos of any given subject.  It's a 
habit I've carried over from the film days.  It makes editing a lot easier!

Cheers,
Dave


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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 3:09 PM, Eric Weir  wrote:

> On my walk last week….

Last month.

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"A man should be in the world as though he were not in it 
so that it will be no worse because of his life." 

- Wendell Berry 


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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 3:01 PM, Tom C  wrote:

> In my opinion taking a lot of shots does not improve one's photography
> any more than throwing a 1000 darts at a dartboard blind folded
> improves one's game….
> 
> I'm probably stating the obvious, but getting good shots is usually a
> matter of having a good eye for composition, paying attention to
> technical details, shooting in the right light, using the right tool
> for the job, knowing one's gear. 

Yeah, you definitely are. 

You don’t need to size up the situation? You don’t need to look through the 
viewfinder? You don’t need to think about what you want to accomplish? You 
don’t need to check your settings? You don’t need to think about what settings 
are called for in the situation given what you want to accomplish? You don’t 
need to check the results you’re getting and adjust? 

How stupid do you think I am?

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"You keep on learning and learning, and pretty soon
 you learn something no one has learned before." 

- Richard Feynman


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re: how to learn to take photos (was: Re: White-Faced Heron)

[Godfrey DiGiorgi]

Making a lot of exposures is important to learning how to use your camera and 
lenses. But *just* making a lot of exposures doesn't teach you much by itself, 
it's only with the addition of "and paying attention to what you're doing as 
well as the results you get" that you learn something. 

Once you understand your equipment, making a lot of exposures is useful 
sometimes as the article Mark Roberts posted demonstrates. But, frankly, I find 
that to be a rarity. MOST of the sports photographers I know make a lot of 
exposures but not in a machine-gunning way … they are simply working with a 
fast moving event that requires a lot of exposures be made because most of them 
will not be at the right time. 

Some photo luminary once said, "I only need to know three things: where to 
stand, where to point the camera, and when to press the shutter button." You 
need to make enough exposures to know where to stand and where to point the 
camera. What comes over time, with study and practice, is when—and how often—to 
press the shutter button. 

G
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Re: My K3.....

[Darren Addy]

Congrats on the K-3 and getting the limited for the same price as the
"plain chocolate" version, Bill!

I just haven't cared for the silver (like they put on the  FA-J and
the cheaper MZ film cameras). The metallic-like silver of the MX (etc)
now that I like. Not sure why they can't get that same look these
days.

On Wed, Oct 30, 2013 at 1:41 PM, Steve Cottrell  wrote:
> On 28/10/13, Bill, discombobulated, unleashed:
>
>>.Will apparently be silver. I don't know if Pentax is doing this
>>just for me, or if my pusher is, or what, but apparently the silver K3
>>and the black K3 are coming in at the same price, but the silver one
>>comes with the grip and an extra battery. I guess I can live with a
>>silver one.
>>Estimated delivery is third week of November.
>
> I normally lust after black but I must say the silver - with the grip -
> looks pretty cool.
>
> --
>
>
> Cheers,
>   Cotty
>
>
> ___/\__Broadcast, Corporate,
> ||  (O)  |Web Video Production
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> _
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>
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Re: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 12:36 PM, Doug Brewer  
wrote:

> There is a difference between working a subject, or having a range of good 
> shots in which you will find one that works best, and machine gunning with 
> the hope that one will be passable.

Thanks, Doug. I hope it’s obvious I wasn’t talking about “machine gunning.” I 
was taking it for granted that the photographer is trying his/her best, using 
whatever knowledge and skill he/she has at that point, and wants to learn, to 
improve, to get better. 

On my walk last week I literally had my camera in-hand almost the entire day 
every day for the entire week. And every day I took a lot of shots. I’d never 
done that before. I’ve been telling people back here that I learned a lot of 
British history just by walking around. I also improved a little as a 
photographer, for just these reasons. 

> It's true that you must take many photos before you can start getting good 
> ones regularly. I believe HCB said it takes ten thousand. 

I have encountered statements like that from others.

Regards,
--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"Hatred destroys. Love heals."

- Eknath Easwaran


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Re: White-Faced Heron

[Tom C]

> From: Bob Sullivan 
>
> Tom,
> In the film days, each shot was $.25 and only pros took lots of shots.
> Now the cost per shot is almost zero, and the tyros 'spray and pray'.
> I enjoy taking more shots now, trying to work things out and saving
> money on film.
> I hope it's improving my photography.
> A new K-3 costs less than 150 rolls of Kodachrome (...if only we could
> process it).
> Regards,  Bob S.
>

> From: Paul Stenquist 
>
> I agree to a certain extent. In some situations, preparing and shooting at 
> the right moment is most critical and taking numerous shots can be a 
> detriment to getting the one you want.  In other situations,  multiple 
> exposures can be helpful. For example, when shooting the great blue heron a 
> couple of weeks ago I knew that he was likely to take off, so I had 
> preselected the central focus point and made sure I had plenty of shutter 
> speed, then I just waited. When he did take off, I got one shot as he lifted 
> off the water and waited to take a second until he was directly adjacent to 
> me.   If I had kept firing after liftoff, I probably wouldn't have gotten a 
> good in-flight shot. On the other hand, when shooting cars for publication, 
> I'll record numerous exposures of the same shot, sometimes turning the 
> polarizer a bit or reframing slightly. Too many choices are just enough. But 
> I rarely bracket, since a good average exposure provides plenty of working 
> room when the RAW is converted.
>
> Paul

Bob,

As a general statement, I don't believe in the spray and pray
approach. It leaves too many things to chance. Yes, if you have a
moving model, race car, airplane, children, wildlife, etc., being in
continuous shooting mode may increase your chances of getting an image
that excels above others. That's what it's for.

I was responding to the notion that the *secret* to getting good shots
is taking a lot of shots, which was the statement made. If that's true
then photography is like the lottery. I see many examples of that
approach, and the chances of getting a good shot are about the same.
As I said, shooting in continuous mode may be required at times due to
the subject matter, but then if one gets an exceptional image the
difference between that one image and the two or three surrounding it
that are unexceptional is likely just the random timing of the shutter
syncing up with the subject at just the right moment. Maybe it will,
maybe it won't.

In my opinion taking a lot of shots does not improve one's photography
any more than throwing a 1000 darts at a dartboard blind folded
improves one's game. Will one get more bulls eye's the more darts one
throws? No doubt. But possibly the ratio of bulls eye's to misses
actually decreases with that approach.

I'm probably stating the obvious, but getting good shots is usually a
matter of having a good eye for composition, paying attention to
technical details, shooting in the right light, using the right tool
for the job, knowing one's gear. All those will contribute more to
getting a good image than simply taking a lot of shots.

I'm not stating something you don't already know. I realize that. :)

Paul,

Agreed. Even in landscape photography, which seldom requires shooting
in continuous mode, I can get in a rush because of the excitement of
the moment while at the same time believing I'm paying attention to
details when I'm not. My brain can essentially turn off and it's Ooh!
Ah! Ooh! moments. Then I look at what I captured. Very very often, I
can see that I wasn't really thinking. When I slow down and carefully
take the time to compose, frame, consider exposure, use a tripod if
needed... those are most often the times I get excellent results. Then
I was a real contributor to the image, as opposed to simply the person
pressing the shutter release.

Tom C.

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Re: PESO: White-Faced Heron

[Mark Roberts]

Here's a great article on motorsports photography describing a
situation in which "machine-gunning" is the only way to go. Scott
Jones is one of the top pros in the business (as you'll notice when
you see his photos) and in this blog entry he describes the making of
one particular shot.

http://www.motogpmatters.com/blog/2012/02/16/photographer_s_blog_motogp_story_the_cat.html

 
-- 
Mark Roberts - Photography & Multimedia
www.robertstech.com





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Re: PESO - Student

[Godfrey DiGiorgi]

On Oct 29, 2013, at 10:58 PM, Boris Liberman  wrote:

> On 10/27/2013 1:26 AM, Steve Cottrell wrote:
>> Had a eesny-weensy-teensy mini micro PDML in London today. Met up with
>> Chris Mitchell and Bob Walkden at The Photographer's Gallery where we
>> had some tea and chat before Alma, Stef and I had to drop supplies
>> around to Stef's student accommodation a few miles away. Watch for
>> another pic soon, but meanwhile here's a portrait by available light...
>> 
>> 
> 
> Has Stef become taller than you, Cotty???

I didn't do any measurements, but Stef has indeed become very tall… :-)

G
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Re: K-3 Samples at various ISOs

[Darren Addy]

So, out of curiosity, I used the comparison page to pull up the EXIF
info on the same ISO shots of the K-5II and the K-3. The K-5II EXIF
printed out at 7 pages. The K-3 EXIF printed out at 27 pages.

Under "MAKERNOTES" the K-5 II has a Quality: Premium where the K-3 has
a Quality: Best.
The K-5II had a FocusMode of "AF-S" while the K-3 had a FocusMode of "Manual".
The K-3 had an attribute of AFPointsInFocus (Fixed Center or Multiple)
where the K-5II had no such attribute.
The K-5II has an attribute of CPUFirmwareVersion (which was the same
number as the DSPFirmware Version). The K-3 has only the DSPFirmware
Version attribute.
The K-5II had WhiteBalanceAutoAdjustment ON where the K-3 had it OFF.
The K-5II had TungstenAWB "Strong Correction" while the K-3 had
"Subtle Correction"
The K-5II had BlackPoint (67 67 67 67) where the K-3 had (1 0 0 1)
The K-5II had WhitePoint (17568 8192 8192 11616) where the K-3 had
(17120 8192 8192 11136)

The biggest differences were in the AEMeteringSegments, the
FlashMeteringSegments, and the SlaveFlashMetering Segments. The K-5II
had a small paragraph of values for each. The K-3 had 16 printed PAGES
of values for AEMeteringSegments.

Also interesting was that the K-3 had no CameraTemperature attribute,
while the K-5II had 5 separate CameraTemperature attributes. This
seems an odd omission.

On Wed, Oct 30, 2013 at 1:13 PM, Dario Bonazza
 wrote:
> This is for doing comparisons:
> http://www.imaging-resource.com/IMCOMP/COMPS01.HTM
> Dario
>
> -Messaggio originale- From: Paul Stenquist
> Sent: Wednesday, October 30, 2013 6:03 PM
> To: Pentax-Discuss Mail List
> Subject: Re: K-3 Samples at various ISOs
>
>
> I likewise couldn't find mention of the AA filter mode in the EXIF data. Use
> of the Sigma lens is fine by me. Appears to be good glass. Interesting that
> the ISO 12,800 exposure was done with noise reduction turned off. And it's
> quite good. I can't say for sure, but at a glance it appears to be less
> noisy than the K-5.
>
> Paul
> On Oct 30, 2013, at 12:40 PM, Darren Addy  wrote:
>
>> Looking at the EXIF, a couple of observations...
>>
>> 1) They used a SIGMA lens?
>> 2) Where in the EXIF is the info regarding the selectable AA filter?
>> It seems to be that any evaluation of K-3 image quality needs to
>> specify if that was OFF, or MODE 1 or MODE 2 (so that we can judge the
>> differences between images made at the different settings). I have no
>> idea which of the above was used in the making of these images.
>>
>> On Wed, Oct 30, 2013 at 11:03 AM, Paul Stenquist
>>  wrote:
>>>
>>> Very good news. The noise level is acceptable even at 12,800, and the
>>> detail at lower ISOs is outstanding.
>>>
>>> Paul
>>> On Oct 30, 2013, at 11:46 AM, Zos Xavius  wrote:
>>>
 PS...meant to give a link...SORRY

 http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM

 On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius 
 wrote:
>
> 6400 looks very good. Ladies and gentleman: We have a winner!


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Re: My K3.....

[Steve Cottrell]

On 28/10/13, Bill, discombobulated, unleashed:

>.Will apparently be silver. I don't know if Pentax is doing this 
>just for me, or if my pusher is, or what, but apparently the silver K3 
>and the black K3 are coming in at the same price, but the silver one 
>comes with the grip and an extra battery. I guess I can live with a 
>silver one.
>Estimated delivery is third week of November.

I normally lust after black but I must say the silver - with the grip -
looks pretty cool.

-- 


Cheers,
  Cotty


___/\__Broadcast, Corporate,
||  (O)  |Web Video Production
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Re: White-Faced Heron

[Ann Sanfedele]

On 10/30/2013 14:21, knarf wrote:

Yeah, HCB said, "Your first10,000 shots are your worst." This from a man who 
rarely (according to Gassman, his longtime developer) took more than two shots of a 
subject.

Here's my thought (as a complete and utter amateur):

The "shoot lots" thing is valid. As you said, Doug, if you're working the 
subject, playing with angles, doing it with some awareness and mindfulness, then it's 
worthwhile.
> Likewise, if you are later poring over your images and learning from 
mistakes, seeing what works and what doesn't, then it's valuable.
> If you're just machine gunning, hoping to get lucky, then it's a waste of 
batteries and pixels.



The idea is to increase your hit rate.


* So Tom is kind of right. But so's everyone else. MARK!


;-)

Cheers,
frank

When shooting slide film , especially if I was considering something for 
stock, I overshot - but my overshooting could have been a whole roll

taken on a tri-pod, bracketing and straight duplication of something I
felt was important... and then I'd take a couple of shots with the other 
camera in black and white if I really liked what I was shooting.


The film was considered cheap in the sense that if you had to go back to 
the place your were shooting, or set up a new appointment with a person, 
for instance, overshooting was protection - not jsut against getting 
your ducks lined up but protecting against something like a bit of grit 
in your camera that left a nice scratch over several frames.


I can't get out of the habit of overshooting in that fashion  but I 
certainly shoot from the hip now and then instead of setting up and 
waiting for the moment.


ann


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Re: I've been tempted

[Eric Featherstone]

On 30 October 2013 18:03, CollinB  wrote:
> Also ... Did Tokina ever come out with the 12-24 in Pentax?  I've not found
> one yet.


The Pentax 12-24 _is_ the Tokina 12-24, only with SMC coatings and a
new badge. As far as I understand anyway.

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Re: White-Faced Heron

[knarf]

Yeah, HCB said, "Your first10,000 shots are your worst." This from a man who 
rarely (according to Gassman, his longtime developer) took more than two shots 
of a subject.

Here's my thought (as a complete and utter amateur):

The "shoot lots" thing is valid. As you said, Doug, if you're working the 
subject, playing with angles, doing it with some awareness and mindfulness, 
then it's worthwhile. 

Likewise, if you are later poring over your images and learning from mistakes, 
seeing what works and what doesn't, then it's valuable.

If you're just machine gunning, hoping to get lucky, then it's a waste of 
batteries and pixels.

The idea is to increase your hit rate. 

So Tom is kind of right. But so's everyone else.

;-)

Cheers,
frank

Doug Brewer  wrote:
>On 10/30/13 10:25 AM, Alan C wrote:
>> Why do fashion photographers take so many shots then?
>>
>> Alan
>
>There is a difference between working a subject, or having a range of 
>good shots in which you will find one that works best, and machine 
>gunning with the hope that one will be passable.
>
>I frequently, when working with a subject, will over-shoot, looking for
>
>variations on shots already in the bag, or to work past what we have 
>done before. I get a pile of good shots that way, but a smaller pile of
>
>special shots.
>
>It's true that you must take many photos before you can start getting 
>good ones regularly. I believe HCB said it takes ten thousand. I think
>I 
>took considerably more than that before I got where I am, and I'm not 
>where I want to be yet.

“Analysis kills spontaneity.” -- Henri-Frederic Amiel



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Re: K-3 Samples at various ISOs

[Dario Bonazza]

This is for doing comparisons:
http://www.imaging-resource.com/IMCOMP/COMPS01.HTM
Dario

-Messaggio originale- 
From: Paul Stenquist

Sent: Wednesday, October 30, 2013 6:03 PM
To: Pentax-Discuss Mail List
Subject: Re: K-3 Samples at various ISOs

I likewise couldn't find mention of the AA filter mode in the EXIF data. Use 
of the Sigma lens is fine by me. Appears to be good glass. Interesting that 
the ISO 12,800 exposure was done with noise reduction turned off. And it's 
quite good. I can't say for sure, but at a glance it appears to be less 
noisy than the K-5.


Paul
On Oct 30, 2013, at 12:40 PM, Darren Addy  wrote:


Looking at the EXIF, a couple of observations...

1) They used a SIGMA lens?
2) Where in the EXIF is the info regarding the selectable AA filter?
It seems to be that any evaluation of K-3 image quality needs to
specify if that was OFF, or MODE 1 or MODE 2 (so that we can judge the
differences between images made at the different settings). I have no
idea which of the above was used in the making of these images.

On Wed, Oct 30, 2013 at 11:03 AM, Paul Stenquist
 wrote:
Very good news. The noise level is acceptable even at 12,800, and the 
detail at lower ISOs is outstanding.


Paul
On Oct 30, 2013, at 11:46 AM, Zos Xavius  wrote:


PS...meant to give a link...SORRY

http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM

On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius  
wrote:

6400 looks very good. Ladies and gentleman: We have a winner!


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Self portrait on a mountain bike (not me)

[Attila Boros]

This one is for Frank:)

http://shuttermuse.com/mountain-bike-self-portraits-pocketwizard/

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Re: I've been tempted

[CollinB]

>But, if you were only allowed one lens to go with a K-5, the 16-50 will
>probably get you better pictures more of the time than any other lens
>that I can think of.
>
>Assuming, of course, you get one that works.
>
>
>-- 
>Larry Colen

Interesting thoughts.
That's the reason I got the FA35/2.  Really sharp and  being the effective
"normal" lens I can shot it and not care too much about having to crop.
My most-used lens is the 18-55WR.  Would like to see some comparisons
between that and the 16-50.  Perhaps I'll go there next week and do so.
There have been times that I forsook zoom and just used the 35/2 and didn't
worry about cropping.  But that's in a controlled environment.
When in NYC and shooting dancers indoors I use the 18-55.  

Also ... Did Tokina ever come out with the 12-24 in Pentax?  I've not found
one yet.


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Re: I've been tempted

[Larry Colen]

On Wed, Oct 30, 2013 at 01:24:00PM -0400, CollinB wrote:
> >If you decide to buy it, do a brick wall test at f2.8 before  you complete
> the purchase. Some copies of that lens have misaligned elements, resulting
> in uneven focus across the frame. But good copies of the lens are excellent.
> >
> >Paul
> 
> Thanks.  I'll keep that in mind.

I often wax eloquent about how much I love my FA77, and never say much about
my 16-50. It's not a lens that inspires passion.  What it is, however, 
is like my old Honda Civic wagon.  It's just pretty damn good at anything,
and being weatherproof, it will go just about anyplace.

On the K-5, you don't need to worry about the weather when you have that
lens.  It's not as fast as a good prime, but on the K-5 you can wander
around a city at night taking photos, hand held, without a flash. 
Except for a few shot with my bigma and my korean fisheye last week,
I think that all of my photos on my trip to LA and back were shot with
the 16-50.  It's an unglamorous workhorse that just gets the job done.  

When I met John Francis, he said that his 16-50 pretty much lived
on his camera. I've come to realize that mine now does as well.  If
I'm carrying my camera around in my fanny pack, I might put the DA35 macro
on, because it is a lot smaller and lighter.  If I'm going to be
shooting outside and need range, 18-250.  If I'm going to be shooting
inside, without flash it might be the FA31, for the extra stop and a half.

But, if you were only allowed one lens to go with a K-5, the 16-50 will
probably get you better pictures more of the time than any other lens
that I can think of.

Assuming, of course, you get one that works.


-- 
Larry Colen  l...@red4est.com http://red4est.com/lrc


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Re: PESO: White-Faced Heron

[Jack Davis]

Actually, I thought as much, but I had the momentum to proceed with the 
obvious. ;-)
I read a comment once that I think of often. "If you take just one shot, that's 
the best you're going to get."
It's not at all unusual for me to drop a tripod at the spot where I first come 
upon a scene I want to shoot. After a number of varying compositions, I think 
I'm finished and start walking again only to discover a better vantage point 
and other desirable elements revealing themselves just a few steps steps 
closer. I took those first shots too soon and can't help but do it all again. 
Keeps it fun.
 
Jack


- Original Message -
From: Eric Weir 
To: Pentax-Discuss Mail List 
Cc: 
Sent: Wednesday, October 30, 2013 7:56 AM
Subject: Re: PESO: White-Faced Heron


On Oct 30, 2013, at 9:41 AM, Jack Davis  wrote:

> Getting out with a camera and giving yourself opportunities, will increase 
> your chances of getting a "good" one. Be choosy once you've decided what 
> "good" is, then learn the  basics of composition, exposure and lighting. 
> "Good" will then, likely, take on a new set of ever evolving conditions.

Thanks, Jack. That was the intention of what I said. Obviously, simply taking a 
lot of shots is not sufficient. [If it were possible to *just* take a lot of 
shots.] But with a desire to learn the chances of learning increase the more 
shots you take.

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

“On the basis of evidence we may be sure that 
we are wrong but we can never be sure that we are right.” 

- Richard Feynman



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Re: I've been tempted

[CollinB]

>If you decide to buy it, do a brick wall test at f2.8 before  you complete
the purchase. Some copies of that lens have misaligned elements, resulting
in uneven focus across the frame. But good copies of the lens are excellent.
>
>Paul

Thanks.  I'll keep that in mind.


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Re: K-3 Samples at various ISOs

[Paul Stenquist]

I likewise couldn't find mention of the AA filter mode in the EXIF data. Use of 
the Sigma lens is fine by me. Appears to be good glass. Interesting that the 
ISO 12,800 exposure was done with noise reduction turned off. And it's quite 
good. I can't say for sure, but at a glance it appears to be less noisy than 
the K-5.

Paul
On Oct 30, 2013, at 12:40 PM, Darren Addy  wrote:

> Looking at the EXIF, a couple of observations...
> 
> 1) They used a SIGMA lens?
> 2) Where in the EXIF is the info regarding the selectable AA filter?
> It seems to be that any evaluation of K-3 image quality needs to
> specify if that was OFF, or MODE 1 or MODE 2 (so that we can judge the
> differences between images made at the different settings). I have no
> idea which of the above was used in the making of these images.
> 
> On Wed, Oct 30, 2013 at 11:03 AM, Paul Stenquist
>  wrote:
>> Very good news. The noise level is acceptable even at 12,800, and the detail 
>> at lower ISOs is outstanding.
>> 
>> Paul
>> On Oct 30, 2013, at 11:46 AM, Zos Xavius  wrote:
>> 
>>> PS...meant to give a link...SORRY
>>> 
>>> http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM
>>> 
>>> On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius  wrote:
 6400 looks very good. Ladies and gentleman: We have a winner!
>>> 
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> 
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Re: I've been tempted

[Paul Stenquist]

If you decide to buy it, do a brick wall test at f2.8 before  you complete the 
purchase. Some copies of that lens have misaligned elements, resulting in 
uneven focus across the frame. But good copies of the lens are excellent.

Paul
On Oct 30, 2013, at 12:52 PM, CollinB  wrote:

> Local shop has a used 16-50/2.8 for $900.
> First one I've been able to physically get my hands on.
> So ... the FA28/2.8 and FA35/2 could equal a little over 1/2 of that lens'
> price.
> Could do it if I also sol either the 70/2.4 or the F50/1.7 + the 18-55WR.
> Let's see -- FA28/2.8 @ $250, FA35/2 @ $300, 18-55WR @ 125
> Oh, the pain.
> 
> 
> 
> 
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I've been tempted

[CollinB]

Local shop has a used 16-50/2.8 for $900.
First one I've been able to physically get my hands on.
So ... the FA28/2.8 and FA35/2 could equal a little over 1/2 of that lens'
price.
Could do it if I also sol either the 70/2.4 or the F50/1.7 + the 18-55WR.
Let's see -- FA28/2.8 @ $250, FA35/2 @ $300, 18-55WR @ 125
Oh, the pain.




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Re: K-3 Samples at various ISOs

[Darren Addy]

Looking at the EXIF, a couple of observations...

1) They used a SIGMA lens?
2) Where in the EXIF is the info regarding the selectable AA filter?
It seems to be that any evaluation of K-3 image quality needs to
specify if that was OFF, or MODE 1 or MODE 2 (so that we can judge the
differences between images made at the different settings). I have no
idea which of the above was used in the making of these images.

On Wed, Oct 30, 2013 at 11:03 AM, Paul Stenquist
 wrote:
> Very good news. The noise level is acceptable even at 12,800, and the detail 
> at lower ISOs is outstanding.
>
> Paul
> On Oct 30, 2013, at 11:46 AM, Zos Xavius  wrote:
>
>> PS...meant to give a link...SORRY
>>
>> http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM
>>
>> On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius  wrote:
>>> 6400 looks very good. Ladies and gentleman: We have a winner!
>>
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Re: White-Faced Heron

[Doug Brewer]

On 10/30/13 10:25 AM, Alan C wrote:

Why do fashion photographers take so many shots then?

Alan


There is a difference between working a subject, or having a range of 
good shots in which you will find one that works best, and machine 
gunning with the hope that one will be passable.


I frequently, when working with a subject, will over-shoot, looking for 
variations on shots already in the bag, or to work past what we have 
done before. I get a pile of good shots that way, but a smaller pile of 
special shots.


It's true that you must take many photos before you can start getting 
good ones regularly. I believe HCB said it takes ten thousand. I think I 
took considerably more than that before I got where I am, and I'm not 
where I want to be yet.



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Re: K-3 Samples at various ISOs

[Paul Stenquist]

Very good news. The noise level is acceptable even at 12,800, and the detail at 
lower ISOs is outstanding. 

Paul
On Oct 30, 2013, at 11:46 AM, Zos Xavius  wrote:

> PS...meant to give a link...SORRY
> 
> http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM
> 
> On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius  wrote:
>> 6400 looks very good. Ladies and gentleman: We have a winner!
> 
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Getting 'Good' Shots... was Re: Re: White-Faced Heron

[Tom C]

> From: "Alan C" 
>
> Why do fashion photographers take so many shots then?
>
> Alan

Why don't you ask them or read up on the subject? See if they agree
with such a simplistic approach to creating good imagery.

Tom C.

>
> -Original Message-
> From: Tom C
> Sent: Wednesday, October 30, 2013 2:39 PM
> To: Pentax-Discuss Mail List
> Subject: Re: PESO: White-Faced Heron
>
>> From: Eric Weir 
>>
>> My understanding is that the secret to getting good shots is taking a lot
>> of them.
>
> Really? Is that the way you think most people get 'good shots'?
>
> To get good shots, one must take shots, but the secret isn't taking a
> lot of them.
>
> Tom C.

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Re: K-3 Samples at various ISOs

[Zos Xavius]

PS...meant to give a link...SORRY

http://www.imaging-resource.com/PRODS/pentax-k3/pentax-k3A7.HTM

On Wed, Oct 30, 2013 at 11:41 AM, Zos Xavius  wrote:
> 6400 looks very good. Ladies and gentleman: We have a winner!

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Re: K-3 hands-on video from Adorama

[Larry Colen]

On Wed, Oct 30, 2013 at 07:57:19AM -0400, CollinB wrote:
> "like hummingbirds"
> 
> >For those who like to get their facts from TV ...
> >
> >http://www.youtube.com/watch?v=paQ2R9eoSCc

There were some interesting bits there.  I couldn't tell if
she was unfamiliar with photography, or just some of the big
words, like feature, I mean filter.

> >
> >You get a nice peek at the UI in action, so that's something.
> >
> >-- 
> >-bmw
> 
> 
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K-3 Samples at various ISOs

[Zos Xavius]

6400 looks very good. Ladies and gentleman: We have a winner!

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Re: PESO: White-Faced Heron

[Bruce Walker]

That's great, Dave!

On Sun, Oct 27, 2013 at 11:30 PM, David Mann  wrote:
> For those who didn't look through my gallery I thought this one was worth 
> presenting separately :)
>
> http://gallery.multi.net.nz/photo/673/#peso
>
> It's not often I get to exercise the 400mm but I'm glad I brought it on that 
> trip.
>
> Cheers,
> Dave
>
>
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-- 
-bmw

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Re: PESO - Harvest Sunrise

[Don Guthrie]

And this is why we are glad you live a block from Lake Ontario.


pdml-requ...@pdml.net wrote:

Message: 5
Date: Tue, 29 Oct 2013 21:10:46 -0400
From: knarf
To: Pentax-Discuss Mail List
Subject: PESO - Harvest Sunrise
Message-ID:<4927c354-c32a-46b5-8767-386653c62...@email.android.com>
Content-Type: text/plain; charset=UTF-8

Haven't seen a really good sunrise for a while. Last Sunday was not bad:

http://knarfdummyblog.blogspot.ca/2013/10/harvest-sunrise.html?m=1

Why I love living a block from Lake Ontario.

Hope you enjoy. Comments welcome.

Cheers,
frank
?Analysis kills spontaneity.? -- Henri-Frederic Amiel



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Re: PESO: White-Faced Heron

[Paul Stenquist]

I agree to a certain extent. In some situations, preparing and shooting at the 
right moment is most critical and taking numerous shots can be a detriment to 
getting the one you want.  In other situations,  multiple exposures can be 
helpful. For example, when shooting the great blue heron a couple of weeks ago 
I knew that he was likely to take off, so I had preselected the central focus 
point and made sure I had plenty of shutter speed, then I just waited. When he 
did take off, I got one shot as he lifted off the water and waited to take a 
second until he was directly adjacent to me.   If I had kept firing after 
liftoff, I probably wouldn't have gotten a good in-flight shot. On the other 
hand, when shooting cars for publication, I'll record numerous exposures of the 
same shot, sometimes turning the polarizer a bit or reframing slightly. Too 
many choices are just enough. But I rarely bracket, since a good average 
exposure provides plenty of working room when the RAW is converted.

Paul
On Oct 30, 2013, at 8:39 AM, Tom C  wrote:

>> From: Eric Weir 
>> 
>> My understanding is that the secret to getting good shots is taking a lot of 
>> them.
> 
> Really? Is that the way you think most people get 'good shots'?
> 
> To get good shots, one must take shots, but the secret isn't taking a
> lot of them.
> 
> Tom C.
> 
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Re: PESO: White-Faced Heron

[Godfrey DiGiorgi]

Plus one. :-)

Godfrey
-- 


> On Oct 30, 2013, at 7:41 AM, Ann Sanfedele  wrote:
> 
> what a beautiful bird - and nicely presented
> ann
> 
>> On 10/27/2013 23:30, David Mann wrote:
>> For those who didn't look through my gallery I thought this one was worth 
>> presenting separately :)
>> 
>> http://gallery.multi.net.nz/photo/673/#peso
>> 
>> It's not often I get to exercise the 400mm but I'm glad I brought it on that 
>> trip.
>> 
>> Cheers,
>> Dave
>> 

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Re: White-Faced Heron

[Bob Sullivan]

Tom,
In the film days, each shot was $.25 and only pros took lots of shots.
Now the cost per shot is almost zero, and the tyros 'spray and pray'.
I enjoy taking more shots now, trying to work things out and saving
money on film.
I hope it's improving my photography.
A new K-3 costs less than 150 rolls of Kodachrome (...if only we could
process it).
Regards,  Bob S.

On Wed, Oct 30, 2013 at 9:25 AM, Alan C  wrote:
> Why do fashion photographers take so many shots then?
>
> Alan
>
> -Original Message- From: Tom C
> Sent: Wednesday, October 30, 2013 2:39 PM
> To: Pentax-Discuss Mail List
> Subject: Re: PESO: White-Faced Heron
>
>> From: Eric Weir 
>>
>> My understanding is that the secret to getting good shots is taking a lot
>> of them.
>
>
> Really? Is that the way you think most people get 'good shots'?
>
> To get good shots, one must take shots, but the secret isn't taking a
> lot of them.
>
> Tom C.
>
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Re: PESO: White-Faced Heron

[Eric Weir]

On Oct 30, 2013, at 9:41 AM, Jack Davis  wrote:

> Getting out with a camera and giving yourself opportunities, will increase 
> your chances of getting a "good" one. Be choosy once you've decided what 
> "good" is, then learn the  basics of composition, exposure and lighting. 
> "Good" will then, likely, take on a new set of ever evolving conditions.

Thanks, Jack. That was the intention of what I said. Obviously, simply taking a 
lot of shots is not sufficient. [If it were possible to *just* take a lot of 
shots.] But with a desire to learn the chances of learning increase the more 
shots you take.

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

“On the basis of evidence we may be sure that 
we are wrong but we can never be sure that we are right.” 

- Richard Feynman


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Re: PESO: White-Faced Heron

[Paul Stenquist]

What Ann said. Well done!

Paul
On Oct 30, 2013, at 10:41 AM, Ann Sanfedele  wrote:

> what a beautiful bird - and nicely presented
> ann
> 
> On 10/27/2013 23:30, David Mann wrote:
>> For those who didn't look through my gallery I thought this one was worth 
>> presenting separately :)
>> 
>> http://gallery.multi.net.nz/photo/673/#peso
>> 
>> It's not often I get to exercise the 400mm but I'm glad I brought it on that 
>> trip.
>> 
>> Cheers,
>> Dave
>> 
>> 
> 
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Re: PESO: White-Faced Heron

[Ann Sanfedele]

what a beautiful bird - and nicely presented
ann

On 10/27/2013 23:30, David Mann wrote:

For those who didn't look through my gallery I thought this one was worth 
presenting separately :)

http://gallery.multi.net.nz/photo/673/#peso

It's not often I get to exercise the 400mm but I'm glad I brought it on that 
trip.

Cheers,
Dave




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Re: Is Pentax now in vogue?

[Paul Stenquist]

The Pentax 6x7 was the weapon of choice among NY fashion shooters until film 
went away. A young man I know who worked as a PA for pros in both LA and NY 
told me he didn't like working in NY studios because almost all the 
photographers were shooting with Pentax 6x7, and it was the PA's job to reload 
the multiple bodies that would be used in a shoot. The 6x7 is somewhat 
difficult to load, and on a fashion shoot, a reload might come every couple of 
minutes. A bad reload, where the film didn't wind correctly,  could be a 
disaster.

Paul
On Oct 30, 2013, at 8:00 AM, Ben Price  wrote:

> I didn't even notice the other two characters in this picture:
> 
> http://metro.co.uk/2013/10/29/back-in-the-fashion-fold-kate-moss-poses-with-john-galliano-on-the-cover-of-vogue-4165793/
> 
> Ben ;)
> 
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Re: White-Faced Heron

[Alan C]

Why do fashion photographers take so many shots then?

Alan

-Original Message- 
From: Tom C

Sent: Wednesday, October 30, 2013 2:39 PM
To: Pentax-Discuss Mail List
Subject: Re: PESO: White-Faced Heron


From: Eric Weir 

My understanding is that the secret to getting good shots is taking a lot 
of them.


Really? Is that the way you think most people get 'good shots'?

To get good shots, one must take shots, but the secret isn't taking a
lot of them.

Tom C.

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Re: PESO: Red Flash

[Daniel J. Matyola]

Thanks, Chris!\

Dan Matyola
http://www.pentaxphotogallery.com/danieljmatyola


On Wed, Oct 30, 2013 at 2:42 AM, Chris Mitchell
 wrote:
> Nice shot of a classic British car, Dan. It's the XK120 drophead coupé 
> version.
>
> Here's an auction from a few years ago
> http://www.bonhams.com/auctions/16133/lot/368/
>
> Chris
>
> On 29 October 2013 14:09, Daniel J. Matyola  wrote:
>> https://dan-matyola.squarespace.com/danmatyolas-pesos/2013/10/29/red-flash
>> Comments are invited.
>>
>> Can anyone identify the make, model and year?
>>
>> Dan Matyola
>> http://www.pentaxphotogallery.com/danieljmatyola
>>
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Re: PESO: White-Faced Heron

[Jack Davis]

Getting out with a camera and giving yourself opportunities, will increase your 
chances of getting a "good" one. Be choosy once you've decided what "good" is, 
then learn the  basics of composition, exposure and lighting. "Good" will then, 
likely, take on a new set of ever evolving conditions.
 
Jack
 


- Original Message -
From: Eric Weir 
To: Pentax-Discuss Mail List 
Cc: 
Sent: Wednesday, October 30, 2013 2:56 AM
Subject: Re: PESO: White-Faced Heron


On Oct 30, 2013, at 12:50 AM, David Mann  wrote:

> It's funny how every time I take a whole load of photos of something it's 
> always either the first or last one I end up choosing.  I have a similar set 
> of another bird to go through so I'll see if I can break that rule.

My understanding is that the secret to getting good shots is taking a lot of 
them. That said, one of my favorites from my trip to England last month was a 
quick one-handed shot as I was crossing a street and throughout, “Hey, that 
looks interesting."

--
Eric Weir
Decatur, GA  USA
eew...@bellsouth.net

"Evertyhtnig is amazing and nobody's happy."

- Louis C.K.



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