date:20150922


On 9/22/2015 7:29 AM, ann sanfedele wrote:





Seen here in Raleigh, NC via Earthlink Email over Time-Warner Roadrunner
internet.

I've noticed in the last few days when I open Thunderbird I get an error
that it can't connect with Time-Warner's email servers.

Last year when the Time-Warner email server was down for a month or
more, their "support" told me that email was an "extra benefit" that
Time-Warner provided at no extra cost because of their inherent
generosity, so just because I couldn't get email it wasn't actually a
problem with my service.

Eventually it came up long enough for me to login to the web interface
and set up a permanent forwarding command.

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Re: The economics of Digital photography.


On 9/22/2015 1:49 PM, John wrote:

On 9/22/2015 12:09 AM, Bill wrote:

On 21/09/2015 7:11 PM, P.J. Alling wrote:

All that's assuming that you don't already own, or want to own a
computer.


All well and good, but I wouldn't have an 8 core CPU and 32gigs of RAM
were it not for digital photography.




True, but is that a good thing or a bad thing?

I consider it a good thing if you're running an OS that hogs ram, and 
what OS doesn't these days.


Personally I'm running a 6 Core system, with only 4 gig of ram, but I'm 
also running WinXP on my photo machine, mostly for hardware 
compatibility.  More ram would be superfluous, though to bring it up to 
16 gig would be only about, (I was going to say $200, for the same 
quality memory, I'm using now, but I just checked prices and it would 
be, get this), $74.  Which is all my MB supports.


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immortality through not dying.
-- Woody Allen


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Total Lunar Eclipse

2015-09-22 Thread Daniel J. Matyola

From an email I received this afternoon:


Total Lunar Eclipse!

On the evening of September 27th, skywatchers throughout North America
will be treated to one of nature’s grandest celestial sky shows – a
total eclipse of the Moon. And unlike the one in April which occurred
in the early predawn hours, this one will happen during convenient
evening ones.

This cosmic spectacular begins with the full Moon entering the Earth’s
dark inner shadow (the “umbra”) at 9:06 p.m. Eastern Daylight Time and
continuing to become ever-more fully immersed in it for the next hour.
Totality itself will start at 10:11 p.m. EDT and last more than an
hour until 11:23 EDT, after which the Moon begins to slowly emerge
from the cone of darkness in reverse order. Adding to the beauty of
the overall scene at this eclipse (especially during totality itself,
while the sky is dark), the Moon will be accompanied by some of the
early rising bright winter stars. (Use your Scientifics’ Star and
Planet Locator to identify them)

There are several interesting things to notice as you watch this event
unfold. Most obvious are the darkness of the eclipsed Moon and the
range of colors displayed, both of which vary from one eclipse to
another. These depend on the clarity of the Earth’s atmosphere at the
time, which refracts or bends sunlight around into the umbral shadow.
There have actually been eclipses so dark that the Moon remained
all-but invisible during totality — and ones so pale that you had to
look carefully to see that there was even an eclipse in progress!
Among the colors that have been seen are shades of reddish-orange,
brown, copper, rose, and even blood-red. Notice, too, that the Earth’s
shadow is curved at all phases of the eclipse, as the Moon passes
through it. This is direct proof that the Earth itself is round —
something recognized by many early skywatchers. And finally, realize
that you’re actually seeing our lovely satellite move eastward in its
orbit — as it first passes into, through, and then out of the shadow
at roughly its own diameter each hour.

While lunar eclipses can certainly be enjoyed with the unaided eye
alone (as they have been throughout most of history!), they are
best-seen in binoculars. An ideal pair for this would be a 7×50 or
10×50 glass, the first number indicating its magnification and the
second the aperture in millimeters. Telescopes themselves, with their
relatively narrow fields of view, typically don’t provide enough sky
coverage around the Moon to get the full effect of its globe being
suspended in space. An exception here, however, is Scientifics’
amazing Astroscan wide-field reflecting telescope. Providing a
3-degree actual field of view at it low magnification of 16x, it takes
in an astounding six full-Moon-diameters of sky — something many have
described as looking through the porthole of a spaceship!

—James Mullaney
Former assistant editor at Sky & Telescope magazine and author of 10
books on stargazing.

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

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Re: Geso A history trip with the Q

2015-09-22 Thread Bulent Celasun

I was not expecting this much from that little camera...

It must be the photographer!

Congrats!

Bulent
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http://celasun.wordpress.com/
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http://www.pentaxphotogallery.com/artists/bulentcelasun


2015-09-22 19:54 GMT+03:00 Donald Guthrie :
> A 16 photo gallery, shot with the Pentax Q. Taking another trip next week
> and this will be my 2nd camera for sure.
>
> https://flic.kr/s/aHskkgmkBM
>
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Re: Geso A history trip with the Q

2015-09-22 Thread Marco Alpert

A lovely gallery.

- Marco

On Sep 22, 2015, at 9:54 AM, Donald Guthrie  wrote:

> A 16 photo gallery, shot with the Pentax Q. Taking another trip next week and 
> this will be my 2nd camera for sure.
> 
> https://flic.kr/s/aHskkgmkBM
> 
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> to UNSUBSCRIBE from the PDML, please visit the link directly above and follow 
> the directions.
> 


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Re: Track report and Snapshots from Daytona

Cool, thanks.

On September 22, 2015 2:12:44 PM EDT, John  wrote:
>On 9/22/2015 9:43 AM, Larry Colen wrote:
>> I've been experimenting with John's advice about panning. It's
>> definitely a skill.  Things seem to work best between 1/100 and 1/200
>of
>> a second.  I've been using his 60-250 a lot because the zoom range I
>> mostly seem to need panning cars going past is 85-250 or 135-250.
>>
>> I've learned that I need to stand with my hips parallel to the track
>so
>> that I've got full freedom of movement in both directions.
>>
>
>I've learned that it works best if you're twisted around already to the
>point you're expecting to pick up your subject; so that you're
>unwinding
>as you pan.
>
>It's easier to unwind smoothly than it is to wind up smoothly.

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Re: Geso A history trip with the Q

Nice set!

On September 22, 2015 12:54:55 PM EDT, Donald Guthrie  
wrote:
>A 16 photo gallery, shot with the Pentax Q. Taking another trip next 
>week and this will be my 2nd camera for sure.
>
>https://flic.kr/s/aHskkgmkBM

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Re: It's red

I have considered that course of action.

On September 22, 2015 11:37:49 AM EDT, "P.J. Alling" 
 wrote:
>I had that issue with a *ist-Ds, the answer was Radio Shack Tuner 
>Cleaner/Lube.  Take out the batteries, spray it in the gap around the 
>wheel. Let it sit for about half a hour for the volatiles to evaporate.
>
>Wipe of any visible residue.  Put the batteries in and test.  Repair 
>would be much more than the cost of a replacement camera, unless it's 
>under warranty.  The K-r doesn't have any weather sealing so it should
>work.
>
>On 9/22/2015 9:26 AM, Larry Colen wrote:
>> I've been using Nicole's K-r as a backup body this weekend. On one 
>> hand, I've been impressed with how well it does and what a huge 
>> improvement over the K-x it is.  Unfortunately it seems to have a 
>> flakey control/thumb wheel. Sometimes it works OK, sometimes it will 
>> not read a click, sometimes it will only feed signals for going one 
>> way, no matter which way you turn the wheel.  I guess we'll discuss 
>> the issue with KEH when we get back.
>>
>> Larry Colen wrote:
>>> I was discussing packing, camera gear etc. with my friend Nicole who
>
>>> will be driving in the SCCA runoffs next week. I joked that if she 
>>> replaced her D90 with a Pentax body, then we could share lenses,
>with 
>>> less to pack, and I'd be able to keep a second lens mounted when 
>>> photographing her track sessions.
>>> In order to convince ourselves that this really was not a feasible 
>>> idea, we looked up the price for K-3 at KEH (about $80 less than new
>
>>> on Amazon). However, they also had a red K-r for $168.
>>> She has a thing for red, it arrives tomorrow.
>>>
>>> I do still have my stormtrooper K-x, but the shutter button has been
>
>>> rather fussy for a while.
>>>
>>> Yes, I know a woman software engineer, who races cars and makes 
>>> impulse purchases of camera gear, maybe unicorns also exist.
>>>
>>

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Re: Geso A history trip with the Q

Very nicely rendered array of images. I'd say your choice is soundly based!

J

- Original Message -
From: "Donald Guthrie" 
To: "PDML" 
Sent: Tuesday, September 22, 2015 9:54:55 AM
Subject: Geso A history trip with the Q

A 16 photo gallery, shot with the Pentax Q. Taking another trip next 
week and this will be my 2nd camera for sure.

https://flic.kr/s/aHskkgmkBM

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Re: Geso A history trip with the Q

2015-09-22 Thread Daniel J. Matyola

That is an excellent photo gallery, with interesting and well-composed
images that document the subject very well indeed.

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


On Tue, Sep 22, 2015 at 12:54 PM, Donald Guthrie  wrote:
> A 16 photo gallery, shot with the Pentax Q. Taking another trip next week
> and this will be my 2nd camera for sure.
>
> https://flic.kr/s/aHskkgmkBM
>
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> http://pdml.net/mailman/listinfo/pdml_pdml.net
> to UNSUBSCRIBE from the PDML, please visit the link directly above and
> follow the directions.

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Re: The economics of Digital photography.


On 9/22/2015 12:09 AM, Bill wrote:

On 21/09/2015 7:11 PM, P.J. Alling wrote:

All that's assuming that you don't already own, or want to own a
computer.


All well and good, but I wouldn't have an 8 core CPU and 32gigs of RAM
were it not for digital photography.




True, but is that a good thing or a bad thing?

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Ricoh Imaging (USA) redesigned web site shows very limited lens line up.

As in very few lenses.  Stupidly organized as well by the way. Really if 
I'm interested in K mount DSLRs and click on the lenses link, you'd 
think they'd filter by only K mount lenses, but no, you get a listing 
that includes all the lenses, such as they are. Either they're dropping 
a lot of product in the US or their web site manager is an idiot, and I 
wouldn't make a bet either way, at this point.  The Canadian Web site is 
much better, with a much more fully represented line of Pentax products 
represented, so Go Canada.


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immortality through not dying.
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OT: Unique Selfies

2015-09-22 Thread Daniel J. Matyola

http://twistedsifter.com/2015/09/the-wanderer-by-tiina-tormanen/

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

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Geso A history trip with the Q

2015-09-22 Thread Donald Guthrie

A 16 photo gallery, shot with the Pentax Q. Taking another trip next 
week and this will be my 2nd camera for sure.


https://flic.kr/s/aHskkgmkBM

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Re: PESO: The Monarch


On 9/22/2015 12:17 AM, Daniel J. Matyola wrote:

This weekend, the monarchs returned to our butterfly bushes.  They
seem to be darker orange than those that visited here earlier in the
year, which seemed more yellowish than white, especially at midday.  I
wonder if it is age or diet or just different lighting that make the
apparent colors vary.

http://photo.net/photodb/photo?photo_id=18092952
K-5 II S, FA 100mm 2.8 macro

Comments are invited.

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



... or perhaps D: all or the above.

According to Wikipedia, 5 generations separate the Monarchs that migrate
north from Mexico in the spring and those that return there in the fall.

I'm guessing you saw second generation Monarchs last spring and these
are third or fourth generation Monarchs returning south.

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Re: Geso A history trip with the Q

2015-09-22 Thread Bob W-PDML

Very impressive - lovely quality of light.

B

> On 22 Sep 2015, at 18:47, Jack Davis  wrote:
> 
> Very nicely rendered array of images. I'd say your choice is soundly based!
> 
> J
> 
> - Original Message -
> From: "Donald Guthrie" 
> To: "PDML" 
> Sent: Tuesday, September 22, 2015 9:54:55 AM
> Subject: Geso A history trip with the Q
> 
> A 16 photo gallery, shot with the Pentax Q. Taking another trip next 
> week and this will be my 2nd camera for sure.
> 
> https://flic.kr/s/aHskkgmkBM
> 
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Re: Track report and Snapshots from Daytona


On 9/22/2015 9:43 AM, Larry Colen wrote:

I've been experimenting with John's advice about panning. It's
definitely a skill.  Things seem to work best between 1/100 and 1/200 of
a second.  I've been using his 60-250 a lot because the zoom range I
mostly seem to need panning cars going past is 85-250 or 135-250.

I've learned that I need to stand with my hips parallel to the track so
that I've got full freedom of movement in both directions.



I've learned that it works best if you're twisted around already to the
point you're expecting to pick up your subject; so that you're unwinding
as you pan.

It's easier to unwind smoothly than it is to wind up smoothly.

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Religion - Answers we must never question.

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Re: Anybody have experience with Silver Halide prints?

I've had several Chromira prints made over the years. I've never heard 
of them described as "silver halide" prints, but after a little googling 
that seems to be what they are being called these days. Basically, the 
Chromira uses LEDs to project the digital image onto traditional color 
photo paper and then develops the paper. The local lab that I use prints 
on Fuji Crystal Archive paper, a very nice luster / pearl finish paper.  
Over the years they've pulled a few dozen prints for me, for prints 
larger than the 17 x 36 that I can do on my Epson 3880. IIRC, they use 
rolls of paper that are 36 inches wide, so 36 inches is the maximum size 
of the smaller dimension of the print.


The quality of the prints that I have had done is excellent, and 
personally I have not seen anything to quibble about. The way I work it 
with the lab is that I bring them an 8x10 printed on Epson Premium 
Lustre Photo paper and ask for an 8x10 proof that matches it. I use the 
PLPP because it has a similar finish to the Fuji crystal archive.  
Inevitably, the proof I get is spot on, but I don't know if that is an 
out of the printer first time proof or if the owner of the lab is 
testing and tweaking till he gets the match. At any rate, the prints 
I've gotten have been great. Back in 2005 the lab asked to use some of 
my photos as sample prints and a couple 20x30 prints - one color and one 
B - are still on the wall and show no signs of fading or color shifts.


One image that I had did display some degree of metamerism and took on a 
slightly magenta tone under florescent lights - very subtle - while it 
looked beautifully neutral in daylight and tungsten light. My friend who 
runs the lab offered to replace it, saying that there should be no color 
shift. I have not seen any color shifts in other mono prints, but I 
usually tone the prints slightly warm or cool. The print that display 
the slight metamerism  was one where I did no toning.


I usually use the Chromira for 6x7 scans. A 4000 dpi 6x7 scan works out 
to just over 36 x 28 inches at 300 dpi. Been thinking about printing a 
couple of the noontide images big via this process.


Hope this helps -

Mark

On 9/22/2015 6:30 PM, Darren Addy wrote:

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide prints.




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Re: Geso A history trip with the Q

That is a great collection! The crispness and detail are outstanding, 
and you put together some fine compositions of interesting objects. Well 
done!


Mark

On 9/22/2015 12:54 PM, Donald Guthrie wrote:
A 16 photo gallery, shot with the Pentax Q. Taking another trip next 
week and this will be my 2nd camera for sure.


https://flic.kr/s/aHskkgmkBM




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Re: Anybody have experience with Silver Halide prints?

Great info Mark. Thanks!

I'm curious... what do people do with big prints these days? In the
"old days" there was dry mount. Then there was peel off self-stick
mount boards. But what do people do with larger prints like 24x36? I'm
dying to get a few of mine finally up on the walls.

On Tue, Sep 22, 2015 at 8:28 PM, Mark C  wrote:
> I've had several Chromira prints made over the years. I've never heard of
> them described as "silver halide" prints, but after a little googling that
> seems to be what they are being called these days. Basically, the Chromira
> uses LEDs to project the digital image onto traditional color photo paper
> and then develops the paper. The local lab that I use prints on Fuji Crystal
> Archive paper, a very nice luster / pearl finish paper.  Over the years
> they've pulled a few dozen prints for me, for prints larger than the 17 x 36
> that I can do on my Epson 3880. IIRC, they use rolls of paper that are 36
> inches wide, so 36 inches is the maximum size of the smaller dimension of
> the print.
>
> The quality of the prints that I have had done is excellent, and personally
> I have not seen anything to quibble about. The way I work it with the lab is
> that I bring them an 8x10 printed on Epson Premium Lustre Photo paper and
> ask for an 8x10 proof that matches it. I use the PLPP because it has a
> similar finish to the Fuji crystal archive.  Inevitably, the proof I get is
> spot on, but I don't know if that is an out of the printer first time proof
> or if the owner of the lab is testing and tweaking till he gets the match.
> At any rate, the prints I've gotten have been great. Back in 2005 the lab
> asked to use some of my photos as sample prints and a couple 20x30 prints -
> one color and one B - are still on the wall and show no signs of fading or
> color shifts.
>
> One image that I had did display some degree of metamerism and took on a
> slightly magenta tone under florescent lights - very subtle - while it
> looked beautifully neutral in daylight and tungsten light. My friend who
> runs the lab offered to replace it, saying that there should be no color
> shift. I have not seen any color shifts in other mono prints, but I usually
> tone the prints slightly warm or cool. The print that display the slight
> metamerism  was one where I did no toning.
>
> I usually use the Chromira for 6x7 scans. A 4000 dpi 6x7 scan works out to
> just over 36 x 28 inches at 300 dpi. Been thinking about printing a couple
> of the noontide images big via this process.
>
> Hope this helps -
>
> Mark
>
> On 9/22/2015 6:30 PM, Darren Addy wrote:
>>
>> While looking for cheap 8x10 prints for my employer I tripped across
>> sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
>> knocked my socks off. Looking into it a bit further they use a
>> Chromira Pro Lab silver halide printer. Googling that led me to this
>> discussion of how they are softer than traditional inkjet prints:
>> http://forum.luminous-landscape.com/index.php?topic=69349.0
>> (although it is possible that the technology has improved since that
>> discussion).
>>
>> Just curious if anyone has any opinions/experience with Silver Halide
>> prints.
>>
>
>
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PESO - Crested Treehopper


http://www.markcassino.com/b2evolution/index.php/crested-treehopper

Haven't been doing too many insect stacked focus macros lately - mostly 
because I want to spend my free time outdoors. Here's a treehopper 
collected earlier this summer.


K01 and reverse mounted DFA 50mm f2.8 macro.

Comments welcome!

Mark


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PESO - Conversation

2015-09-22 Thread Rick Womer

Along the Schuylkill Banks path:

http://photo.net/photodb/photo?photo_id=18087924=lg

(K-5, DA 16-45)

Comments appreciated.

Rick



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Re: PESO -- Lonely Monarch


Nice capture.

On 9/21/2015 10:08 PM, P.J. Alling wrote:
This was the only Monarch Butterfly that I've seen this fall.  It 
could be because I didn't go looking till after the peak of their fall 
migration.  But I've heard rumors that it was a disappointing season 
all round.


https://dl.dropboxusercontent.com/u/1604247/PESO/PESO%20--%20lonelymonarch.html 



Equipment: Pentax K-5II w/vmc Vivitar S1 70-210mm f2.8~4.0 (Komine)

As usual comments are welcome but may be totally ignored.




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Re: Anybody have experience with Silver Halide prints?


Glad the info was helpful!

I never printed at the full size that the Chromia allows but framing 
larger prints is not a problem. I am not a great framer but had some 26 
x 26 inch snowflake prints that I used  as props when I did a snowflake 
photography workshop for local camera clubs, and later when I did 
promotional events for my snowflake book. I corner mounted the 26 x 26 
prints in 32 x 28 inch mats and used simple metal frames. I would set 
them up on easels when I did a presentation or book signing. They were 
schlepped all over the place and in and out of the car dozens of time - 
but the prints are still flat and the mats still look fine. (Frames and 
plexiglass show some wear though...) I've framed more than a few 20 x 30 
inch prints, again just using corner mounts and high quality back 
boards.   The largest pieces I've done were 30 x 25 and I worked with a 
frame shop to mount those - they no doubt were much more proper about 
the process than I am for what I do for myself. So if you have large 
prints and are comfortable cutting mats, its pretty simple to put things 
together.


Mark



On 9/22/2015 9:38 PM, Darren Addy wrote:

Great info Mark. Thanks!

I'm curious... what do people do with big prints these days? In the
"old days" there was dry mount. Then there was peel off self-stick
mount boards. But what do people do with larger prints like 24x36? I'm
dying to get a few of mine finally up on the walls.

On Tue, Sep 22, 2015 at 8:28 PM, Mark C  wrote:

I've had several Chromira prints made over the years. I've never heard of
them described as "silver halide" prints, but after a little googling that
seems to be what they are being called these days. Basically, the Chromira
uses LEDs to project the digital image onto traditional color photo paper
and then develops the paper. The local lab that I use prints on Fuji Crystal
Archive paper, a very nice luster / pearl finish paper.  Over the years
they've pulled a few dozen prints for me, for prints larger than the 17 x 36
that I can do on my Epson 3880. IIRC, they use rolls of paper that are 36
inches wide, so 36 inches is the maximum size of the smaller dimension of
the print.

The quality of the prints that I have had done is excellent, and personally
I have not seen anything to quibble about. The way I work it with the lab is
that I bring them an 8x10 printed on Epson Premium Lustre Photo paper and
ask for an 8x10 proof that matches it. I use the PLPP because it has a
similar finish to the Fuji crystal archive.  Inevitably, the proof I get is
spot on, but I don't know if that is an out of the printer first time proof
or if the owner of the lab is testing and tweaking till he gets the match.
At any rate, the prints I've gotten have been great. Back in 2005 the lab
asked to use some of my photos as sample prints and a couple 20x30 prints -
one color and one B - are still on the wall and show no signs of fading or
color shifts.

One image that I had did display some degree of metamerism and took on a
slightly magenta tone under florescent lights - very subtle - while it
looked beautifully neutral in daylight and tungsten light. My friend who
runs the lab offered to replace it, saying that there should be no color
shift. I have not seen any color shifts in other mono prints, but I usually
tone the prints slightly warm or cool. The print that display the slight
metamerism  was one where I did no toning.

I usually use the Chromira for 6x7 scans. A 4000 dpi 6x7 scan works out to
just over 36 x 28 inches at 300 dpi. Been thinking about printing a couple
of the noontide images big via this process.

Hope this helps -

Mark

On 9/22/2015 6:30 PM, Darren Addy wrote:

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide
prints.



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Re: Anybody have experience with Silver Halide prints?


Oops - correction noted below...

On 9/22/2015 10:39 PM, Mark C wrote:

Glad the info was helpful!

I never printed at the full size that the Chromia allows but framing 
larger prints is not a problem. I am not a great framer but had some 
26 x 26 inch snowflake prints that I used  as props when I did a 
snowflake photography workshop for local camera clubs, and later when 
I did promotional events for my snowflake book. I corner mounted the 
26 x 26 prints in 32 x 28 (correction: 32 x 38)  inch mats and used 
simple metal frames. I would set them up on easels when I did a 
presentation or book signing. They were schlepped all over the place 
and in and out of the car dozens of time - but the prints are still 
flat and the mats still look fine. (Frames and plexiglass show some 
wear though...) I've framed more than a few 20 x 30 inch prints, again 
just using corner mounts and high quality back boards.   The largest 
pieces I've done were 30 x 25 and I worked with a frame shop to mount 
those - they no doubt were much more proper about the process than I 
am for what I do for myself. So if you have large prints and are 
comfortable cutting mats, its pretty simple to put things together.


Mark



On 9/22/2015 9:38 PM, Darren Addy wrote:

Great info Mark. Thanks!

I'm curious... what do people do with big prints these days? In the
"old days" there was dry mount. Then there was peel off self-stick
mount boards. But what do people do with larger prints like 24x36? I'm
dying to get a few of mine finally up on the walls.

On Tue, Sep 22, 2015 at 8:28 PM, Mark C  wrote:
I've had several Chromira prints made over the years. I've never 
heard of
them described as "silver halide" prints, but after a little 
googling that
seems to be what they are being called these days. Basically, the 
Chromira
uses LEDs to project the digital image onto traditional color photo 
paper
and then develops the paper. The local lab that I use prints on Fuji 
Crystal

Archive paper, a very nice luster / pearl finish paper.  Over the years
they've pulled a few dozen prints for me, for prints larger than the 
17 x 36
that I can do on my Epson 3880. IIRC, they use rolls of paper that 
are 36
inches wide, so 36 inches is the maximum size of the smaller 
dimension of

the print.

The quality of the prints that I have had done is excellent, and 
personally
I have not seen anything to quibble about. The way I work it with 
the lab is
that I bring them an 8x10 printed on Epson Premium Lustre Photo 
paper and

ask for an 8x10 proof that matches it. I use the PLPP because it has a
similar finish to the Fuji crystal archive.  Inevitably, the proof I 
get is
spot on, but I don't know if that is an out of the printer first 
time proof
or if the owner of the lab is testing and tweaking till he gets the 
match.
At any rate, the prints I've gotten have been great. Back in 2005 
the lab
asked to use some of my photos as sample prints and a couple 20x30 
prints -
one color and one B - are still on the wall and show no signs of 
fading or

color shifts.

One image that I had did display some degree of metamerism and took 
on a

slightly magenta tone under florescent lights - very subtle - while it
looked beautifully neutral in daylight and tungsten light. My friend 
who
runs the lab offered to replace it, saying that there should be no 
color
shift. I have not seen any color shifts in other mono prints, but I 
usually
tone the prints slightly warm or cool. The print that display the 
slight

metamerism  was one where I did no toning.

I usually use the Chromira for 6x7 scans. A 4000 dpi 6x7 scan works 
out to
just over 36 x 28 inches at 300 dpi. Been thinking about printing a 
couple

of the noontide images big via this process.

Hope this helps -

Mark

On 9/22/2015 6:30 PM, Darren Addy wrote:

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide
prints.



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Re: Total Lunar Eclipse

2015-09-22 Thread Igor PDML-StR



Dan, thank you for the heads-up.

The timing might allow me showing this interesting phenomenon to my
little daughter (for the first time).
I am hoping for a sufficiently clear sky.

Just a quick comment on your correspondent's statement:
"Notice, too, that the Earth's
shadow is curved at all phases of the eclipse, as the Moon passes
through it. This is direct proof that the Earth itself is round.
something recognized by many early skywatchers."

But it is not yet a complete proof that Earth is not flat! The same 
could be observed if the Earth were, say, a disk.

(That's a physicist speaks. :-) )

Igor


Daniel J. Matyola Tue, 22 Sep 2015 12:19:18 -0700 wrote:


From an email I received this afternoon:



Total Lunar Eclipse!

On the evening of September 27th, skywatchers throughout North America
will be treated to one of nature.s grandest celestial sky shows . a
total eclipse of the Moon. And unlike the one in April which occurred
in the early predawn hours, this one will happen during convenient
evening ones.

This cosmic spectacular begins with the full Moon entering the Earth.s
dark inner shadow (the .umbra.) at 9:06 p.m. Eastern Daylight Time and
continuing to become ever-more fully immersed in it for the next hour.
Totality itself will start at 10:11 p.m. EDT and last more than an
hour until 11:23 EDT, after which the Moon begins to slowly emerge
from the cone of darkness in reverse order. Adding to the beauty of
the overall scene at this eclipse (especially during totality itself,
while the sky is dark), the Moon will be accompanied by some of the
early rising bright winter stars. (Use your Scientifics. Star and
Planet Locator to identify them)

...

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Re: PESO - Conversation


Seuratesque :-)

nice

ann

On 9/22/2015 8:52 PM, Rick Womer wrote:

Along the Schuylkill Banks path:

http://photo.net/photodb/photo?photo_id=18087924=lg

(K-5, DA 16-45)

Comments appreciated.

Rick






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Re: Anybody have experience with Silver Halide prints?

2015-09-22 Thread steve harley


On 2015-09-22 19:38 , Darren Addy wrote:

Great info Mark. Thanks!

I'm curious... what do people do with big prints these days? In the
"old days" there was dry mount. Then there was peel off self-stick
mount boards. But what do people do with larger prints like 24x36? I'm
dying to get a few of mine finally up on the walls.


a brewery near me hosted a kickoff party for something called the 
Brewtography Project; they have several large prints hung; most are black 
and white, and they look like they are mounted on aluminum with some kind of 
thick gloss applied; i don't know the process, but i was pleasantly 
surprised by the quality and non-gimmickiness of the result (it helps that 
the photos are well-done, often genuinely interesting)


having seen your work, Darren, i think some of it would look really good 
printed this way


(warning: video autoplay in the link below; you will also see the 
photographer shoot C***n and chimp a lot)




if you scroll down the page above, the shot of the two men, one pouring, one 
stirring, was done at Baere Brewing, where the photos were hung; Baere did a 
beer called F Stops Here for the party






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Re: PESO - Conversation

I adopt Ann's pithy comment.

Cheers,

frank

On 22 September, 2015 10:59:44 PM EDT, ann sanfedele  wrote:
>Seuratesque :-)
>
>nice
>
>ann
>
>On 9/22/2015 8:52 PM, Rick Womer wrote:
>> Along the Schuylkill Banks path:
>>
>> http://photo.net/photodb/photo?photo_id=18087924=lg
>>
>> (K-5, DA 16-45)
>>
>> Comments appreciated.
>>
>> Rick
>>
>>
>>

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Re: PESO -- Lonely Monarch

Wistful.

Cheers,

frank

On 21 September, 2015 10:08:49 PM EDT, "P.J. Alling" 
 wrote:
>This was the only Monarch Butterfly that I've seen this fall.  It could
>
>be because I didn't go looking till after the peak of their fall 
>migration.  But I've heard rumors that it was a disappointing season
>all 
>round.
>
>https://dl.dropboxusercontent.com/u/1604247/PESO/PESO%20--%20lonelymonarch.html
>
>
>
>Equipment: Pentax K-5II w/vmc Vivitar S1 70-210mm f2.8~4.0 (Komine)
>
>As usual comments are welcome but may be totally ignored.

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Re: Total Lunar Eclipse

2015-09-22 Thread David Mann

The media here said it’s going to be a supermoon as well.  We don’t get to see 
the eclipse here :(

Cheers,
Dave

> On Sep 23, 2015, at 7:18 am, Daniel J. Matyola  wrote:
> 
> From an email I received this afternoon:
> 
> 
> Total Lunar Eclipse!
> 
> On the evening of September 27th, skywatchers throughout North America
> will be treated to one of nature’s grandest celestial sky shows – a
> total eclipse of the Moon. And unlike the one in April which occurred
> in the early predawn hours, this one will happen during convenient
> evening ones.
> 
> This cosmic spectacular begins with the full Moon entering the Earth’s
> dark inner shadow (the “umbra”) at 9:06 p.m. Eastern Daylight Time and
> continuing to become ever-more fully immersed in it for the next hour.
> Totality itself will start at 10:11 p.m. EDT and last more than an
> hour until 11:23 EDT, after which the Moon begins to slowly emerge
> from the cone of darkness in reverse order. Adding to the beauty of
> the overall scene at this eclipse (especially during totality itself,
> while the sky is dark), the Moon will be accompanied by some of the
> early rising bright winter stars. (Use your Scientifics’ Star and
> Planet Locator to identify them)
> 
> There are several interesting things to notice as you watch this event
> unfold. Most obvious are the darkness of the eclipsed Moon and the
> range of colors displayed, both of which vary from one eclipse to
> another. These depend on the clarity of the Earth’s atmosphere at the
> time, which refracts or bends sunlight around into the umbral shadow.
> There have actually been eclipses so dark that the Moon remained
> all-but invisible during totality — and ones so pale that you had to
> look carefully to see that there was even an eclipse in progress!
> Among the colors that have been seen are shades of reddish-orange,
> brown, copper, rose, and even blood-red. Notice, too, that the Earth’s
> shadow is curved at all phases of the eclipse, as the Moon passes
> through it. This is direct proof that the Earth itself is round —
> something recognized by many early skywatchers. And finally, realize
> that you’re actually seeing our lovely satellite move eastward in its
> orbit — as it first passes into, through, and then out of the shadow
> at roughly its own diameter each hour.
> 
> While lunar eclipses can certainly be enjoyed with the unaided eye
> alone (as they have been throughout most of history!), they are
> best-seen in binoculars. An ideal pair for this would be a 7×50 or
> 10×50 glass, the first number indicating its magnification and the
> second the aperture in millimeters. Telescopes themselves, with their
> relatively narrow fields of view, typically don’t provide enough sky
> coverage around the Moon to get the full effect of its globe being
> suspended in space. An exception here, however, is Scientifics’
> amazing Astroscan wide-field reflecting telescope. Providing a
> 3-degree actual field of view at it low magnification of 16x, it takes
> in an astounding six full-Moon-diameters of sky — something many have
> described as looking through the porthole of a spaceship!
> 
> —James Mullaney
> Former assistant editor at Sky & Telescope magazine and author of 10
> books on stargazing.
> 
> Dan Matyola
> http://www.pentaxphotogallery.com/danieljmatyola
> 
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Re: Track report and Snapshots from Daytona

The Spec Miata race on Friday night is going to be amazing. Yes, I said
Friday night, Mazda is paying to light up the track for the SM National
Championship Friday at 8PM Eastern (5PM Left Coast). I hope that they
will be broadcast live on the web, although this feed only seems to be
audio:

http://www.scca.com/live

They ran a qualifying session tonight and I took the opportunity to
practice photographing auto racing at night. Although at Daytona, with
the lights on, Night has a slightly different meaning than at some other
tracks.

The crew managed to get my friend's car running tonight a bit after 7PM.
We're hoping for a hardship lap in the morning to test it out, and
qualifying again tomorrow at 11AM. The rain is supposed to come in
again starting tomorrow, so who knows if she will be able to improve her
lap times and starting position.

Some photos from today:
https://www.facebook.com/media/set/?set=a.10153740879939673.1073742092.653299672=1=6bdf10abae

Larry Colen wrote:

I've been experimenting with John's advice about panning. It's
definitely a skill. Things seem to work best between 1/100 and 1/200 of
a second. I've been using his 60-250 a lot because the zoom range I
mostly seem to need panning cars going past is 85-250 or 135-250.

I've learned that I need to stand with my hips parallel to the track so
that I've got full freedom of movement in both directions.

https://www.facebook.com/media/set/?set=a.10153738668619673.1073742091.653299672=1=5aeaf38fc7

Last night, we found what was causing our lack of power:
https://www.facebook.com/media/set/?set=a.10153736141444673.1073742089.653299672=1=de5e49497a

One likely cause was that her crew chief put 93 Octane fuel in the car,
which is fine for the street, but not so good for doing 160 MPH on the
banks at Daytona for extended periods.

She was able to get in most of her session this morning before her motor
made an expensive noise. Her crew did not bring an engine hoist, so we
spent a lot of time and effort today finding one. A LeMons friend of
hers who lives about an hour away was able to bring one to the track
about 8PM last night. Her crew was planning on waking up early and
lifting the motor. We are waiting on the new clutch to be delivered to
the hotel.

At the moment, I'm less than entirely thrilled with the people that she
is paying for track support. There's a chance of making this afternoon's
qual session, and we should be able to make tomorrow's.

Larry Colen wrote:

I'm too busy being pit mom, running errands etc. to spend the time to do
my best job of sorting through and polishing the photos, but I'm posting
some quick and dirties up on facebook for the social networking,
particularly so the Driver's friends can see what she's up to. These
links should work for everyone:

Friday:
https://www.facebook.com/media/set/?set=a.10153729616824673.1073742084.653299672=1=384076ed49

Saturday:
https://www.facebook.com/media/set/?set=a.10153731750259673.1073742086.653299672=1=f4afadd4e2

Sunday:
https://www.facebook.com/media/set/?set=a.10153732593834673.1073742087.653299672=1=fe48433115

We are fighting some interesting technical difficulties. Sometimes when
she tries to shift into fifth either the clutch won't re-engage or the
car won't go into gear. We just heard from a friend of her's at Ford,
there are a couple of known problems with the Mustang GT clutch and with
the shifter mount.

Last night I caught some snaps of Nicole benchracing with some friends,
and her friend asked me what I was doing tonight. It turns out that a
couple of racers are getting married this evening on the beach and they
need a photographer.

Many thanks to John who loaned me his 50-135 and 60-250. Fortunately I
haven't needed the weather sealed lenses yet, but that's just been luck
of the draw with the sessions falling between rainstorms. I have come to
the conclusion that Florida does not have what I consider to be ideal
climate.

--
Larry Colen l...@red4est.com (postbox on min4est)

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Re: PESO - Crested Treehopper

Nicely done and in Halloween tones. 
Seriously well done, Mark C.

J

- Original Message -
From: "Mark C" 
To: "Pentax-Discuss Mail List" 
Sent: Tuesday, September 22, 2015 6:42:50 PM
Subject: PESO - Crested Treehopper

http://www.markcassino.com/b2evolution/index.php/crested-treehopper

Haven't been doing too many insect stacked focus macros lately - mostly 
because I want to spend my free time outdoors. Here's a treehopper 
collected earlier this summer.

K01 and reverse mounted DFA 50mm f2.8 macro.

Comments welcome!

Mark


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Re: PESO - Crested Treehopper

Usual coolness. Love it!

Cheers,

frank

On 22 September, 2015 9:42:50 PM EDT, Mark C  wrote:
>http://www.markcassino.com/b2evolution/index.php/crested-treehopper
>
>Haven't been doing too many insect stacked focus macros lately - mostly
>
>because I want to spend my free time outdoors. Here's a treehopper 
>collected earlier this summer.
>
>K01 and reverse mounted DFA 50mm f2.8 macro.
>
>Comments welcome!
>
>Mark
>
>
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Re: Anybody have experience with Silver Halide prints?

Mark, I actually have a good-sized mat cutter system that came with a
mess of used darkroom equipment that I bought several years ago. I
intended to sell it, but never have. Would need to figure out how to
use it, but I've got a Hobby Lobby nearby so mat material is
available, but I don't think larger than 24x36, which is kind of what
I'd like to print at.

Steve, thanks for the kind words and link. I'll have to look into that
aluminum idea. My office is right next to a machine shop, so I would
think I could get the aluminum basically at wholesale. I'll have to
exercise my Google-Fu and see if I can find more info on that process.
Sounds cool.

When I was in high school, and for a while after, I worked at a local
portrait/wedding photographer's studio in my home town. This was late
70's. One of my duties was spraying lacquer on the prints at a spray
booth, using what was basically a big compressor driven paint gun -
like you would paint a car with. The spray booth had a big squirrel
cage blower in it that would suck the prints to the mesh and draw the
fumes up and out of the building. We had different gallons of lacquer
we would use depending upon if we wanted a matte finish or a high
gloss.Come to think of it, we have a big ventilated paint booth at
work also. H.

On Tue, Sep 22, 2015 at 10:05 PM, steve harley  wrote:
> On 2015-09-22 19:38 , Darren Addy wrote:
>>
>> Great info Mark. Thanks!
>>
>> I'm curious... what do people do with big prints these days? In the
>> "old days" there was dry mount. Then there was peel off self-stick
>> mount boards. But what do people do with larger prints like 24x36? I'm
>> dying to get a few of mine finally up on the walls.
>
>
> a brewery near me hosted a kickoff party for something called the
> Brewtography Project; they have several large prints hung; most are black
> and white, and they look like they are mounted on aluminum with some kind of
> thick gloss applied; i don't know the process, but i was pleasantly
> surprised by the quality and non-gimmickiness of the result (it helps that
> the photos are well-done, often genuinely interesting)
>
> having seen your work, Darren, i think some of it would look really good
> printed this way
>
> (warning: video autoplay in the link below; you will also see the
> photographer shoot C***n and chimp a lot)
>
> 
>
> if you scroll down the page above, the shot of the two men, one pouring, one
> stirring, was done at Baere Brewing, where the photos were hung; Baere did a
> beer called F Stops Here for the party
>
>
>
>
>
>
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Anybody have experience with Silver Halide prints?

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide prints.

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Re: Anybody have experience with Silver Halide prints?


Darren, you're younger than I thought you were...

ann

On 9/22/2015 6:30 PM, Darren Addy wrote:

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide prints.




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Re: here we go again - test

2015-09-22 Thread Paul Stenquist

Is it for seniors only? My Brooklyn daughter would love that.

Paul via phone

> On Sep 22, 2015, at 7:40 PM, ann sanfedele  wrote:
> 
> 
> 
>> On 9/22/2015 11:06 AM, P.J. Alling wrote:
>> Looks like a connection.
> and itis!.. DOn't know what was going on earlier..
> meanwhile,
> I've been gone all day visiting animals and plants - getting by FREE 
> membership to the Bronx zoo and the Bronx botanical garden
> thanks to the New York ID card roll out.  Only good for a year, but still..
> 
> although the list I printed out of the advantages to getting this ID card 
> didn't mention the Central Park Zoo as being included, it is..
> much to my delight.
> 
> I urge anyone who is lurking that actually lives in one of the 5 bouroughsto 
> check ID NEW YORK out... the perks that come with
> it are exceptional, real saerious money savers - but they have to be applied 
> for after you get the card and beforeDec 16th I thinkit is.
> 
> For someone of limited means like myself especially those perks are great, 
> but also, I don't ahve a drivers license so the card is
> useful for ID... which you need to produce in some places no even to use a 
> credit card.
> 
> be back later - after I upload today's photo product :-)
> 
> ann
> 
> 
> 
> 
> 
> 
> 
> 
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Re: Anybody have experience with Silver Halide prints?

It depends on what's meant by Silver Halide.  A silver Halide process is 
pretty much what every one used to produce photographic prints before 
Digital and various types of inkjets all but took over.  An enlarger or 
process camera can make pretty sharp photographic prints, given a good 
negative. However I assume that using digital files as a source they're 
doing something quite different.


My next thought is, when did inkjet prints become traditional? As 
opposed to silver prints which actually are traditional.  Damn, now I do 
feel old.


On 9/22/2015 6:30 PM, Darren Addy wrote:

While looking for cheap 8x10 prints for my employer I tripped across
sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
knocked my socks off. Looking into it a bit further they use a
Chromira Pro Lab silver halide printer. Googling that led me to this
discussion of how they are softer than traditional inkjet prints:
http://forum.luminous-landscape.com/index.php?topic=69349.0
(although it is possible that the technology has improved since that
discussion).

Just curious if anyone has any opinions/experience with Silver Halide prints.




--
I don't want to achieve immortality through my work; I want to achieve 
immortality through not dying.
-- Woody Allen


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Re: Anybody have experience with Silver Halide prints?

Sorry, forgot a link: http://sharpprints.com/really-big-prints.html

Flash is required for this link:
http://www.zbe.com/products/chromira/prolab/video?symfony=pntagvfj
or here is the PDF version of the same content:
http://www.dokamagic.com/docs/Roll2Roll.pdf




On Tue, Sep 22, 2015 at 7:02 PM, Paul Stenquist  wrote:
> I made silver halide prints exclusively for at least 30 years. Even made some 
> 16 X 20s. That wasn't easy. When I gained access to a good scanner at the ad 
> agency and bought the Epson 1200 inkjet printer about 15 years ago, I started 
> to go digital but kept making some silver halide prints until 2010 or so.
>
> I think the technology was perfected long ago but operator skill plays a 
> major role. And more importantly, you need a negative. Making a negative from 
> a digital frame is akin to growing tomatoes as a seed crop.
>
> Paul via phone
>
>> On Sep 22, 2015, at 6:30 PM, Darren Addy  wrote:
>>
>> While looking for cheap 8x10 prints for my employer I tripped across
>> sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
>> knocked my socks off. Looking into it a bit further they use a
>> Chromira Pro Lab silver halide printer. Googling that led me to this
>> discussion of how they are softer than traditional inkjet prints:
>> http://forum.luminous-landscape.com/index.php?topic=69349.0
>> (although it is possible that the technology has improved since that
>> discussion).
>>
>> Just curious if anyone has any opinions/experience with Silver Halide prints.
>>
>> --
>> Life is too short to put up with bad bokeh.
>>
>> --
>> 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.
>
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> the directions.



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Re: here we go again - test


No not at all just for seniors...
here is a link  have a read and pass it on

http://www1.nyc.gov/site/idnyc/index.page

ann


On 9/22/2015 8:13 PM, Paul Stenquist wrote:

Is it for seniors only? My Brooklyn daughter would love that.

Paul via phone


On Sep 22, 2015, at 7:40 PM, ann sanfedele  wrote:




On 9/22/2015 11:06 AM, P.J. Alling wrote:
Looks like a connection.

and itis!.. DOn't know what was going on earlier..
meanwhile,
I've been gone all day visiting animals and plants - getting by FREE membership 
to the Bronx zoo and the Bronx botanical garden
thanks to the New York ID card roll out.  Only good for a year, but still..

although the list I printed out of the advantages to getting this ID card 
didn't mention the Central Park Zoo as being included, it is..
much to my delight.

I urge anyone who is lurking that actually lives in one of the 5 bouroughsto 
check ID NEW YORK out... the perks that come with
it are exceptional, real saerious money savers - but they have to be applied 
for after you get the card and beforeDec 16th I thinkit is.

For someone of limited means like myself especially those perks are great, but 
also, I don't ahve a drivers license so the card is
useful for ID... which you need to produce in some places no even to use a 
credit card.

be back later - after I upload today's photo product :-)

ann








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Re: Anybody have experience with Silver Halide prints?

2015-09-22 Thread Paul Stenquist

I made silver halide prints exclusively for at least 30 years. Even made some 
16 X 20s. That wasn't easy. When I gained access to a good scanner at the ad 
agency and bought the Epson 1200 inkjet printer about 15 years ago, I started 
to go digital but kept making some silver halide prints until 2010 or so. 

I think the technology was perfected long ago but operator skill plays a major 
role. And more importantly, you need a negative. Making a negative from a 
digital frame is akin to growing tomatoes as a seed crop.

Paul via phone

> On Sep 22, 2015, at 6:30 PM, Darren Addy  wrote:
> 
> While looking for cheap 8x10 prints for my employer I tripped across
> sharpprints.com. Their prices of $14.95 for 24 x 36 prints sort of
> knocked my socks off. Looking into it a bit further they use a
> Chromira Pro Lab silver halide printer. Googling that led me to this
> discussion of how they are softer than traditional inkjet prints:
> http://forum.luminous-landscape.com/index.php?topic=69349.0
> (although it is possible that the technology has improved since that
> discussion).
> 
> Just curious if anyone has any opinions/experience with Silver Halide prints.
> 
> -- 
> Life is too short to put up with bad bokeh.
> 
> -- 
> 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.

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Re: The economics of Digital photography.

2015-09-22 Thread Rick Womer

Well, my work computer is a late 2008 MacBook Pro, updated with an SSHD and 
Yosemite. At work it's in a docking station with an external keyboard, a mouse, 
a printer, and a 24 in. monitor.

At home, there is a lovely iMac. My wife uses it for her work, and she works a 
lot.

So, a few years ago I got a Mac Mini, a 24 in monitor, a keyboard, trackball, 
i1 Display, and two external hard drives for photos. One of these days I'll 
upgrade the internal hard drive to an SSHD.

All I use it for is photos and PDML. I don't pollute it with work. So, it's a 
photo expense.

Rick

On Sep 22, 2015, at 1:38 AM, Godfrey DiGiorgi wrote:

> Why? I'd have my computer system today anyway. Maybe not the calibration 
> equipment, but everything else. I do a lot more with my computer than just 
> process photographs. 
> 
> G
> 
>> On Sep 21, 2015, at 5:46 PM, Rick Womer  wrote:
>> 
>> Of course, you have to factor in the cost of the computer, storage, monitor, 
>> software, and calibration equipment.
>> 
>> I think digital is still cheaper than film, but far from "free".
>> 
>> Someday I might figure it all out... maybe.
> 
> 
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> the directions.

http://photo.net/photos/RickW

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Re: here we go again - test




On 9/22/2015 11:06 AM, P.J. Alling wrote:

Looks like a connection.



and itis!.. DOn't know what was going on earlier..
meanwhile,
I've been gone all day visiting animals and plants - getting by FREE 
membership to the Bronx zoo and the Bronx botanical garden

thanks to the New York ID card roll out.  Only good for a year, but still..

although the list I printed out of the advantages to getting this ID 
card didn't mention the Central Park Zoo as being included, it is..

much to my delight.

I urge anyone who is lurking that actually lives in one of the 5 
bouroughsto check ID NEW YORK out... the perks that come with
it are exceptional, real saerious money savers - but they have to be 
applied for after you get the card and beforeDec 16th I thinkit is.


For someone of limited means like myself especially those perks are 
great, but also, I don't ahve a drivers license so the card is
useful for ID... which you need to produce in some places no even to use 
a credit card.


be back later - after I upload today's photo product :-)

ann








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Re: It's red


I've been using Nicole's K-r as a backup body this weekend. On one hand, I've 
been impressed with how well it does and what a huge improvement over the K-x 
it is.  Unfortunately it seems to have a flakey control/thumb wheel. Sometimes 
it works OK, sometimes it will not read a click, sometimes it will only feed 
signals for going one way, no matter which way you turn the wheel.  I guess 
we'll discuss the issue with KEH when we get back.

Larry Colen wrote:
I was discussing packing, camera gear etc. with my friend Nicole who 
will be driving in the SCCA runoffs next week. I joked that if she 
replaced her D90 with a Pentax body, then we could share lenses, with 
less to pack, and I'd be able to keep a second lens mounted when 
photographing her track sessions.
In order to convince ourselves that this really was not a feasible 
idea, we looked up the price for K-3 at KEH (about $80 less than new 
on Amazon). However, they also had a red K-r for $168.

She has a thing for red, it arrives tomorrow.

I do still have my stormtrooper K-x, but the shutter button has been 
rather fussy for a while.


Yes, I know a woman software engineer, who races cars and makes 
impulse purchases of camera gear, maybe unicorns also exist.




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Track report and Snapshots from Daytona

I've learned that I need to stand with my hips parallel to the track so
that I've got full freedom of movement in both directions.

https://www.facebook.com/media/set/?set=a.10153738668619673.1073742091.653299672=1=5aeaf38fc7

Last night, we found what was causing our lack of power:
https://www.facebook.com/media/set/?set=a.10153736141444673.1073742089.653299672=1=de5e49497a

One likely cause was that her crew chief put 93 Octane fuel in the car,
which is fine for the street, but not so good for doing 160 MPH on the
banks at Daytona for extended periods.

Larry Colen wrote:

Friday:
https://www.facebook.com/media/set/?set=a.10153729616824673.1073742084.653299672=1=384076ed49

Saturday:
https://www.facebook.com/media/set/?set=a.10153731750259673.1073742086.653299672=1=f4afadd4e2

Sunday:
https://www.facebook.com/media/set/?set=a.10153732593834673.1073742087.653299672=1=fe48433115

--
Larry Colen l...@red4est.com (postbox on min4est)

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Re: PESO: The Monarch

Certainly rich color tones!

J

- Original Message -
From: "Daniel J. Matyola" 
To: "Pentax-Discuss Mail List" 
Sent: Monday, September 21, 2015 9:17:05 PM
Subject: PESO: The Monarch

This weekend, the monarchs returned to our butterfly bushes.  They
seem to be darker orange than those that visited here earlier in the
year, which seemed more yellowish than white, especially at midday.  I
wonder if it is age or diet or just different lighting that make the
apparent colors vary.

http://photo.net/photodb/photo?photo_id=18092952
K-5 II S, FA 100mm 2.8 macro

Comments are invited.

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

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Re: here we go again - test

'G morning, Ann.

J

- Original Message -
From: "ann sanfedele" 
To: "Pentax-Discuss Mail List" 
Sent: Tuesday, September 22, 2015 4:29:49 AM
Subject: here we go again - test



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Re: here we go again - test

2015-09-22 Thread Paul Sorenson

Good to go in Milwaukee

-p

Sent from my iPad

> On Sep 22, 2015, at 6:29 AM, ann sanfedele  wrote:
> 
> 
> 
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here we go again - test




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Re: here we go again - test


Looks like a connection.

On 9/22/2015 7:29 AM, ann sanfedele wrote:






--
I don't want to achieve immortality through my work; I want to achieve 
immortality through not dying.
-- Woody Allen


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Re: here we go again - test

Hi Paul, 

Great to hear from you!

G'mar Tov.

Cheers,

frank

On 22 September, 2015 7:38:52 AM EDT, Paul Sorenson  
wrote:
>Good to go in Milwaukee
>
>-p
>
>Sent from my iPad
>
>> On Sep 22, 2015, at 6:29 AM, ann sanfedele  wrote:
>> 
>> 
>> 
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-- 
Sent from my Android device with K-9 Mail. Please excuse my brevity.

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Re: The economics of Digital photography.

2015-09-22 Thread Godfrey DiGiorgi

Why? I'd have my computer system today anyway. Maybe not the calibration 
equipment, but everything else. I do a lot more with my computer than just 
process photographs. 

G

> On Sep 21, 2015, at 5:46 PM, Rick Womer  wrote:
> 
> Of course, you have to factor in the cost of the computer, storage, monitor, 
> software, and calibration equipment.
> 
> I think digital is still cheaper than film, but far from "free".
> 
> Someday I might figure it all out... maybe.


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Re: It's red