Re[2]: LX with AF, realy it works !
Hi, Why not combine spot and matrix with OTF? Should be possible. a spot meter would require an exposure lock, which is incompatible with real-time metering. --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 31, 2001, 2:46:57 PM, you wrote: Nenad wrot: I am suggesting a minimalist approach in updating the LX - adding only what is needed to make it worth buying (and keeping the price reasonable) in today's market as opposed to 1980. Nice camera though the LX is, most would agree that it is a flawed masterpiece (as with many Pentax cameras). Well, I for one don't think its flawed by 1980 standards wich in my opinion is the standards it should be judged from. Funnily enough, there were people back then who thought the LX was loaded with unecessary features that made it strictly for snapshooters on auto pilot. It was also grossly overpriced. Sounds familiar? What I proposed would not drastically affect the look or function of the camera which would to the casual observer appear the same. More importantly, it wouldn't break Pentax's RD budget; wouldn't require complete re-tooling of production equipment; and would allow the use of the current range of accessories. I seriously doubt they will scavenge the old parts bin. Its probably much cheaper to design it from scratch to comply with modern production methods. The LX electronics are outdated - parts for it is not manufactured anymore. Hence, electronics needs to be redesigned. I also strongly suspect that Pentax will beef up the shutter with higher max speed an much faster synch speed - almosty universally a must have these days; just look at the Nikon FM3a. That means out goes the shutter. If Pentax decide on built-in motorized transport then out goes the film transport. Whats left of the original? Nothing! The additional metering I suggest is necessary because no matter how good the LX's OTF system is (and it's great that it doesn't need a viewfinder blind) most photographers like to have some control of the exposure. Features like spot metering and memory lock are taken for granted even on budget cameras these days and the lack of these features severly compromises the LX's flexibility. Why not combine spot and matrix with OTF? Should be possible. Pål - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[4]: LX with AF, realy it works !
Hi, actually this is not what I meant. What I mean is that having an exposure lock is incompatible with IDM, and, Paal's experience notwithstanding, an exposure lock is essential for a camera with a built-in spot-meter. Now, I can't find the back-up for my claim about AEL and IDM, so I may be talking complete balls, but there was a good reason for Pentax not putting AEL on the LX. They didn't just forget about it. --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 31, 2001, 11:14:01 PM, you wrote: On Tue, 31 Jul 2001, Bucky wrote: Because to meter accurately, the camera would not only need to know what amount of light you wanted to hit the film, but *from what spot* you wanted that light to come. I think the point of the original poster was making was that there should be an OTF spot meter. Ah, I missed the OTF part. I'd be happy with a regular built-in spot meter *in addition to* the OTF metering. Is there any reason why it couldn't have both OTF metering and a non-OTF spot meter? That would be nice. chris - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Professional?
Hi, yea, you're right. I think it was posted in a fit of pique by Kirkland Ramsey III, Presbyterian. --- Bob mailto:[EMAIL PROTECTED] Monday, July 30, 2001, 8:44:40 PM, you wrote: Well, go look again. I just posted a message from a fictitious email account. I posted as [EMAIL PROTECTED] You don't actually post from an account, you just type an address in a text field. Could have been anyone. tv - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Unprofessional
Hi, It's professional. If you want it to do anything you have to pay it. --- Bob mailto:[EMAIL PROTECTED] Monday, July 30, 2001, 11:25:46 PM, you wrote: Can this thread die now? Please? Todd - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Camera decsion...
Hi, my experience was quite the opposite. When I bought my first LX one of the things that immediately struck me was how quiet it was compared to my MXs, of which I had 2 at the time, and my Super A. I later had 3 LXs, all equally quiet compared to the MX. The type of noise they make is also very different with, imo, the LX having a greater 'quality' noise. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 29, 2001, 1:46:53 AM, you wrote: It was my understanding that the LX was quiet loud compared to the MX. I am mistaken here? You are right. I used to have a LX too and it was significantly louder than the MX. The noise was mainly from when the mirror was returning to its original position, so the MLU trick does not solve the problem. Unless, of course, this problem was due to sample variation, again... regards, Alan Chan _ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Vietnam, Inc.
Hi, Admirers of Phillip Jones Griffiths will be pleased to learn that his legendary and almost mythical book 'Vietnam, Inc' is to be republished for the 1st time later this year. First published in 1971 and an instant sell-out this book was a huge condemnation of the US involvement in Vietnam. It's influence has been felt down the years in many ways, and large chunks of the text and imagery were used, apparently without acknowledgment, in the film 'Apocalypse Now!'. Individual images from the book are now part of our shared consciousness, and those of you who may not be familiar with Phillip Jones Griffiths may be surprised at how much of his work you recognise. Cheers, Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Brussels
Hi, had my day trip to Brussles yesterday, and thanks to everybody who made suggestions about things to do. I went straight from the railway station to the Botanique for the Salgado exhibition, where I spent 2 hours looking at the photos. I think I've worn out my eyeballs. From there I walked to the Grande Place along rue Royale then down, taking a few humble snaps along the way. I'm an old cynic who's been around a bit, and I thought I was impossible to impress. So although I've seen photos of the Grande Place I had no expectations of it. But my first sight of it was breath-taking. I can't imagine how much more exciting it must be to Americans, Aussies and so on who aren't surrounded by and steeped in old European culture all the time - I rather envy how freshly you must see many things when you come over here. I then spent some time in the exhibition by James L. Stanfield of National Geographic at the Town Hall. Another excellent selection, and the colour reproduction of the prints was very good, revealing so much more than you can get from the book. Following advice from the list I had a look at the famous Falstaff restaurant, and finding the prices reasonable I had lunch there, very late. Compared to London it was well priced, but the food was nothing special. Certainly the setting is quite spectacular, but later in the day, in my hunt for some gueuze beer, I went to the irresistibly-named (for me) Greenwich Tavern. This place is fantastic. It is untouched, pure Art Nouveau, with a great atmosphere. People play chess, backgammon and cards, and although there were one or 2 other tourists in there it had the relaxed feel of a place mostly enjoyed by locals. According to my pocket guide book it was popular with Rene Magritte and other surrealists. If you're familiar with the photos by Peter Turnley of his local bar in Paris you will understand something of how the Greenwich Tavern feels. http://digitaljournalist.org/issue0009/frame_cover.html I shot a few frames with my Leica M3 and 50/2 lens on Tri-X (what could be more appropriate!), but really it is the kind of place where you would need to get to know the regulars to be able to get the best photos. According to some of the faded cuttings on their notice board it is a popular location for shooting feature films. The toilets are also completely original - well worth a visit, but they are men only, and appear never to have been cleaned! The smell reminded me of Ethiopia :o) A walk in the Parc de Bruxelles resulted in a few more snaps that may be quite interesting. Then just before I had to get the train home I decided I needed - purely in the interests of science - to research some more beers. Many of the bars which have gaudy, ugly, plastic-seated terraces hide exquisitely beautiful, original Art Nouveau interiors, which is certainly a convenient excuse to go into as many bars as possible! The people of Brussels were very kind and patient, and for a city that seems to have as many tourists as London I was very impressed by the friendliness and forebearance of the waiters and other people. In the Falstaff the waiter admired my Leica and we discussed photography a little. I asked if he was a photographer. 'Ah no - I'm a professional waiter' he said proudly, 'but I dream of owning a Leica one day'. Salut! Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Around the World With ....
Hi, bit light on film there, Shel. To go round the world, travelling at ground level, you're going to have to budget 2 years and at least, absolute minimum 2,000 rolls of film. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 29, 2001, 8:55:09 PM, you wrote: ... a late-model Leica M2 with the 35mm Summilux ASPH, the 50mm Summicron (next to latest edition) and the current 90/2.8 Elmarit. The M2 because it's fully mechanical, extremely durable, and has frame lines for the three lenses I'd choose. The 35mm 'lux ASPH for general shooting wide open, especially indoors, the 50mm 'cron for it's small size and excellent optics, and the current 90mm Elmarit for its outstanding sharpness and contrast in a small package. Of course, all the lenses would be black because they're lighter than the chrome versions. The whole kit, including a Pentax digital spotmeter, a few filters, twenty rolls of film, assorted accessories, pens, note pad, and grey card will fit into my Domke F-803 satchel, making a small, lightweight, easy-to-carry package with no need to ever leave my side. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Professional
Hi, more fun: http://www.comebackalive.com/df/index.htm --- Bob mailto:[EMAIL PROTECTED] Sunday, July 29, 2001, 9:02:09 PM, you wrote: Yeah ... it's much like Disney World. The Take 'em Out Back and Shoot 'em ride is very popular, as is the Self Immolating Peasant Village Bob Walkden wrote: And I suggest we go any one of these places: http://www.worldrevolution.org/WebGuide/Peace/Other/CurrentWars.htm do they do package tours? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Camera decsion...
Hi, From the list you've supplied I'd suggest an MX, although they are a little bit loud even for my deaf ears. You may be able to find a way to muffle it. If you extend the choice, but not to the extent of a Leica, the LX has all the benefits of the MX, but is significantly quieter. However, few things compares to a Leica for quietness, although David Hurn of Magnum did buy a Canon consumer-grade camera because it was so quiet. If you can get hold of a Pentax 50/1.2 lens you would do yourself a big favour in the viewfinder brightness thing. Also, for both the MX and the LX you can get ultra-bright screens for low-light shooting. --- Bob mailto:[EMAIL PROTECTED] Saturday, July 28, 2001, 5:41:17 AM, you wrote: I have somthing of a dilema. I need to get a quieter camera for some work that I'll be doing in the near future, and also for when I want to carry something other than the pz1p. The requirements that I have is that this camera be small and discreet, extremely quiet, easily loadable, and the viewfinder data must be able to be read in near dark. The last reason being the main reason my k1000 is not suited for what I'm looking for. So I've narrowed it down to three cameras and I'd appreciate any feedback from others that have more experience with these cameras. I would be using manual focus lenses on it, taking photos in near dark (ie- fire/candlelight). The three cameras that I'm looking at are; 1) ME Super... very small, very quiet. Don't like the buttons to change shutter speed, but I could get over it. 2) MX... prolly the closest thing I'll ever get to what I'm looking for, but haven't I seen somewhere that it's actually kindof loud? 3) zx5n... very quiet, and small. But how loud is the autorewind? and am I correct in saying that there is no way to override autorewind when you reach the end of the roll of film? Actually, the number one reason that I'm even considering this camera is because of the built in spot meter. Well, any thoughts would be greatly appreciated. Thank you in advance. -- Nick - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Suggestion for a PUG
Hi,
I quite like the idea Bill (I think) floated of having a cliche PUG.
This gives us the opportunity to shoot an unashamedly cliched photo,
if we want ('string of puppies'), or to do something ironic and postmodern
(Jeff Koons' version of 'string of puppies'), or to take a cliche and show
it in a new way without any puppies at all. I'm sure there are plenty of other
possible interpretations.
---
Bob
mailto:[EMAIL PROTECTED]
-
This message is from the Pentax-Discuss Mail List. To unsubscribe,
go to http://www.pdml.net and follow the directions. Don't forget to
visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: professional HA!!
Hi, I was taking photos in Ethiopia once with 3 LXs. A German woman came up to me and asked if I was working for National Geographic, then asked if I had any spare batteries. She said they'd be bound to fit her camera because it was the same brand as mine, but she'd run out. She had an MZ- something. I must have been doing something right if I looked that good :o) Anyway, the only things that matter are good photographer/bad photographer. And as far as cameras are concerned: fitness for purpose. Everything else is just bollocks. --- Bob mailto:[EMAIL PROTECTED] Friday, July 27, 2001, 8:25:50 PM, you wrote: Even though it was a strictly non-pro situation, I did have an interesting response to my honkin' Big Black SuperProgram, winder, SMCK 45-125 f4 w/ hood from my 85mm f1.9 Spertak wierd old SunPak 4-AA flash unit last nite. Since today is Friday I was down at the Cafe Mundo (an outdoor garden bistro here) and, well after dark, after spending a pleasant hour or so w/ some fair maidens eating chocolate ganache gulping espresso around the fire, they warmed up to a few impromptu girls' nite out photos. I still had some 800 Fuji in the camera, so it was an f22 @ ~12ft no-brainer ;^) Anyway, I was at my 12ft spot and after viewing horizontal I decided to switch to vertical. The funny part is that after I got back to the table, they were all three giggling about how when I rotated the rig to vertical - as one, they all leaned their heads over to follow the camera! Totally unconsciously and separately each one of them thought that that's what they *should* do! I could see little more than silhouettes to frame by, but f22 w/ 45mm makes precision focus a bit anal, anyway. Film's at the processor as I type - should be some interesting ones. Har! ... just another example of the Professional Camera aura of the classic Pentax SuperProgram 35mm Camera System! - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: professional HA!!
Hi,
A well worn Domke bag is essential, and one's cameras
must be black and show a reasonable degree of wear, including
brassing. Black painted metal film cans taped to the neck strap are
very helpful, too. One must carry at least two cameras, preferably
three, each with a well-used prime lens.
like I said: fitness for purpose :o)
A long tele lens is the mark
of an amateur as it indicates a fear of getting close to the action,
ands, as Capa said, ya gotta get close to get good pics.
yea, you're right. That John Francis, he'd run backwards in front of
Schumacher's car if he was a real photographer.
---
Bob ('I've got a well-worn Domke camera bag') Walkden
mailto:[EMAIL PROTECTED]
Friday, July 27, 2001, 8:19:35 PM, you wrote:
Bob Walkden wrote:
Anyway, the only things that matter are
good photographer/bad photographer.
And as far as cameras are concerned:
fitness for purpose. Everything else
is just bollocks.
Nonsense, Bob. A well worn Domke bag is essential, and one's cameras
must be black and show a reasonable degree of wear, including
brassing. Black painted metal film cans taped to the neck strap are
very helpful, too. One must carry at least two cameras, preferably
three, each with a well-used prime lens. A long tele lens is the mark
of an amateur as it indicates a fear of getting close to the action,
ands, as Capa said, ya gotta get close to get good pics.
-
This message is from the Pentax-Discuss Mail List. To unsubscribe,
go to http://www.pdml.net and follow the directions. Don't forget to
visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: professional HA!!
Hi, how about this for dumb then: http://news.bbc.co.uk/hi/english/world/asia-pacific/newsid_1456000/1456831.stm --- Bob mailto:[EMAIL PROTECTED] Friday, July 27, 2001, 9:29:19 PM, you wrote: The single silliest thing I saw was at Long Beach. This is a temporary street circuit, so a lot of the track is lined with Jersey barriers. I saw a couple of photographers standing by one of these barriers, with their feet in the six-inch gap between the barrier and the regular street kerb (or curb). Fortunately no car ran into the barrier, or they'd have found out that a high-speed impact can shift those barriers back! - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[3]: OT-- population control
Hi, Just curious, you were advocating the thread to be stopped immediately and at next glance, you were contributing on it. What gives? P.E. sometimes it's impossible to resist. In fact I drafted several long responses to some of the stuff, but somehow found the discipline not to post them, so I haven't been quite as hypocritical as I might have been. --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: OT-- population control
2 chaps were kicking it about how many have died in the 20th century. Oh the HORROR NOT. We need to lose another 100 million just to break even. No more AIDs cure research... instead, make it lethal after 3 days. End of problem. No more kids being saved in neo-natal Wonder Hospitals kids carried for only 3 mos were not intended to live. Crack babies. let em die sterilize not only the mother but her parents for raising such trash. No more peace-keeping missions. Convert the global nukes into theatre-specific nukes. Next time someone gets out of line, send the nukes THEN send the marines to paint stripes on the resulatant parking lot (after it cools off). Get the world population down to what it was in 1920 most of the problems disappear. The left-wing welfare state bleeding hearts are gonna destroy the world faster that the right-wing kill em ALL let God sort em out hard-liners. FWIW ...exactly zero - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[3]: OT-- population control
the normal way of asking people to take a subject off-list is to ask something along the lines of 'please take this subject off-list'. In general this is quite a mature list in which people recognise the error of their ways, and shut up when asked to. Instead you posted a highly provocative reply which has already resulted in several additional posts from people who don't know whether or not you believe what you wrote. I assume you do, and I note that 'smashing soapboxes' is an activity very popular among fascists of both the right and the left. Furthermore, the very brief discussion about the number of people killed in the 20th century was a counter argument to the idea that previous centuries were as grim as it gets and that somehow we're all living in a utopia. This is not the other side of the coin to your revolting expressions of opinion. --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 24, 2001, 9:32:00 PM, you wrote: FWIW ...exactly zero BINGO. Neither side of the coin fits the list. Smashing soapboxes along the Detroit river Scoot - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: OT-- population control
Hi, can we please, please cull this stupid thread. It's just a display of ignorance, prejudice and woolly thinking (if there's any thinking at all). --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 24, 2001, 11:23:30 PM, you wrote: advocates a massive war to thin out the population. A bit morbid, but interesting none the less. interesting, but if population control were the agenda, war would be the least effective method of culling people. Floods, natuaral distasters, famines, plagues etc natuaraly select the weakest of the population. Conversly, war takes the best of the breeding stock, traditionally the young men. Something is very wrong in the world today... Kevin - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: OT-- population control
Hi, no - they take everybody who gets in the way. You should know that, Shel, living where you do. Just wait until The Big One... --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 24, 2001, 11:56:53 PM, you wrote: Kevin Waterson wrote: Floods, natuaral distasters, famines, plagues etc natuaraly select the weakest of the population. No - they take the poorest and most oppressed of the population. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Things to do in Belgium...
Hi, I'm taking a day-trip to Brussels (Bruxelles) on Saturday to see the Salgado exhibition at le Botanique before it closes and moves somewhere a bit more difficult for me to get to. I should have about 10 hours in Brussels and I won't be spending all that time in the exhibition, so I'll be taking a camera and will prowl the streets with my photographer eyes switched on. Does anybody have any suggestions for interesting places to photograph people doing interesting stuff, please? (this is my 1st time in Brussels). Cheers and tia, Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Mz-S: Two Thumbs Up!
Hi, The rather quaint notion that you buy something once and never buy a similar device for the rest of you life arose out of 19th century and prior technology where things just plain didn't change fast enough to warrant being replaced in one lifetime. That logic was obsolete in the 20th century, and is mythologic in the 21st century. Things are more disposable than ever. bit surprised to read this coming from someone so into nature photograpy. What will you do when there's no more nature, only landfill? --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: New Pentax LX with AF!!!!!!!!
Hi, 60th anniversary of Pentax in the 1980s, 50th anniversary of the Asahiflex in 2002. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 22, 2001, 11:06:06 PM, you wrote: Yah, that's what everyone on this list seems to think. What I want to know is how it marks the 60th anniversary, and now they are talking about an autofocus LX to mark the 50th anniverseary twenty years latter. Someone's full of BS somewhere. --Tom Jaros³aw Brzeziñski wrote: Beacuse it doesn't work that way: MX was just a name like KX, K2 or ME whereas LX was chosen deliberately to mark Pentax anniversary - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Mz-S: Two Thumbs Up!
Hi, Romans, Mayans, Incas, Egyptians, [...]. The economies of those societies were fueled by forceably stealing resources from neighboring peoples, enslaving them, and forcing the majority to attend to every whim of the minority. Same thing applies here and now. They operated at a level of brutality unheard of in the modern world. There have been few periods in history as brutal as the 20th century. The genocide of the Armenians, the 1st World War, the 1918 flu epidemic, the famines in Russia, the Holocaust, Stalin, the 2nd World War, the enslavement of Eastern Europe, colonial wars, Vietnam, Pol Pot, starvation in Africa, HIV/AIDS, Rwanda. Millions upon countless millions of people, year after year, decade after decade, throughout the century slaughtered, starved and allowed to die unecessarily of diseases because they can't afford medicine because of the debts they owe to us. We make the Inca look like country vicars, so we can wear cheap trainers. Just because we don't stand over them with whips and force them to build pyramids, doesn't mean we treat them better than the Inca treated their labourers. The 3rd world is enslaved by debt as effectively as if we bought and sold them in a Dahomey marketplace. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 22, 2001, 11:44:17 PM, you wrote: At 09:29 AM 7/22/01 -0700, Shel wrote: I was thinking about this statement while taking a shower: 170 year old steam hoist encased in a poured concrete building with windows made of quartz, and realize it sat unattended for over a century and is still basically functional. But it also was a big waste of effort and resources to build it to last so long. You're looking at that with hindsight. It was built with the techniques and technology of the time. I suspect the designers and builders were not aware of the changes that would take place. But yet, the building and equipment stands, and they have given you some satisfaction and pleasure (perhaps even some good photographs) and a sense of what things were like in our past. I'm not sure that the people who paid to build the mines were planning to fund a tourist attraction for the 21st century, though through their largess they did. But some of the ruins are hazardous eye sores and sooner or later modern day folks will have to pay to clean them up. I believe that preservation of the past, through buildings, and the objects we use on a daily basis, whether currently useful or obsolete, are an important part of our culture and heritage. By making everything disposable, and planning on obsolescence, what will remain of our culture, history, and heritage in 100 or 200 years? I'm sure some stuff will survive for future generations to look at. Heck, I have all my Commodore 64 stuff boxed up in the basement ready to donate to posterity... I was watching a show about ancient Rome, and there were some scenes of buildings that were built in those days that are still being used today. Pretty amazing. Can't imagine why the Italians didn't just bulldoze 'em into the ground. The world is filled with buildings that are 400 or 500 years old, or older, some of which stand as reminders of the past and others, while serving that purpose, are also being used today, some in their original states and others having been modernized and upgraded with contemporary amenities. I do not see that as a waste of resources. Using your argument one can argue that the Inca and Mayan temples and buildings were over built and were a waste of resources. I don't think anyone who has been to Machu Pichu would take that position. Romans, Mayans, Incas, Egyptians, and most other ancient societies enslaved huge numbers of people who where literally worked to death to build those extravagant monuments. The economies of those societies were fueled by forceably stealing resources from neighboring peoples, enslaving them, and forcing the majority to attend to every whim of the minority. They operated at a level of brutality unheard of in the modern world. The monuments and incredible buildings you see today were built at a phenomenal cost of human life and suffering. Waste of resources? Absolutely. (Stonehenge might be an exception.) - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Semi-OT: Pickpockets oops.
Hi, When I travel for long periods of time I put my equipment in a Pelican 1550 case and padlock it. I have a chain that I can use to attach it to something solid, or to the roofrack of a bus or whatever. When I'm using the equipment I try to minimise the amount I carry, especially if I'm going into crowds, so I will shoot with 3 cameras and 3 lenses, and I won't carry a bag or anything else - this is just temptation for pickpockets (as is one of those horrible photovests). Spare film will go in a belt pouch and I have a film drop on my belt for the used film. Cash and other bits and pieces go in my jeans pockets rather than into a stealable wallet. This reduces to a minimum the number of things I have to watch out for. I've had several attempted muggings made on me, but only in Addis Ababa for some reason, and they were all easy to scare away. But that's just 14 people out of a population of millions. Metal cameras are useful as weapons. When I went to Romania last year I bought a Pacsafe (http://www.pac-safe.com/) with the intention of putting my LowePro backpack in it while I slept in trains or walked through the supposedly thief-ridden streets of Bucharest. However, I found the Romanian people (apart from one scumbag taxi-driver and his brother) to be invariably friendly and hospitable, I couldn't sleep on the trains anyway, and I never used the Pacsafe. If you're going travelling I'd say the greatest risk comes not from local people but from fellow-travellers, many of whom are highly suspect and take advantage of 'road friendships'. If your 1st contact with local people is one of distrust you they won't enjoy it as much as if you went into it in a spirit of openness and trust. Take normal, sensible precautions; find out when you're there where the no-go areas are, and take suitable precautions. For instance, the Mercato area in Addis is notorious and I would only go there accompanied by a savvy and trustworthy local. It often helps to scout out an area first without any expensive equipment of any sort, that way you can get a feel for the place and make a proper assessment of what is or isn't safe to carry. Make sure you're fully insured, and don't let paranoia ruin your trip. --- Bob mailto:[EMAIL PROTECTED] Saturday, July 21, 2001, 12:51:35 AM, you wrote: Oops, sorry about that. Think I pressed Enter instead of Shift and somehow the message decided to be sent. I was wondering what you guys do to protect expensive Pentax (and cringe...other brands) camera gear while travelling. I mean, here in New Zealand, you could wander around with 10 of the latest high-tech bodies around your neck, and still have 10 bodies when you got home. Or you could leave one on the ground and either 5 people would come running after you to return it, or it would still be there when you went back 2 hours later. But I realise most countries aren't like this. Do people try and cut the straps of your camera-bag? I have heard of this happening with hand-bags. And what if you just put it in a normal bag? How do you get it out to take a photo without attracting attention? Or do you just not take photos? Jody. __ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/ - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: A Harder Game
Hi, This gives quite an interesting insight into people - bit like 'What would you do if won the lottery jackpot?'. LX with winder, M 35/2 or K 28/2, A* 85/1.4. Travel with nomadic people in Africa, or the Caucasus, or Turkey/Kurdistan/Iraq, or the Himalayas or China/Mongolia/Central Asia. --- Bob mailto:[EMAIL PROTECTED] Friday, July 20, 2001, 2:12:00 AM, you wrote: Okay, now how about this for a slightly different and more difficult game: Let's say you suddenly win a grant. It allows you to photograph full-time for six months, of subjects and locales of your choice, and the results stand a chance of being published as a book. All your film is provided and all your travel expenses are paid. However, you can only use only one type of Pentax camera body and two Pentax prime lenses. Which body and two lenses would you choose? Totally optional: name the subject and/or locales you'd choose to photograph. I think fewer people will brave this game --Mike - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
M24~35/3.5 (was Re: A Harder Game
Hi, I had one of these, and it may well be some of my comments that you saw quoted. It seems to be quite a rare lens which probably explains the dearth of mentions. However, it is certainly one of the best zooms P ever made. The size is excellent, the quality and handling are 1st class. I was always happy to use it and always pleased with the results it gave me. For shooting at f/5.6 or smaller it was very convenient; I'd recommend it to anyone, although I'm not so sure about it replacing primes - some of the f/3.5 primes have excellent reputations for optical quality. --- Bob mailto:[EMAIL PROTECTED] Friday, July 20, 2001, 8:25:25 PM, you wrote: Shel (and PDMLers), I noticed Shel selected the M24~35/3.5 lens for one of his choices for the harder game quiz -- I picked up that same lens a few months ago on eBay (I got it for the $200 Buy-It-Now price, thanks to a heads-up post to this list -- thanks!). I really like it, but hardly see it mentioned on this list or on eBay. I know it wasn't made for that long, but it has great reviews on the Pentax lens comments sites. Who else has or had this lens, and what are your experiences with it? To me, it has great construction quality (best feel zoom of the M series?) and seems good enough to replace primes at 24mm, 28mm and 35mm -- especially if the primes you'd be replacing would be f3.5 -- no loss of speed, something unusual when choosing between primes and a zoom covering the same range. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: More Tripod Follies?
Hi,
If people are going to go to the trouble of using a tripod all the
time they might as well use large format cameras.
35mm is for hand-holding.
Ever since good old Oskar hammered a piece of old pipe into a lozenge
shape and stuck a lens on the front 35mm photographers have done ok
without tripods.
What's Really Right Stuff, and is it all really wrong, like his tripod
advice?
---
Bob ('4 tripods') Walkden
mailto:[EMAIL PROTECTED]
Friday, July 20, 2001, 8:29:07 PM, you wrote:
Things have been getting dull around here with everyone preoccupied with
Mike's questions.
Here's one thing Bryan Geyer has to say about tripods:
Why is a tripod essential?
Because blur due to lens movement is inevitable at any shutter
speed slower than 1/1000 sec., and because it promotes greater
care in composition. Handholding is strictly for dead photographers:
A human pulse beat will cause 200 microns (about 0.008 inch)
displacement for 1/10th second. Assuming a shutter speed of
1/250th sec., this movement alone will cause a 22% loss of
resolution with a system that is otherwise capable of reproducing
100 lines-per-mm (lpm). And at a shutter speed of 1/125th sec.,
this performance would degrade to only 53 lpm-a 47% waste of
what you purchased. (Refer John B. Williams: Image Clarity,
page 191)
If you don't recognize the name, he runs Really Right Stuff.
-
This message is from the Pentax-Discuss Mail List. To unsubscribe,
go to http://www.pdml.net and follow the directions. Don't forget to
visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Your No Fat Pentax Outfit
Hi, reminds me of a story I once read about 2 of the original Magnum guys, probably Capa and Chim, standing around somewhere each with one Leica round their neck. Another photographer enters the scene, body draped with 5 slrs, flashguns, tripod, bag, you name it. Chim turns to Capa and says 'Just imagine all the photos that guy's not going to get'. :o) --- Bob mailto:[EMAIL PROTECTED] Thursday, July 19, 2001, 7:06:36 PM, you wrote: Mike Johnston wrote: If you could but together a basic but complete Pentax outfit--everything you need but no fat, no extraneous items included--what would it be for you? That's difficult as the answer would depend on what and where I'd be shooting. But you didn't mention that this was for carrying about or for an assignment - just what a basic outfit would be. To my mind an outfit allows one to pick the equipment needed for a particular assignment. If that's the intent of your question, then the answer is easy: 3 LX with Grip B (serial # above 535) 1 FA2 finder 1 FA1 Finder 1 FA1W Finder 1 FB1 finder base w/FC-1, FD-1, and FE-1 attachment 2 Winder LX 2 Remote winder cords A 15/3.5 A 20/2.8 K 24/2.8 K 28/3.5 A 28/2.0 K 35/3.5 FA* 43/1.9 Ltd K 50/1.4 FA* 77/1.8 Ltd K 85/1.8 A 100/2.8 macro K 120/2.8 K 135/2.5 M 150/3.5 A* 200/2.8 A* 200/4.0 macro A* 300/2.8 A 400/5.6 K 500/4.5 A* 600/5.6 A* 1200/8.0 1 each of every Pentax SMC Filter Assortment of LX focusing screens Pentax Digital Spot Meter, Zone VI modified Assorted Domke bags Assorted Pelican cases An Assistant - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: DOF Scale
Hi, I don't think this is quite correct. Although it would make the coc smaller than we can resolve, it is not futile because an increasing number of otherwise progressively more out-of-focus points approach the size of the coc and are therefore acceptably sharp, so the depth of field is increased. I hope that makes sense - it's quite difficult to express. Furthermore, it's not the absolute size of the coc that matters (haven't I heard something like that somewhere before?) but the size relative to viewing distance and print size. --- Bob mailto:[EMAIL PROTECTED] Thursday, July 19, 2001, 9:07:01 PM, you wrote: Bill is correct, up to a point. Many SLR lenses have scales based on 5x7 prints. For each size larger using the mark for the next larger aperture works well. OTOH, the human eye can perceive a dot (circle of confusion) only so small, a smaller dot is not visible. DOF is based on that size dot. So, trying to get deeper DOF than that is an exercise in futility. But, as always people will believe more is better even if it isn't. --Tom - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Your No Fat Pentax Outfit
Hi, Here's what David Douglas Duncan used to cover the Korean war:- 2 x Leica IIIc 50mm and 135mm lenses (Nikkor) Backpack: rolls of film, toothbrush, soap, insect repellent, single blanket, extra socks waterproof poncho Webbing belt: 2 canteens. Wrist compass. Spoon. Sometimes the most important hardware isn't photographic. On the other hand, William Albert Allard of Nat Geo used 4 Leica R4s 2 M6s Eleven lenses, seven of them for the SLRs: a 19mm, 24mm, 28mm, 35mm, 50mm, 80mm, 180mm and four for the rangefinders, a 28mm, 35mm, 50mm and 90mm 3 flash units: 1 Metz handle-mount, 1 Vivitar 283, 1 small Mecablitz hotshoe-mount and a few small 'pocket' strobes -One small Tupperware box with a square hole cut in the lid, to fit over the strobe head as a diffuser a couple hundred rolls of Kodachrome 64, a couple of bricks of Kodachrome 200, and a few rolls of high-speed tungsten Ektachrome. -One tripod -Extra batteries -Several felt-tip pens for labelling film canisters -Caption books -Expense report books -A small library of books by William Faulkner -Not to mention 5 hats, 9 pipes, one-and-a-half pounds of Royal Viking Plus tobacco, and a fifth of George Dickel bourbon whiskey. for three weeks in Mississippi. --- Bob mailto:[EMAIL PROTECTED] Thursday, July 19, 2001, 9:52:23 PM, you wrote: I think the problem with the question as posed, is that it is so open ended and non-specific. My low fat group is what I'll take on vacation with me, however when I do go sightseeing or generally taking photos, much of that will be staying in the hotel room/place that I'm staying. On the other hand, if I'm just strolling around town with camera around my neck, I usually bring on body/lens with me. It's a great exercise: Today, I'm taking wide-angle shots, today I'm taking 50mm shots. It forces you to really learn how to use that particular lens to its best advantage, I think. So what if I miss out on a shot because I didn't have my 200mm with me? There'll be other days for that! I have to wonder about those who listed 8 or 10 lenses in their low fat list though... I know I've mentioned it here before, but I'll mention it again: HCB used 3 lenses; a 50, 90, and (rarely) a 135. And he got some pretty good shots! :-) - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Why I DID Buy the MZ-S (now manuals)
Hi, What always amazed me is that even AFTER the Japanese translator finished putting it into English, they wouldn't even run the translation past an English-speaking editor to clean up the rough edges. That's really hubristic. I think it's rather sporting of them, actually. Life would be so much duller without bad translations like mother she make. --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Cat shot (was Ramblin' Man Keeps Ramblin' On
Hi, http://www.royalmail.com/dda/stamps/2001_collection/stamps_for_2001/feb_2001.htm --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 17, 2001, 6:14:24 AM, you wrote: Annsan teased: I thought it might be nice to discuss flower photography, Mike g Or cats. Don't forget cats. The world needs more cat pictures. Lord knows we haven't documented the confounded creatures nearly enough already. There's work yet to be done. Apart from the fact that some are slightly bigger and some are slightly smaller, and they come in about six different colors, they all look the same, and they all act exactly the same, and none of them are even remotely any more interesting than any of the rest. Yet, half the population thinks that all any insipid snap has to show is a cat and voilá, it's Art. Like this one? Isn't that a nice cat? Isn't that a beautiful cat? It's a cat. It looks like a cat. All cats look like cats. I've never seen a cat that didn't look just like a cat. I'll bet I've seen two hundred thousand cat pictures in my life. The most disturbing thing about that to me is that five or six of them were actually kinda good. I'd almost rather look at pictures of rocks, which is another of those enticing subjects people can't seem to resist. Have we done a cat PUG yet? I'll give a free subscription to my newsletter to the person who posts the best cat picture. Yes, show me flower pictures, cat pictures, sunsets--I can take it all day long. I've been in this business a while, you know. Conversely, I have rather a weakness for pictures of kids, waterfowl, and trees. So I guess nobody's perfect. --Mike P.S. I'm not a cat-hater. A cat-picture-hater, well, the jury's still out on that, but I'm just talking about the pictures. P.P.S. Maybe we could do another poll. Which totally clichéd subject really rubs you the wrong way? Which one do you have a weakness for, despite your better judgment? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: PM's other ramblings
Hi, here are the sizes of the prints in Salgado's Migrations exhibition, currently doing the rounds. All shot on 35mm, probably all shot without a tripod: Contents: To include 210 20 x 24 photographs framed to 22 x 28, 90 24 x 34 photographs framed to 32 x 44 and 20 mural-size prints: 15 at approximately 40 x 60 and 5 at 48 x 72. http://www.aperture.org/txSlgadoMig.html If it's good enough for Salgado... --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 17, 2001, 11:09:52 PM, you wrote: From: Bill D. Casselberry [EMAIL PROTECTED] ;^) ... all fine good for 3x5 or 4x6 prints but, (just for a learning experience, mind you) try having one enlarged up to, say, a modest 20x30 size and grace us with an honest opinion of the results. Tripod or no, 20X30 is medium/large format land - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Why I won't be buying an MZ-S, and other ramblings with a rant at the very e
Hi, well, you got to the 'reply' button before me on this one, Shel, and you're so much more polite. I was going to start my reply What utter balls!, but now my indignation is wasted...:o) --- Bob mailto:[EMAIL PROTECTED] I don't want to achieve immortality through my work. I want to achieve it through not dying. - Woody Allen Monday, July 16, 2001, 3:46:38 PM, you wrote: Your comments are a rather broad generalization ... if one shoots static subjects a tripod may offer some advantage, but then as long as the tripod is being used, a larger format may be ideal. There are those of us who use the LX as a tool to document life around us. That sort of shooting requires flexibility, small size, and easy, quick handling. The whole point of using a 35mm camera is its small size and quick handling. To walk about with an LX or a Leica, or a similar camera, and make photos of the world as it unfolds before you, precludes the use of tripods. A tripod can often defeat the purpose of using a 35mm camera. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Is There Anybody Out There??
Hi, in case you don't get a reply from the list - yes it's working. No problems. --- Bob mailto:[EMAIL PROTECTED] I don't want to achieve immortality through my work. I want to achieve it through not dying. - Woody Allen Monday, July 16, 2001, 6:12:14 PM, you wrote: Not recieved anything from the PUG since the 12th, is there a problem?? Regards Bruce Ferguson Canterbury Kent Freedom is the freedom to say, 2+2=4. If that is granted all else follows. (Winston Smith, April 1984) - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: UK copyright
Hi, it's my understanding that you need a property release, similar to a model release, before you can publish photos of private property. I think there may be some difference depending on whether you are on the property when you take the photo, or whether you take it from somewhere off the property. I don't think it's a matter of copyright. I think there is some other law involved. Disclaimer: I am not a legal adviser. If you really need to know the answer the chances of getting the correct one of this or any other discussion group are practically zero, so you should consult a specialist. Lulworth Cove has been photographed so often, I'm surprised it isn't worn out. --- Bob mailto:[EMAIL PROTECTED] I don't want to achieve immortality through my work. I want to achieve it through not dying. - Woody Allen Friday, July 20, 2001, 10:04:13 PM, you wrote: Hi just a quick question I was enjoying a weekend relaxing in Dorset. Went down to Lulworth cove early Saturday morning to try a few shots and was surprised to see a sign saying photographs of the area could not be published without the authority of the Lulworth estate company. Is it possible to copyright an area of land you own especially as it is an area of outstanding natural beauty. How would you stand photographing it from the sea rather than on the estate land. cheers. Jez - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Why I won't be buying an MZ-S, and other ramblings with a ran t at the very end.
Hi, sell it and buy something from this lot: http://www.seaandsea.com/ --- Bob mailto:[EMAIL PROTECTED] Monday, July 16, 2001, 11:56:16 PM, you wrote: I just got a Pentax IQZoom 105 WR (Point 'n' Shoot)for my upcoming trip to the Arctic. I got it because it's weatherproof and I don't want to ruin my good camera in a Zodiac or on an ice floe. But: I HATE this camera! It does everything for me, and I feel powerless. I can't calculate DOF because I don't know whether it's stopping down, and I never know shutter speed. Maybe the way to start is with a camera like this--if you never grow to hate it, well, lucky you, you'll save a bundle. But if you do, you'll want to see how it is that other people take more interesting pictures, and that would lead to wanting more control, not less... John - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: can someone recommend a good lens shade?
Hi, you won't get one shade that's good for both of them. You don't say whether you're looking for a plastic or a metal shade (or wood or glass or whatever...), or for clip-on or screw-on. My personal preference is for metal screw-on shades because they afford a high degree of protection to the lens. The best brand for me is B+W. They do wide-angle, normal and tele shades in the full range of fittings. Other brands worth considering include Heliopan and Nikon, although Nikon only supply them for Nikon thread sizes. I've always found it practically impossible to get the correct Pentax hoods. You can often find lens shades very cheaply in the box of bits that most decent camera shops have. --- Bob mailto:[EMAIL PROTECTED] Saturday, July 14, 2001, 4:44:07 AM, you wrote: I have a K1000 with a 50mm lens. I also have a 135mm lens coming in the mail. Can someone recommend a good lens shade for either/both of these lenses? Thanks, Amita http://www.picturesofmyfinger.com - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: reading material
Hi, Try Photography by Barbara London and John Upton. It seems to be the standard for colleges. I have a copy and it's very good. http://www.amazon.com/exec/obidos/ASIN/0321011082/qid=995010194/sr=1-1/ref=sc_b_1/104-2609650-5152733 --- Bob mailto:[EMAIL PROTECTED] Friday, July 13, 2001, 2:17:47 AM, you wrote: I would like some recommendations for books that can help me improve my photography. I have a basic knowledge but would like to get better. I would also like to try low low-budget home darkroom work. It's such a pain to have BW film developed in the mini-lab world. I have no experience developing and printing film so any texts here would need to be from step-one. Thanks, Cory Waters Atlanta, GA USA - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Classrooms
Hi, studio portrait lighting, at least as a beginner, is pretty simple. You should be able to pick up the basics in a couple of hours at most. After that you're probably better off spending time in the studio doing your own experiments. --- Bob mailto:[EMAIL PROTECTED] Friday, July 13, 2001, 4:37:41 PM, you wrote: Just wondering if anyone has taken any classes offered at night through a local highschool or college? I'd be interested in taking one involving portrait/lighting with some darkroom instruction,as i'd like to learn more on studio type stuff. Would you think these 1 night a week for 10 weeks courses are worth while or should i look elsewere. As Beijing got the Olympics for 2008 our survey work dreams for Toronto are down the tubes so i might have some spare time now Dave Pentax User Stouffville Ont Canada Sign up today for your Free E-mail at: http://www.canoe.ca/CanoeMail - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: 18% Gray (again)
Hi, this assumes that most camera users are white, which is a highly dubious assumption given that most people are not white. It would be commercial suicide to base meter calibration on any particular skin colour. If it's true that white skin is about 13% then I'd suggest it's probably coincidence. I've just metered by own skin - typically N. European with a slight suntan - and compared it against an 18% grey card. No appreciable difference. --- Bob mailto:[EMAIL PROTECTED] Friday, July 13, 2001, 11:02:57 AM, you wrote: Interesting. I too have found that foliage, trees, mountains, which are all typical of an Ansel Adams photograph, are very close to 18%. On the other hand, typical caucasian skin is at about zone VI or 13%. And since most cameras are used to take snapshots of the rug rats, a meter calibrated to that value serves the average point and shooter quite well. Paul - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[4]: 18% Gray (again)
Hi, that's ok - I'm colourblind anyway. --- Bob mailto:[EMAIL PROTECTED] Friday, July 13, 2001, 8:22:29 PM, you wrote: On Fri, 13 Jul 2001, Bob Walkden wrote: I've just metered by own skin - typically N. European with a slight suntan - and compared it against an 18% grey card. No appreciable difference. And thus was Bob henceforth known as The Grey Man. chris - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Hounds of Asahi
Hi, hmm. Too many dog / Holmes coincidences in my life at the moment. Yesterday I had to go to Baker Street, London to see a man about a dog. As I strolled down the street I naturally enough started thinking about Holmes. I bought a newspaper to read with my lunch, opened it and the main 'Review' article was about the anniversary of the publication of the Hound of the Baskervilles. What a coincidence, I thought, that I should be reading this within howling distance of 221b. Now this comment in this thread. I expect to be devoured by a large dog anytime soon. And it probably won't even bark. --- Bob mailto:[EMAIL PROTECTED] Thursday, July 12, 2001, 9:37:20 PM, you wrote: Wasn't that a movie with Basil Rathbone? -Aaron - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: HELP ME!!!!!!
Hi, that's like getting a personal phone call from Pablo Escobar to tell you how this year's harvest is doing... You know you're in trouble. :o) --- Bob mailto:[EMAIL PROTECTED] Wednesday, July 11, 2001, 9:37:53 PM, you wrote: My local retailer just got an MZ-S in, and they went to the effort of leaving a message on my answering machine. Must resist.not go downtown... AARRRGGGHH William Robb - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Film availability in the UK
Hi, you should have no difficulty finding any of those while you're over here from professional labs. In London these are mainly located in and around Soho. Try Joe's Basement on Wardour Street. They have a fast turnover of everything, so it should always be fresh. http://www.joesbasement.co.uk/ Film processing seems to be more expensive over here than over there, but you should be able to reclaim the VAT (17.5% sales tax) when you leave the EC, as long as you hang on to the receipts and get the appropriate claim form from the shop. I don't buy Provia, so I'm not sure of the prices. I get my Supra from Joe's but I don't have any receipts to hand and unfortunately I can't remember the price. You may be able to get quantity discounts from some places on quantities 10. --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 10, 2001, 6:30:54 PM, you wrote: Will I have any difficulty finding Provia 100F, Provia 400, and Supra 100/400/800 in the UK? What sort of prices should I expect to pay? I don't really want to fill up my carry-on bags with all the film I'll need for my vacation, but I don't want to find myself forced to try out unfamiliar films. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Refinishing black cameras - Was: Re: Dumb Thoughts on Black Silver,
Hi, I had an LX repaired once and the guy who did the repair scratched the prism a little bit. Of course I complained, so he took into the back of the shop, came out and it looked like nothing like new, but at least it was black again. Ensuing conversation: Me: What did you use? Him: That's genuine Pentax paint, that. Me: Yea, right. Genuine Pentax bollocks, more like. Here's someone who paints cameras: http://www.geocities.com/Athens/Oracle/5799/shintaro.htm --- Bob mailto:[EMAIL PROTECTED] Tuesday, July 10, 2001, 8:06:46 PM, you wrote: Tom Rittenhouse wrote: 'Seriously, since I have had good luck retouching black cameras I tend to prefer them for users.' I'd like to know about that, especially DIY refinishing. Luis - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Photo Life Magazine contest: Is it a scam ?
Hi, all). Maybe the idea is to cut down on the frivolous entries. ah, but where does that leave the non-frivolous struggling artists, students etc. who may have genius but no money? If the idea of paying to enter a serious competition became a widespread practice then it would close off an important avenue to recognition for aspiring professionals and would mean that competitions were not primarily about talent, but about the ability to pay. A great many of the best-known photographers in the world got their break through competitions. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 08, 2001, 1:02:50 PM, you wrote: Jim wrote: But $10 and up seems excessive to me, Hey, it's only Canadian dollars! That's only about $5 US. But seriously, I'm not that offended by the entry fee. Yes, with all those sponsors there shouldn't be one. But it really is nominal (Canadian dollars and all). Maybe the idea is to cut down on the frivolous entries. I don't see it as a really big deal, one way or the other. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Photo Life Magazine contest: Is it a scam ?
Hi, $10- for one competition is fine, perhaps (apart from the principle of the thing), but students etc. need to enter 10, 20, 30 and more competitions every year to build recognition with judges, to let them know that one win or commendation isn't a fluke, that they have more than one good photo etc. On this scale it stops being nominal, for a student or a young aspiring professional who would rather spend their money on film or printing. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 08, 2001, 3:15:22 PM, you wrote: Hi, Bob, I understand what you're saying, and to some extent I agree. It does appear that it might be the thin edge of the wedge. Now it's $10, next time it's $25, then it's $50 or $100. My point is that $10 is nominal. Even if they're struggling photogs, they came up with the $$ for a camera, film, and processing. Or film and chemicals to process. Surely $10 isn't the most expensive part of the whole deal. Surely that entrance fee is not going to make or break the deal from an economic point of view. However, if one is morally offended by such a nominal entrance fee, one doesn't enter. If enough people feel likewise, they won't have enough entries to have a decent contest. I'm not entering one way or the other, so it's all moot to me. But I don't think economics enters into this one, imho. regards, frank Bob Walkden wrote: Hi, all). Maybe the idea is to cut down on the frivolous entries. ah, but where does that leave the non-frivolous struggling artists, students etc. who may have genius but no money? If the idea of paying to enter a serious competition became a widespread practice then it would close off an important avenue to recognition for aspiring professionals and would mean that competitions were not primarily about talent, but about the ability to pay. A great many of the best-known photographers in the world got their break through competitions. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 08, 2001, 1:02:50 PM, you wrote: Jim wrote: But $10 and up seems excessive to me, Hey, it's only Canadian dollars! That's only about $5 US. But seriously, I'm not that offended by the entry fee. Yes, with all those sponsors there shouldn't be one. But it really is nominal (Canadian dollars and all). Maybe the idea is to cut down on the frivolous entries. I don't see it as a really big deal, one way or the other. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . -- The optimist thinks this is the best of all possible worlds. The pessimist fears it is true. -J. Robert Oppenheimer - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: What's all the fuss about the DOF Preview
Hi, it might be worth mentioning, for anybody who hasn't used a Leica, that, unlike an slr, the image size in the viewfinder doesn't change when you change the framelines. So whatever lens you have on the camera the view through the finder is the same. The framelines are there simply for framing the subject and the longer the lens, the smaller the framelines. --- Bob mailto:[EMAIL PROTECTED] Sunday, July 08, 2001, 2:06:02 AM, you wrote: Andreas Wirtz wrote: Isn't this same like zooming on SLR cameras ? No, it is not. [...] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: What's all the fuss about the DOF Preview
Hi, there's nothing very complex or difficult about the depth-of-field calculations. It's a very simple matter to type a few formulas into a spreadsheet, even one on a PDA. I put some into a spreadsheet and put it on my website some time ago: www.web-options.com/bob/files/optical.xls. You're welcome to download it if you want. I got the formulas from The professional guide to photo data by Richard Platt. Everyone should have this book. Personally I find it easier to use the scale on the lens. --- Bob mailto:[EMAIL PROTECTED] Friday, July 06, 2001, 8:32:32 PM, you wrote: BTW: I've heard of people using software that generates depth of field tables or at least calculates it for you at a given distance/aperture/focal length. Anyone know if this kind of software is available for the Palm or other PDA? That might almost convince me to buy one of those things, despite their yuppie stigma. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: LX: Loud or Quiet? (Was MZ-S; First impression)
Hi, this happens with my Contax RXs too. The ping seems to depend on which lens is on the body. For instance, the 35/1.4 pings like a u-boat, but the 50/1.4 doesn't. The ping tone varies from body to body aswell. --- Bob mailto:[EMAIL PROTECTED] Tuesday, June 19, 2001, 2:57:50 PM, you wrote: As you may recall, I have several LX, and the newer ones seem to be quieter than the older cameras. The earlier bodies exhibit a somewhat loud ping when the shutter is tripped. The new one is much quieter, with a more substantial thunk when tripping the shutter. Some have said that the sound of the older shutter sometimes changes when the camera has been CLAed. Last week I noticed something very odd. My newest LX (which I purchased brand new about a year ago) made a pinging sound just like the oldest LX. This, of course, upset me greatly, as I thought something was amiss, or that, when changing focussing screens, I'd done some damage. However, when the lens was removed, the camera sounded just like it did when new. I played around with different lenses, and with some the camera sounded louder and produced the ping I mentioned earlier. With other lenses the camera produced that nice, quiet, solid thunk. You might want to see if your camera, which I believe is an older one, behaves similarly. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: MZ-S and Others
Hi, The Contax RX does something similar to what you want with their digital focus indicator: The DFI (Digital Focus Indicator) system graphically portrays focus point and provides depth of focus information in the viewfinder. It displays along the bottom of the viewfinder. It doesn't tell you the distance focused on, but everything else you want is there. I switched it off on mine after a few months because I found it distracting, but it can be useful in low light. --- Bob mailto:[EMAIL PROTECTED] Monday, June 18, 2001, 7:18:44 AM, you wrote: [...] Having dropped AF as it does not suit my type of photography, there is one feature that could be added to the view finder that would lure me back without a hood. Imagine, spread across the top of the view finder a distance scale and depth of focus based on the lens focal length, distance focused upon, and either the preset or programmed aperture! A new series of manual focus lenses could include the subject distance information that has been available on all F series and later lenses. [...] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Pre-cut mattes
Hi, can anybody tell me if museum-quality archival pre-cut mattes are available in 35mm proportions, please? And if so, perhaps the names of some suppliers, preferably in the UK, but the product name at least should help me find UK suppliers. Ideally these mattes would be on board with the same proportions as the hole in sizes such as 16x24 (40x60cm) and larger. tia, Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Those darned chromogenics
Hi, it's a very common word in Britain. --- Bob mailto:[EMAIL PROTECTED] Friday, June 15, 2001, 4:10:38 PM, you wrote: Wiiliam Robb wrote: snip wonky snip You are the only person in the world besides my wife that I have known to use this word. Tom C. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Pentax in Russia - a flying visit (31mm content!)
Hi Mike, glad to hear the MX is ok. I hope it goes on to have a long and glorious career in the ample bosom of Mother Russia :o) You didn't tell us the outcome on the LX of the dunking. Perhaps it goes without saying that it survived. I like the sound of your experiences with Pentar. It certainly squares well with my own limited impression of the hospitality and kindness of people in Russia, which was certainly matched by the people of Romania. It seems that despite everything they all went through in the 20th century they retained many of the better human values that we've shed in the headlong rush for money. --- Bob mailto:[EMAIL PROTECTED] Monday, June 11, 2001, 2:12:57 PM, you wrote: Hi, Just got back from a two week trip to Russia - plenty of Pentax experiences. Like dropping a Z-70, Z1-p and LX into the river Serga, with numerous lenses, flashes and other bits and bobs. Results: Z-70 dead (even when you've dried a camera off and left it airing for two days, DON'T lift the RTF when it's turned on, as the resultant lightning will hurt your foot when you drop the camera on it) Tamron 500mm catadioptric lens like an aquarium - fixed by a judicious bit of disassembly, draining, rinsing and drying. All else OK, just damp on the outside. Praise be to Lowepro! Put a bit of a dampener (groan) on my walk in the Taiga, matched only by the hordes of mosquitos which threatened to carry me off. Then off to St Petersburg with Dennis K. for a few days and a visit to Pentar, the Pentax importer. First to the service centre in a garret in the State Institue for Nautical Technological Design (I think) where we had to be led through the building in case we saw some state secrets. Three gents doing brilliant work in not the best circumstances. Checked the ex-Bob W. MX (all fine apart from some slight second curtain discrepancies) and then my LX (left there to have some serious shutterbox work, although the timings were spot-on) and while all this was going on they gave us an MZ-S and 31mm LTD to go and play with. Took some test shots in comparison with an LX and 24-35mm set to 30mm. Once the film is processed, Dennis will post the results on the Penta web site - hopefully early next week. We can put up quite big (1Mb+) files if anyone wants them. Then to the main offices where I was congratulated on my excellent English. 8-} Altogether an excellent example of what Pentax should be like around the world, but seems to not be in so many places. Very interested in the photographic sector and pleased to meet end users. Anyone here met the CEO of Pentax USA or UK? Michael from Pentar went out of his way to talk to us... My impressions of the MZ-S? It's not a competitor for the Z1-p except in a few areas. AF is improved, but a number of functions I find useful on the 1-p are not. Such as flash compensation and winder speed. More important, I found it not very comfortable. The top deck is nice, although I didn't handle it long enough to become really acquainted. The problem is in its size and style. I have large hands and can handle the Z1-p well by curling my little finger under the base and holding the body with the middle two. The MZ-S seems to be slightly taller and I can't quite do this. In addition, Pentax seems to have gone for a sharp-edged style of body (think Ford Focus, for those who are familiar with this car [or Triumph Mayflower for a better idea]) and this includes the moulded handgrip. Again, I can't get comfortable with this. It is certainly light and quiet. Not _all_ the outside seems to be metal. The RTF is better placed (further from the lens axis when in use) than the Z1-p. Would I buy one? No. All in all a splendid time, although Aeroflot's logisitics need a little honing - about 27hours total delays. mike - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: OT:Back-packs for photo gear
Hi Rob, I have the LowePro SF Rover Lite. Although we don't have bush over here to quite the extent that you guys do it is useful for short trips. It has a big brother version which is waterproof. They both have excellent tripod provision. It's more of a photo day pack than anything else. You couldn't get a tent or sleeping bag into it, for example, but don't you have camel trains for that sort of equipment?? :o) --- Bob mailto:[EMAIL PROTECTED] Sunday, June 10, 2001, 6:31:18 AM, you wrote: Hi Team, I am interested in looking at some photo oriented back-packs to use for both short or extended treks into bush. I need it to be weather proof and have provisions for easily attaching a tripod. I have a brochure on the LowePro AW series packs they seem to fit the bill however I would be glad to hear from listers with experience and other suggestions. Cheers, Rob Studdert HURSTVILLE AUSTRALIA Tel +61-2-9554-4110 UTC(GMT) +10 Hours [EMAIL PROTECTED] http://www.ozemail.com.au/~distudio/publications.html - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Spotmeters (Was: Learning To make a Photograph)
Hi, this is what I use: http://www.sekonic.com/Products/L-398M.html it's called a studio meter, but I've never used it in a studio. --- Bob mailto:[EMAIL PROTECTED] Tuesday, June 05, 2001, 12:56:03 PM, you wrote: I'm about to begin the process of evaluating/purchasing an incident light meter for field use. Needs to be pocket size and accordingly, be able to take a bit of punishment. Any thoughts on: features? models? etc.? Otis Wright - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Spotmeters (Was: Learning To make a Photograph)
Hi, I wrote the following earlier today to be a reply to Shel's post. Some of it has been superceded by other people's replies, but I thought I'd send it anyway. The type of photography that I most enjoy looking at, and trying to emulate, is exemplified by the Magnum agency. In many, perhaps most, of the instances where I've seen the data, it seems that the photographers, although they frequently use hi-tech cameras with tons of automation options, tend to use incident meters to measure the light. This implies that their exposure automation features are switched off. An example I saw recently was a short video documentary of Don McCullin shooting his 'AIDS in Africa' project last year, and there were examples in a recent edition of one of the US photo mags when some Magnum photographers were discussing their technique. Of course, there are also plenty of counterexamples. For instance, Steve McCurry has said on many occasions that he relies completely on his Nikon matrix metering; similarly, one of my friends relies outside the studio on his Nikon matrix meters exclusively. However, neither of them is a beginner. I prefer to use incident light rather than reflected light, and now, having started all-manual and been briefly seduced into AE by the LX, prefer not to use AE in non-standard situations. The trick is to recognise the non-standard situations. I do use the 'spot' meter in my cameras quite a lot now that I have them - they're the first spotmeters I've used - but that is for situations where I can't physically get the incident meter into the same light that I want to measure. And I always try to spot-meter a mid-tone because I'm not going to get into the Zone system - it's just not appropriate for what I do. It seems to me that spotmeters - that is, 1-degree meters, rather than the ones built into cameras - are most useful when you want to sample the range of measurements in a scene with a view to using that information later when you're processing and printing. This lends itself mainly to quite static subjects, but is not much use if you're covering a fairly dynamic situation, which is why it's popular with Ansel Adamites but less so with Bob Capa-bles. From the point of view of the beginning photographer it is surely simpler and easier to use incident light measurements than it is to take multiple spot measurements, write them down, choose one for setting the camera, and use the remainder for the darkroom calculations. Like any learning process it is more likely to be successful if it is built on incremental steps. It seems to me that there is so much to learn in the zone system that it is not worth it for the beginning 35mm photographer, who will be more successful, more quickly, using incident readings as the basis of their understanding of exposure. For anybody who might be thinking of buying a spotmeter because they are not happy with their in-camera readings I would recommend buying first an incident meter and seeing how you get on with that. An incident meter is nice and neutral, uninfluenced by reflectivity of tone and colour. If the problem is about measuring *reflected* light then a spotmeter may not help to solve the problem. An incident meter is also likely to be cheaper than a spot meter, and some of them come with spotmeter attachments. The zone system, after all, really has nothing to do with photography per se. It is a workround designed to overcome the different technical limitations of film and paper and their inability to handle the full subject brightness range or even the same sub-range within it. It's about trying to squeeze a quart into a pint pot. If these limitations did not exist, I don't believe anybody would have invented the zone system. So for a learner who's interested primarily in understanding light and metering I would suggest that the zone system, and by implication spot-metering, is likely to confuse rather than help because there are so many inter-dependent variables. That was certainly my experience 25+ years ago. It's certainly useful to understand the principles of the zone system in this less-than-ideal world, but an ideal film and an ideal paper, both able to handle the full brightness range that we ordinarily meet, would make the zone system redundant (all other things being equal). Such a 'film' paper will become available as digital capture inkjet printing technology improve. The print will be the end product of the photographic process, which is precisely the situation we have now in the fine-art photography world. One instance where the end justifies the means. --- Bob mailto:[EMAIL PROTECTED] Monday, June 04, 2001, 4:39:07 PM, you wrote: William Robb wrote: I have seen hand held light meters with spot attchments. These give about 5º angle of acceptance, hardly a spot meter at all. Dont discount incident light readings. Metering the light falling on the subject, rather than the light reflecting fron the subject is far more
Re: Anyone give me a price on a SMC 18mm 3.5 please ?
Hi, last time I saw one was last year here in London, going for about GBP350-, iirc. --- Bob mailto:[EMAIL PROTECTED] Thursday, May 31, 2001, 9:46:46 PM, you wrote: Hi Pentaxers, Can anyone give me an idea of what a decent condition SMC 18mm f3.5 lens should go for these days, any country, any currency?? Much obliged, Cotty. PS - Many thanks to the PUGsters for their hard work in once again organizing another lovely set of images. Sheer joy. I'll toast you all with a pint of bitter. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Travel and/to take pictures? (was: Minimum equipment...)
Hi, before you go negotiate with your companion for free time for each of you so you get a day taking photos and s/he gets a day doing whatever s/he wants to do that doesn't involve you. 1 day in 3 or 4 should be easy enough to arrange, I'd have thought. --- Bob mailto:[EMAIL PROTECTED] Tuesday, May 29, 2001, 1:40:45 PM, you wrote: [...] Maybe there is someone with similar feelings? Possible therapys? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: BAG advise
Hi, Frits writ: However I am stuck with those local shops here in the UK. next time you're in London on a weekday you could visit KJP/Calumet in Drummond Street. They usually have an excellent range of bags, including most of the Domkes. --- Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Filter Blab
Hi, I thought you had B+W filters for the lenses already. In that case you could just take the glass out of them and replace it with cut down Pentax glass, so there'd be no additional buying and selling other than the SMC filters. Still expensive, of course, and I wouldn't do it, but it's a possibility. --- Bob mailto:[EMAIL PROTECTED] Saturday, May 26, 2001, 12:30:20 PM, you wrote: Hi Bob ... I only wish the filter were made in sizes for Leica lenses. perhaps some sort of specialist glass cutter could cut a Pentax filter and remount it in one of the Leitz-sized rings. It was suggested that the labs that do the work for optometrists might be able and willing to do this. Perhaps it would be worth looking into, but the expense would be quite high and I don't really know if it would be worth it overall. Apart from buying the SMC Pentax filters, there'd be the expense of cutting them down and mounting them in appropriate sized rings, the cost of getting older filters in the appropriate size in order to use the rings, and then the cost of the B+W filters that I already have that I'd no longer be using, even though I could probably sell them and get back some of their cost. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Red Eye effect-Telephoto lens!
Hi, By the way, I have observed a burning yellow light coming out of the eye of a tiger (I was enjoying a feature in Animal Planet in TV) the cameraman should get in touch with William Blake. They're the most difficult kind of tiger to photograph. Framing is extremely difficult because of their fearful symmetry. --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: How noisy is your camera?
Hi, Thursday, May 24, 2001, 8:42:20 AM, you wrote: [...] I was quite impressed with the LX and the winder. It runs about as fast as my MZ-5, and about as quietly. I doubt very much if the noise would anger an elephant. Any elephant with sense would be soothed by it and roll on its back to pose with a rose between its teeth. I was once photographing a rhino in London Zoo with an LX and winder. The rhino seemed to be getting a bit agitated about something, and one of the zoo-keepers asked me to stop taking pictures (which I did), saying it was disturbing the rhino. Personally I'd have thought it was more likely to be the loss of its freedom, existential angst about poaching, or the thousands of other people leaning over the pit, eating crisps ice-creams, yacking away at each other and firing their pointy-shooty flashes. But what do I know? Maybe rhinos prefer Nikon. --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: How noisy is your camera?
Hi, she shouldn't have been so stupid as to get out of the car. I would think the quietest would be the LX, which is a lot quieter than the MX. The winder is also reasonably quiet. I used my LXs in a game park in S. Africa. I even photographed elephants with it, and not one of them trampled me to death (although one did briefly chase our vehicle, and made a lot of noise doing it). --- Bob mailto:[EMAIL PROTECTED] Wednesday, May 23, 2001, 7:32:02 PM, you wrote: I guess I won't be taking my K2DMD on African safari anytime soon. This brings up a good question: What is the quietest SLR Pentax makes? For shutter action? Powered film advance? - Original Message - From: John Francis [EMAIL PROTECTED] To: PDML [EMAIL PROTECTED] Sent: Wednesday, May 23, 2001 11:01 AM Subject: How noisy is your camera? There are times when a noisy camera can be a distinct liability :- http://www.brainerddispatch.com/stories/011101/wne_0111010013.shtml - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Red Eye effect-Telephoto lens!
Hi, I'm no doctor (trust me), but isn't it the case that mammalian blood is not red but blue when it's in the veins? It only turns red when it oxidises (eg when it comes out of your veins). This would suggest that red-eye is not a reflection off blood vessels, but off the retina itself, which is a collection of cells. Different animals have different coloured retinas, I believe, so they have different coloured red-eye. I think it is also the case that some people (cat people, perhaps) have non-red retinas. --- Bob mailto:[EMAIL PROTECTED] Wednesday, May 23, 2001, 10:06:56 PM, you wrote: On 23 May 2001, at 9:38, [EMAIL PROTECTED] wrote: Ayash, You understand that red-eye because you show the illumination of the red blood vessels at the rear of the eyeball in your photo. Which leads me to the question; do cats eyes have green blood vessels? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Winder LX Accesory Question
Hi, Battery Cord LX --- Bob mailto:[EMAIL PROTECTED] Tuesday, May 22, 2001, 10:13:33 PM, you wrote: Hey gang, One more question about the Winder LX . . . Does anyone know the name of the specific part that connects between the Winder LX and the Remote Battery Pack? I know what it's supposed to look like, but don't know the name . . . I need to order the part from Pentax CO, and want to know ahead of time what it's name is . . . unless anyone has the cord for sale? Oh, BTW, the cord should have 3 pins on each end of it . . . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: What Do You Carry
Hi, 'abseil' is the word used in British English, even by gritty, unpretentious mountaineering types. We also recognise 'rappel', which is also from French so probably no more and no less pretentious. On the one occasion when I foolishly volunteered for this activity I abseiled down the side of a very tall building; this meant that I had to 'walk' down it. If there had been any hostages to rescue I'm sure I'd have been allowed to bounce like the SAS, but we had strict instructions from the organisers not to do that. Besides, there were no windows to swing through, and I'd have looked pretty foolish trying to swing through a brick wall. --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato Saturday, May 19, 2001, 7:41:19 AM, you wrote: Actually, I thought rappelling was the english term and abseiling was french. Abseiling is not in my dictionary, rappelling is. Nor does my spell checker recognize abseiling. I always figured folks who said abseiling were just being pretentious. --Tom - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[6]: Very OT - Imagine !
Hi, Bob, you are forgetting about air conditioners, which suck up a tremendous amount of electricity. I suppose in cold and damp England, you wouldn't have much call for them. yes that's true. --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Very OT - Imagine !
Hi, it won't be very impressive in Northern latitudes. (and it's midsummer, not the 1st day of summer) --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato Friday, May 18, 2001, 5:05:37 PM, you wrote: I like it. The people who are most likely to do it are the ones most likely to vote against adding more power capacity. If only we could make it mandatory. At 09:57 PM 5/17/2001 -0400, you wrote: Greetings All For all the idealists out there, imagine the impact: From the folks who gave us the Y2k Punt! dance: ROLL YOUR OWN BLACK OUT ~ THE FIRST DAY OF SUMMER JUNE 21, 2001 THURS EVE, 7-10PM worldwide, all time zones In protest of George W. Bush's energy policies and lack of emphasis on efficiency, conservation and alternative fuels, there will be a voluntary rolling blackout on the first day of summer, June 21 at 7pm -- 10PM in any time zone (this will roll it across the planet). It's a simple protest and a symbolic act. Turn out your lights from 7PM-10PM on June 21. Unplug whatever you can unplug in your house. Light a candle to the sungod, kiss and tell, make love, tell ghost stories, do something instead of watching television, have fun in the dark. Forward this email as widely as possible, to your government representatives and environmental contacts. Let them know we want global education, participation and funding in conservation, efficiency and alternative fuel efforts -- and an end to over exploitation and misuse of the earth's resources. Have a great evening Don - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[4]: Very OT - Imagine !
Hi, Are you saying that June 21st is midsummer in the northern latitudes or in general? June 21st is definately the 1st day of Summer where I come from. I mention the northern latitudes because of White Nights and the Midnight Sun. Since few people will have their lights on the protests will scarcely be visible. Same thing applies to those parts of the world that don't have much electric light, like the middle of Australia, Africa and California. The difference between Midsummer's Day and the summer solstice is explained by the Royal Observatory Greenwich (my home town) here: http://www.rog.nmm.ac.uk/glimpse_cgi/mfs/apps/rog/docs/leaflets?link=http://www.rog.nmm.ac.uk/leaflets/seasons/equinox.htmlfile=/apps/rog/docs/leaflets/seasons/equinox.htmlline=466#mfs You may have to paste and join this ridiculously long link. Midsummer's Day is 24th June. I've always known this because it was my grandfather's birthday. If June 21st is the 1st day of summer then summer is precisely 7 days long. Well, that would be a pretty long summer here in Britain, but for the rest of the world I suspect it's a little longer than that. European Summer Time began this year on 25 March. Perhaps it's just wishful thinking. --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: OT: Iris prints on watercolour paper
Hi, the Iris prints on watercolour paper that I've seen have been excellent, and unless I'd been told I wouldn't have known they were not conventional photoprints - perhaps except for the particular quality of the paper itself, which is very nice. So I will certainly evaluate the final output as I would a conventional print. In the meantime I'm boning up on the technology so I at least have an idea of what to ask about. So I now know about the choice of papers, their pros and cons, and something about the choice of inks. I'll speak to the printer about the scanning requirements. I don't scan my own stuff, I have it done on Kodak Photo CD, so I'll either go to my regular place or have the printer do it if that's one of his skills. I'll also need to ask him what sort of Photoshop prep work he expects, if any. I'll certainly ask to look at some cradle-to-grave, or slide-to-print, examples of his work. As for the mid-tones, my very brief review of the technology tells me that Photoshop has a 'Transfer' function with which you can set a particular curve that is characteristic for the particular paper stock you're going to use so that it will start from deepest black, but put the mid-tones right where you want them, rather than kind of randomly depending on how much the paper changes the dot gain. I've already played around with this at home (Epson Stylus Photo 700 and Epson Photo Paper, PCD scan from HP5 neg) and managed to get better results than I've had before, and better results than I could personally ever get in a wet darkroom, so I'm expecting the Iris to blow my socks off. I may see if I can get some of the watercolour paper and fancy 4-black cartridges for my printer and see what I can do with that before I go to see the man; that should give me a baseline. The recommended printer apparently has some big-name clients, and has now been recommended independently by a 2nd person. --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato Thursday, May 17, 2001, 12:28:15 AM, you wrote: Iris prints are gorgeous. If I had the money, I'd have an Iris printer. :) The same person who suggested I use this medium has also recommended somebody to do the prints. My questions are: does anybody here have any personal experience of Iris prints on watercolour paper? If so, what advice can you give me about getting it done? What questions should I ask the printer? What information should I offer? How should I evaluate his work? How should I make sure he does the best possible job for me? I have not ever had an Iris print made, only seen them, but the format has so much potential that really, you should evaluate their work like a conventional photographic print. Don't go easy on it because it's digital: Iris done right can have every bit as full a tonal range as a conventional print. A lot will depend on the scan, and lemme tell ya, Scala's about as easy to scan as Velvia: without a really good scanner (one with a real healthy density range), you won't get all you can out of the print. Here's the good news: the printers are so heavy an investment that buying one without the other gear to back it up would be lunacy. Before getting the whole pile of prints done, find out what it would cost you to do a test image, perhaps smaller, to evaluate the process. If they're happy with their work, they should be eager to knock yer socks off. Pick the image with the heaviest detailed blacks that you've got (and some bright highlights, too, if you can find both extremes in one image) and let them take a whack at it. If you're happy with the result, then great. If not, discuss it with them and find out where the problem lies (it can be as simple as you and whoever's printing having differing opinions on where the midtones should lie). Does the person who recommended the printer have a sample that you can look at and perhaps compare to a conventional print or the original transparency? -Aaron p.s. let us know how it goes. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: OT: Kodak Packaging
Hi, Very informative, if you read it, about some rather disturbing trends; and the Kodak packing is only a minor manifestation interesting enough article, but I think the Kodak packaging probably fits under the 'internationalisation' category that the article mentions. There are occasions where graphics are far more useful than natural language: street signs are a good example, which conform to international standards. I wouldn't like to have to learn to read Japanese if I went there just so I could recognise a pedestrian crossing. --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: High Speed Slide Film (if it exists...)
Hi, I've used Ektachrome P1600 at 3200 inside the churches of Lalibela in Ethiopia. These are dark places, usually lit only by an open doorway or by a small window high up in the chamber. The churches are usually full of brocade and silk, with gold and silver crosses and staffs, bright colourful paintings and frescoes, and priests with exceptionally dark skin, dressed very ornately. I shot with an LX on auto, on a tripod and was able to get relatively short exposure times - short enough for a posing priest to be sharp, but too long to be handheld. However the colours on the slides, while not inaccurate (I mean, blues were blue, reds were red), were so much brighter and more vibrant than I remember the actual scene that I'm not sure I'd want to use it again. I'd have to do some controlled tests to see the circumstances in which it workds best, and this is what I'd recommend to you. The skin tones seemed accurate enough, but on balance the film didn't seem entirely natural. But then, Ethiopia's like that anyway :o) --- Bob mailto:[EMAIL PROTECTED] Art is a form of play, not to be taken seriously - Plato Tuesday, May 15, 2001, 2:30:17 PM, you wrote: Hi, I'm interested in doing some low light shooting in slide film. I want to know what films are available/usable in speeds of 800 and up (preferably up). All comments will be highly appreciated. Thanks - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Iris prints on watercolour paper
Hi, I'm working towards a small exhibition later this year. I'm shooting the photos on Scala, which I plan to have scanned and printed digitally. I've been advised to have Iris prints made on watercolour paper. At an exhibition this weekend I noted that Catherine Opie's prints are made this way, so I paid particular attention to them technically, and I'm quite impressed. I'm pretty sure Anthony Suau's prints were done this way for his 'Beyond the Fall' exhibition, too. (http://www.informinc.co.uk/LM/LM128/LM128_CW_Walter.html) When I saw this exhibition I was impressed with his prints, and didn't know until some time afterwards that they were digital. The same person who suggested I use this medium has also recommended somebody to do the prints. My questions are: does anybody here have any personal experience of Iris prints on watercolour paper? If so, what advice can you give me about getting it done? What questions should I ask the printer? What information should I offer? How should I evaluate his work? How should I make sure he does the best possible job for me? TIA, Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Open City
Hi, Interesting sounding exhibition on at the Museum of Modern Art in Oxford (UK): http://www.moma.org.uk/exhibition.htm it will also be touring - dates on the web-page. --- Cheers, Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: What Do You Carry
Hi, Wednesday, May 09, 2001, 3:06:21 PM, you wrote: [...] general, as well as numerous off-topic subjects. There are different styles of posting, some serious, some humorous, but eventually you'll find the answers to all your questions. great! so, what's the meaning of life? And just exactly why did the chicken cross the road? --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Nasty Kodak rumor, or the sloppy truth: the dumbing down of North America??
Hi, well, if you want to be digital you can count up to 1,048,575 before you run out of fingers and toes, assuming the normal mammalian complement. --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton Wednesday, May 09, 2001, 3:48:26 PM, you wrote: well? The packaging will no longer indicate 96 EXP, but rather the more arithmetically tractable 4 ROLLS Well, yeah. I mean you'd run out of fingers and toes to count on *long* before you got to 96. I'm also expecting them to add a disclaimer stating: NOT FOR USE IN DIGITAL CAMERAS ;-) - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: What Do You Carry
Hi, jeepgirl wrote: I a journal to write in an ink pen to write with. A sharpie to date the roll of film, and possible describe the location, then I write that on the bag when I have the film developed. It's easier to write a serial number on the film can before you go out. As you're writing your caption notes during the shoot you write them on a page with the film #. It simplifies things, especially when you're busy. --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Nasty Kodak rumor, or the sloppy truth: the dumbing down of NorthAmerica??
Hi, Dorothy Parker was once challenged to think of a memorable sentence involving the word 'horticulture'. She came up with you can lead a horticulture but you can't make her think :o) --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton Wednesday, May 09, 2001, 9:02:20 PM, you wrote: On Wed, 9 May 2001, William Robb wrote: You can lead em to the river, but you can't make them drink. If your lucky, they will fall in and drown though. William Robb *L* That's a keeper, Bill. Thanks for the story. :) - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Nasty Kodak rumor, or the sloppy truth: the dumbing down of North America??
Hi, Both based on the premise that the typical computer user is a complete idiot. that seems like a reasonable assumption when you consider that one of the best-selling series of books is called The complete idiot's guide to... --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[3]: What Do You Carry
Hi, Tell me more, please. I don't really think there is much more. If I'm going away for a few weeks I print a whole lot of individually numbered labels and stick them on the film cans. Whenever I load a new roll of film into the camera I write the film number on a new page of my notebook. It's not necessary to shoot film in number sequence. As I take pictures I write relevant details into my notebook, such as where I am, people's names and addresses and so on. If I push a roll of film I write the new speed into the book; if I do a mid-roll change (very rare) I write the next frame # on the page. If necessary at the end of the day I may write up some more details into a larger notebook/journal. Depending on the film type I will get the lab to stick to the film numbering. Kodachrome can't do this unfortunately. Nevertheless, I have so far always been able to relate the processed film back to the correct notes. If I thought I might not be able to then I'd photograph the page with the film number on it after loading the film. If I ever get round to captioning it should be relatively easy because I still have the notes and film numbers. If I ever try to file things properly I should also have a simple way of cataloguing the slides and negs. --- Bob mailto:[EMAIL PROTECTED] In my vocabulary 'art' is a dirty word - Helmut Newton Wednesday, May 09, 2001, 9:57:36 PM, you wrote: What a great idea! Tell me more, please. Dan Scott [EMAIL PROTECTED] Bob wrote: Hi, jeepgirl wrote: I a journal to write in an ink pen to write with. A sharpie to date the roll of film, and possible describe the location, then I write that on the bag when I have the film developed. It's easier to write a serial number on the film can before you go out. As you're writing your caption notes during the shoot you write them on a page with the film #. It simplifies things, especially when you're busy. --- Bob - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: please critique...
Hi, as well as the technical issues that other people have mentioned, it's always useful to consider who you have to please when you're taking a portrait. Are you trying to please the sitter, her mother, her boyfriend, yourself, the passport authority... Usually you can't please all the people all the time, and a father will not necessarily be pleased by a shot the boyfriend likes, and vice versa. Getting too close physically, as you've found, is a good way to make the subject feel uncomfortable, which is one reason why many photographers prefer a longer lens for this kind of close-up. Lighting is very important, of course, but the way shadows fall on the face is crucial to how the photo works. For instance, Arnold Newman deliberately lit the German industrial Krupp to make him look satanic. Is your sister happy with your photo of her? What do you think of it, and what do you think are its faults? My guess is that this is very much a brother's eye view, and that she may not be pleased with it. One useful way to practice, if your sister is happy to be your model, is to photograph her while she's busy doing something she enjoys, or while she's engaged in conversation with somebody else. Try and catch different expressions; look through the viewfinder as though you were watching a movie screen, and be aware of the the edges of the frame. Be prepared to shoot a lot of film to get a good portrait. Also, try and use natural lighting; don't get hung up too quickly on artifical light, but use window light, and light from large diffuse light sources, which produces soft shadows. I would recommend you to take a look at the work of the English portraitist Jane Bown - she has recently published a wonderful book called Faces. http://www.amazon.com/exec/obidos/ASIN/1855857898/qid=989364414/sr=1-1/ref=sc_b_2/107-3184627-6103715 She has a very direct style. She uses an Olympus OM-1 and Tri-X exclusively, which she generally sets at 1/60 at f/2.8, she says. She shoots by natural light, except 'in extreme cases' where she uses a 150-watt bulb in a table lamp. It's well worth paying attention to how she uses the natural light and where she puts her subject in relation to it. She doesn't mention which lens she uses, but I'd say it's probably a 50mm and a 85mm, or similar. She has eliminated as many variables as possible and this lets her concentrate her attention on the subject. Her technique is instinctive, and her portraits are quite exceptional. She in particular springs to mind because she often frames quite close up in landscape format, as you've done. This is against the rules, but it can be highly effective. A useful technical hint: if your sitter wears glasses and you don't want the reflections or shadows getting in the way, remove the lenses. Hope this helps. --- Bob mailto:[EMAIL PROTECTED] Tuesday, May 08, 2001, 8:47:05 PM, you wrote: http://pug.komkon.org/01may/sister.html This was my first portrait attempt, and I'd like to know what I could have done differently to produce better results. For instance, does the shallow DOF work, or should I have stopped down to include the rest of the hair? And what about the shadows on the face...does this detract from the image? I'm open to comments, critiques and criticisms, positive and negative, sugar-coated and harsh, as long as they are ultimately helpful in teaching me better technique, etc. Thanks in advance. Steve Rolla, MO - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: What Do You Carry
Hi, I have a Tupperware box which fits in the end pockets of a Domke bag. The contents are enough for most situations and are geared not around a day's shooting (when I may well leave the bag and box at home), but around travelling for long-ish periods. It contains:- Spare batteries :o( Long cable release Tweezers Jeweller's screwdrivers Silva compass Spirit level half a toothbrush for cleaning the cameras a whistle Mini maglite AA Swiss army knife Diffusers for my light meter a coin for unscrewing battery compartment covers (10 cents, Tanzanian) a lipstick-type cleaning brush some chamois leather patches small padlock and keys attached to my camera bag is a small carabiner - 500kg inside the bag are: a Leitz table top tripod, a few tissues and cleaning spray some pens sunblock phrasebook photographers' data guide bean bag 3 cameras attached to: 3 lenses, each with 1 filter and 1 metal hood lightmeter I keep a notebook pen in a shirt pocket. I also keep a bottle of drinking water on my belt. If I'm travelling overnight but my main case is staying on the bus I also carry toilet paper, toothpaste brush, floss, soap, paracetamol, malaria tablets, water filter, silk sleeping-bag liner (keeps the bugs off in strange 'hotel' rooms), clean underwear t-shirt if available. I might also take a mosquito net, depending on need. And then, if I decide to leave London, I take... --- Bob mailto:[EMAIL PROTECTED] Wednesday, May 09, 2001, 12:06:27 AM, you wrote: Apart from camera(s) and lens(es), what do you take with you when out shooting for a day? What items do you usually keep in your camera bag? I usually carry in the Domke F-803 satchel: Kodak 4x5 grey card Pentax Spotmeter Several pens Memo Pad Round, white removable stickers Leader retriever Blower brush Wrist straps Camera straps Appropriate size UV or Skylight filters Appropriate size metal screw-in lens caps Appropriate metal lens hoods The reason I'm asking is that I recently read a very long list of items that were recommended, including tools, flash lights, rubber bands, wire, and so on. Much seemed superfluous and overkill. But I wonder of there are some things that I may have overlooked that could be helpful, and perhaps getting some suggestions on what to carry may help others decide what to put in their kits as well. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Sunny 16 Rule
Hi, thanks Tom. It seems that I didn't know about this because I've been shooting slides and using an incident meter for so long. --- Bob mailto:[EMAIL PROTECTED] Monday, May 07, 2001, 12:21:21 AM, you wrote: Hi Bob: The Sunny-16 rule came about long and long ago, before the manufactures removed the the safety factor of about one stop that they used in rating the films. That is, film went from 200ASA to 400ASA without any change in the emulsion. This happened back in the late fifties. For best results you need to put that one stop back into the film rating. Thus you need to use 1/2 the ASA, or Sunny-11 to get the same results as you did back then. If you look in something like the film guide book Focal Press publishes, you will note most negative films have a one stop underexposure rating and a two stop overexposure rating. Using the sunny 16 rule your are several times more likely to underexpose than over expose. Also the brightest sunlight is seldom more than one stop brighter than the Sunny 16 predicts, so you only get -in the worst case- one stop overexposure, but can get several stops underexposure using the Sunny-16 rule. That said many modern color negative films have a very wide exposure latitude so can take several stops overexposure, but most only take one or two stops of underexposure so it may be better to shift the exposure a couple of stops with film like Kodak MAX. That is, rate it at 200 instead or 800. These changes did not apply to slide film because it did not have the latitude to allow it, so the Sunny-16 rule still applies to it. Though in truth I have underexposed more slides than I have overexposed, so I tend to use Sunny-11 there also. But, I usually use an incident meter and that is far more accurate than any rule of thumb. In the case of the original poster, he should check and see if his problem is not the lab rather than exposure before he does anything else. --Tom - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: Sunny 16 Rule
Hi Norm, if they did then they were wrong (or at least, nobody's told me about the change). I can't imagine how film emulsions on their own would affect this. You'd also have to recalibrate all meters. It may be that you're getting confused with the fact that meters are calibrated on 18% grey because early measurements supported the idea that average reflexivity in mid latitudes was 18% at midday in midsummer. However, more recent measurements claim that the average is 13%. Nevertheless, it doesn't seem to make any difference to any pictures, so there seems no reason to change anything. As far as advice to RK goes, well it depends. I've found sunny-16 to be quite reliable in the situations where you'd expect it to be reliable. ie, bright day with the sun behind me, and here in the UK there is a 3-stop difference between the highest and lowest reading, when the lowest reading is open shade. But if I wanted shadow detail I'd expose for the shadows or possibly use fill flash or a reflector if I had to include the sunlit highlights. Your exposures may have been wrong because the centre-weighting encompassed some very non-average elements, but I don't really see how it could have ruined both the highlights _and_ the shadows unless the brightness range of the scene far exceeded the latitude of your film. You'd need to tell us a bit more about the type of film you were using, what the predominant tones in the metering area were, and what the brightness range of the scene was. It's not usually a good time of day to be taking pictures. Any photographer worth his salt rests in some cool dark cantina with a glass of golden, foaming throat-charmer during the noonday hours. Why do they have to be done at that time of day? Why not wait until your shadow is longer than your height, or get up before sunrise? If you really must take pictures at noon, I'd recommend using an incident meter, measuring the light falling on the most important element of the scene, and basing your exposure around that. --- Bob mailto:[EMAIL PROTECTED] Sunday, May 06, 2001, 1:47:32 PM, you wrote: Didn't someone on this list mention a while back that the Sunny 16 rule doesn't necessarily apply today due to advances in film emulsion? Or something like that... Norm RK wrote: I've messed up some very important landscape shots- I had to take them about just after noon in blazing sunlight and the resulting images are ghastly: burnt out highlights with deep shadows. I showed them to a pro and he recommended I use the Sunny 16 rule whenever I take photos in bright sunshine- i.e., I ignore the CW meter reading. Is this good advice? I shoot print film and my usual outfit for outdoor shots would be a MZ5+17mm Tokina - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: PUG Comments (NEW IDEA)
Hi, this is not helpful advice. If this is understood to be what's happening then anybody whose submission is greeted with thunderous silence is left with the impression that nobody likes their picture, and nobody will tell him/her what's wrong with it! How useful is that? Offering only praise is useless. Most people who submit a good photo know damn well it's a good photo, so further praise is nothing but another squeeze of the ego-inflater. If it's not a good photo but people just say - 'You really improved that turd with the soft focus effect and the starburst filter, you make da Vinci look like a hopeless dauber' - well, again, what use is that? All we'll get is more pictures of turds. It's exactly because there's no accounting for taste that it is useful to hear a range of comments about a photo. --- Bob mailto:[EMAIL PROTECTED] Sunday, May 06, 2001, 2:25:19 PM, you wrote: You only missed the opportunity to state the rules. The only acceptable solution will be to continue comments with the following rules: If you really dislike a picture, or are offended by a picture, let someone else comment on it. They may love it. There's no accounting for taste. If nobody likes the picture (a rare event) nothing will be said to activate the bleeding heart defenders or the Sir Galahad knight emulators (all hoping to win a lady's favors). If you must criticize at all, then only suggest ways to improve the picture. Comments like, You should have left the lens cap on or Next time, leave your camera at home are not considered to be constructive criticism. This way, we only voice our approval and all will remain sweetness and light. Will the comments help improve anyone's photography? Probably not, but we'll be able to share hugs all around and have a warm fuzzy feeling that we're on the track to photographic perfection. All of this proves an old Mongolian adage. He who is about to speak the truth should keep one foot in the stirrup. Len, who obviously lied when he said he wasn't going to say any more on this topic. -- -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]]On Behalf Of Lasse Karlsson Sent: Sunday, May 06, 2001 7:50 AM To: [EMAIL PROTECTED] Subject: Re: PUG Comments (NEW IDEA) Chris, I'm really happy to hear that you haven't been discouraged by the recent debate. Let's hope that we will find a solution that will be acceptable to most members. I am only adressing one of your suggestions here. We'll still have commentators to talk about photos, but only for the photographers each month who specifically request comments. I don't mind coordinating this, so we could give it a try and see how it goes. Since the PUG is not intended to be a critiqued gallery, send your request for comments to me, not Bill or the PUG. If you ask for comments in the letter you send to the PUGmeisters, it ain't gonna happen. All you have to do is send a letter to me at [EMAIL PROTECTED] or [EMAIL PROTECTED] saying My name is _ and I want to have my photo commented on for the June PUG or something like that, and it'll be done. You'll have to do this each month when you submit your photo, as there could be some months when you're showing an image that, for whatever reason, you don't want comments on. ( I F we decide on any form of release from the PUG participants:) To me this seems like an unnecessary round of messages and extra work for you as well as for the submitter. Why not do it like this (it would be simple and it wouldn't really cost anyone any extra work)?: Each time we submit a photo for the PUG we can add whatever comments we like around the picture, the shooting situation or whatever. Now, if comments on the list are welcome, we just add something like Comments on the PDML are welcome. This wouldn't really cause anyone any extra work, and the possible commentator can simply check for the above phrase. (Or have I missed something?) Lasse - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: About PUG Commentaries
Hi, the reassignment might be more than Chris would want to get involved in, but not the emails between the reviewer and the cringing victim. All it requires from the evil sadist is a form letter along the lines of I've been assigned to review your photo in this month's PUG. What do you hope to learn from the review? What were your intentions in taking the photograh? What do you hope to do with the photo? My preferred style of review is to [ tell the world you're an idiot and to recommend you never to pick up a camera again / promote you as a new Leonardo da Vinci even though this is your first roll of film / show off my knowledge of Art and disregard your photo entirely ] The photographer then replies Get thee behind me, Satan / Give it to me straight, big boy / Be gentle with me, lovebuns (or all 3 if it's a Saturday night, and not necessarily in that order). --- Bob mailto:[EMAIL PROTECTED] Friday, May 04, 2001, 4:41:43 AM, you wrote: Too much work. Paul Bob Walkden wrote: Hi, I'd like to make a suggestion. When the reviewers have been assigned their photos to review they should mail 'their' photographers privately and ask them what, if anything, they want get out of the review. This should help the reviewers to pitch their comments at the appropriate level. If the reviewer feels unable to comply - perhaps the photographer wants unstinted praise and the photographer thinks the photos smell bad - then, again privately, perhaps they should ask to be reassigned. --- - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org . - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: About PUG Commentaries
Hi, That's pretty much exactly how I feel. I still find it a bit hard to understand how someone could submit an image to the PUG, but not want it to be discussed. I submitted the 2 I did (years ago) on the 'show me your photos' principle. Since I was allowing myself the luxury of mouthing off in public about the subject I figured I ought to show people what sort of photos I take. To me it helps form an opinion of the person that may not come through the posts, and adds/subtracts weight to what they write. I submitted 2 photos that I think are fairly representative and which I think are successful (although one of them got mangled in the jpegging), so feedback, good or bad, wouldn't have made a lot of difference to me. But apparently there *are* people who feel this way, so I'd support a 'no discussion' request. I think the default should be to allow discussion, though. I'm surprised nobody's picked up on my suggestion in an earlier post that the reviewer should contact the reviewee and between them they should decide what general form, if any, the review should have. And I think the discussion *should* stay on the PDML. For one thing I want criticism from PDML members simply because I've come to know a bit more about them from their other postings. Some people I agree with; others, I know, have a significantly different worldview. That gives me a little more context in which to evaluate their comments. Indeed. And, dammit, if we *can't* talk about photographs made, by PDML members, with (mostly) Pentax gear, then what is the point of the group? Agreed, too much talk about hardware, not enough about photography and its barnacles (such as criticism). More endless nitpicking about the smallest technical details, moaning about the cameras that Pentax don't make, and speculations about what might get released in the next lifetime. Yawn. Ever the optimist! Cheers, Bob To repeat an epigram: Nice equipment. Now show me your photos. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: About PUG Commentaries
Hi, I'd like to make a suggestion. When the reviewers have been assigned their photos to review they should mail 'their' photographers privately and ask them what, if anything, they want get out of the review. This should help the reviewers to pitch their comments at the appropriate level. If the reviewer feels unable to comply - perhaps the photographer wants unstinted praise and the photographer thinks the photos smell bad - then, again privately, perhaps they should ask to be reassigned. --- Bob mailto:[EMAIL PROTECTED] Thursday, May 03, 2001, 6:53:04 PM, you wrote: I agree 100% Gerald. How about we just assign photos of people who are a bit thick skinned to Shel and carry on. You can rip my stuff anytime Shel...G Norm Gerald F. Cermak wrote: I've sat back and watched dirt fly after Shel posted his commentaries. I think Shel did a good thing, calling the pictures as he saw them, and offering constructive criticism. The subsequent attacks on Shel's character were completely uncalled for. If the picture isn't inspiring to the critiquer, what does it mean for them to offer a critique that doesn't state that? Come on folks - it's the action not the person we are critiquing here, take constructive criticism as a blessing. The first round of commentaries last month seemed so overly nice, that it appeared people were swooning over some particularly mundane photos. It got so bad, I ignored the latter comments, and felt a little sick trying come up with nice only comments about my assigned photographs - i.e. I really wanted to say some critical comments about some of them, but felt I would be out of line with the previous nice comments. I'm glad Shel had the guts to do his assignment the right way. I don't think Shel got any particular joy out critique comments, and have interacted with him long enough to know he was truly doing his assignment of critiquing the best he knows - which is probably more than a lot of people could say about themselves. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: May PUG
Hi, I'd like to congratulate Dan on seeing that shot. I've walked past it a thousand times and stupidly never seen it - a case of familiarity breeding blindness, perhaps. As for the perspective, well you'd need a much longer lens to bring the clock tower further forward, you'd also need to be a little higher up to bring them into a better balance, but unfortunately there's a large building (County Hall) right behind where Dan was standing, and it's pretty much impossible, I think. --- Bob mailto:[EMAIL PROTECTED] Wednesday, May 02, 2001, 12:53:06 AM, you wrote: [...] Dan Motyola: Different Times. Is a different perspective achievable? I'd like to try and make the clock tower a little larger in the frame, by using a longer focal length from a bit further back (and a bit higher off the ground). I don't know if that's possible, though. [...] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: PUG Commentary - John Mason's Night Train
Hi, From: Tanya Russell Mayer [EMAIL PROTECTED] Amongst other things, Tom wrote the following: Post a photo you feel good about and let me tell you it was amateurish, something just barely worthy of a beginner photographer, and of little or no significance. Then tell me what it felt like And I must say that I totally agree. I think that we need to be encouraging people here, not deflating them. I too, like that shot, and I too, am glad that Shel was not critiquing my shot, which, I gather from the lack of comments and also after comparing it to the other fantastic submissions, was not up to scratch. This was my first PUG and I can guarantee that had I received such harsh comments, I would not be submitting again. Please don't feel that way. However harsh people may seem to you, nobody wants you to leave or stop submitting. Whatever you submit is worthwhile. The picture of your dog's eye is similar to a well-known photo by the British photographer Jane Bown of a cow's eye, and proves that you have a good eye! I, for 1, am looking forward to seeing more of your work. - Message from aimcompute [EMAIL PROTECTED] on Tue, 1 May 2001 if I make a submission and you like it, I like to hear it. if there's something I could have done better, I like to hear it. if your opinion is that it's virtually worthless, then what's the point in commenting? If as the photographer, I felt that way, I wouldn't have chosen it. People get emotionally involved in their photographs, as we can see, and this means that their own judgement is not necessarily the best. This is something I've experienced myself quite a lot, and I personally value the emotional detachment that other people's opinions can bring to my work (although I reserve the right to disagree and stick to my emotionally-based opinions). If somebody's work is virtually worthless (and I'm not suggesting that this is so in John's case) it can work like a bucket of cold water and stop people wasting their time going in the wrong direction. After all, what is the use of feedback if it can only ever be praise? Surely a sincerely held, and well argued, negative opinion is better than any number of insincere positive opinions. You are arguing something I did not say. Feedback, both positive or negative may be appropriate. OTOH, if we look hard enough we can find or manufacture something negative about practically anything. Is that beneficial? Sometimes emphasizing the positive can be just as good or better, in it's effect on the hearer than anything else. In part, the tone and/or content of the feedback depends on what its intended purpose is. This is probably the nub of the thing, really. Each person submitting their work has motives for doing it; each commentator/reviewer has _their_ motives for doing it. Nobody, as far as I've seen, has explained what they want to get from a review of their work, and none of the reviewers has said anything about what their criteria for reviewing a picture are. Ah, but was that the photographer's intention? If so then the picture was successful; if not then the picture has failed. Since we don't know what the photographer's intention or motives were we cannot say whether or not it is a successful picture. I disagree. It may be, as you say, that the photo invokes emotions the photographer was not trying to convey depending on who looks at it. If the photo invokes an emotion different than what the photographer was attempting to convey, why does that make it unsuccessful? It simply means different people see different things. If a photo can evoke many different feelings in many people, and the photographer did not intend those feelings, maybe it's more sucessful than he ever realized at the time he was taking it. On something like this we can only state our positions, since it's a matter of individual opinion and there's no right or wrong. Of course, each individual will react differently to any given picture. sni[p That may seem like a very over-the-top thing to mention, but it makes the point that as far as useful criticism goes, the feelings evoked in the critic by the photograph are worthless. Criticism is very difficult; Shel is at least trying to go beyond the rather bland and innocuous comments that most other people give. If and when I next submit to the PUG I hereby request to be reviewed by Shel. And he can take the gloves off :o) Post a photo you feel good about and let me tell you it was amateurish, something just barely worthy of a beginner photographer, and of little or no significance. Then tell me what it felt like. Fortunately I'm a sufficiently good judge of my own work not to put myself into that position. On the numerous occasions that I have put forward my work for criticism I've made clear beforehand what it is I'm trying to find out. I've had people skimming through my work - including national museum curators of photography and similarly well-qualified people -
Re[2]: PUG Commentary - John Mason's Night Train
Hi, comments embedded. Tuesday, May 01, 2001, 5:01:10 PM, you wrote: You know these are the kind of comments that will drive people away from contributing. I don't think we were asked as much to critique the submissions, as we were simply to comment on them. what's the difference? After all, what is the use of feedback if it can only ever be praise? Surely a sincerely held, and well argued, negative opinion is better than any number of insincere positive opinions. IMO this was a rather harsh response. If the shot didn't do anything for you, that's fine, but why rip it to shreds? Sometimes an iron fist should wear a kid glove :o) I think Shel could have made his points with a lighter touch, but I don't think he ripped it to shreds. I've been attending a few workshops recently and his comments wouldn't be out of place in those. But it is easier to listen to criticism I think when you can see the person and read their non-verbal language as well. I personally find it has merit. It instantly gives me a pensive, expectant feeling when I look at it. Ah, but was that the photographer's intention? If so then the picture was successful; if not then the picture has failed. Since we don't know what the photographer's intention or motives were we cannot say whether or not it is a successful picture. Of course, each individual will react differently to any given picture. I read a story somewhere (can't find the reference) about 2 critics' reactions to the same picture. One of the critics had a very favourable reaction to the photograph, but the 2nd hated it, and was almost violent in his reaction to it. It transpired that the 2nd critic had spent time in a concentration camp and the photograph had invoked his worst memories of that time. That may seem like a very over-the-top thing to mention, but it makes the point that as far as useful criticism goes, the feelings evoked in the critic by the photograph are worthless. Criticism is very difficult; Shel is at least trying to go beyond the rather bland and innocuous comments that most other people give. If and when I next submit to the PUG I hereby request to be reviewed by Shel. And he can take the gloves off :o) It evokes some kind of emotion or wonder which good photography is supposed to do. It's a matter of opinion what good photography is supposed to do (if anything). The tracks in the picture also lead the eye through it, making me want to lean out a little to the left and catch a glimpse of the approaching train. e pericoloso sporgersi! Cheers, Bob Tom C. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: OT Re: LX Gallery
Hi, It is curious to what some people will eat. It seems to me that some people think that if you can keep it down for longer than 2 seconds, and it doesn't kill you, it is edible. Furthermore, some culture, somewhere, will have it as a delicacy. Ronald McDonald springs to mind. --- Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: Buying an MX
Hi, there are 2 problems which seem quite common with MXs: 1) the frame counter stops working. I've had this happen on 2 of mine. It's fairly cheap to have it repaired, provided the repairer can get the parts. 2) the shutter release lock sometimes doesn't do the job 100%, so that there is still some play in the shutter release. This can switch on the metering circuit. So if you store an MX which has this problem with some pressure on the release - eg the top of your bag or case - it will drain the batteries. Over the years I think I've owned 4 MXs, and I still have the first I ever bought, from 1979/80. Other than the problems described above they've been very reliable. The only other problem was one whose film advance would intermittently jam. I didn't try to repair it, but traded it in against an LX. --- Bob mailto:[EMAIL PROTECTED] Sunday, April 29, 2001, 12:28:05 PM, you wrote: I am thinking of buying an MX to complement my MZ-5n, have any of you guys any tips on what to look for with this particular model if buying second/third/forth hand? Much appreciated Paul - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[8]: $50K for 8 negatives at ebay
Hi, so it's immoral not because it's exploitation, but because the exploitation is blatant? I've pursued this about as far as I want to now. If anybody's interested, when I saw the pictures (and I'd never heard of Dale Earnhardt before he died) I thought it was in rather poor taste, but I couldn't really figure out why, and I speak as a person with a house full of books of photos of war, famine, pestilence and death (and other things, of course, that are warm and fluffy). I can't think of any good rational reason why he shouldn't do this, although I can think of plenty of irrational ones. Hmm. --- Bob mailto:[EMAIL PROTECTED] Friday, April 27, 2001, 4:59:42 PM, you wrote: For me, it's the fact that they were offered in a public auction format and for such an exorbitant price. It has a BLATANT APPEARANCE of trying to profit in a big way from the death of another. It's not like he had the only pictures of the crash and was a scant resource for documentary pictures, nor his he now offering them explicitly to the appropriate news organizations. He is hoping there is someone mentally-ill enough out there that will get their jollies from this sort of thing. If these pictures weren't already purchased by the news organizations (other journalists) then what journalistic value do they have at this point in time? They've had their fill, they need no more pictures of the same thing, so now he is hoping to profit from sensationalism and not journalism. If I started a bidding war for nude pictures of my wife on an auction site, that would have more ethical and moral value than this guy's auction. Tom C. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re: A Wee Dram for the LX
Hi, they make whisky in Dallas? That would be from genuine Scottish grapes, I suppose :o) --- Bob mailto:[EMAIL PROTECTED] Friday, April 27, 2001, 2:45:53 PM, you wrote: Several years ago I was lucky enough to be able to tour the old Dallas Dhu distillery. They were no longer producing for commercial purposes, but it was educational and fun anyway, especially inasmuch as couple of drams of sample were handed out at tour's close. Made the rest of the afternoon a touch more enjoyable. Doug Tonight I'm having a wee dram of cask strength Dallas Dhu 24, distilled in 1970. What are you sipping this evening? -- Shel Belinkoff - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: LX Gallery
Hi, I'd also like to suggest that if possible we should write a few words with the submission about the LX that took the picture, or our own experience of however many of them we own(ed). --- Bob mailto:[EMAIL PROTECTED] Friday, April 27, 2001, 6:30:53 PM, you wrote: Hi John ... It's just a fun thing for LX shooters to participate in. It's not a big deal, and it's not some sort of snobbery or exclusive club. It's just a bunch of LX users deciding to make some photographs with their cameras and post them somewhere. It's a small way for LX users to do ~something~ to celebrate their joy and satisfaction of using the camera, and, perhaps, express our sadness or disappointment that the camera has passed out of production. I plan to use as many accessories that are unique to the LX as possible for my submission: The FB-1 system, winder, remote winder cord, special viewing screen, and so forth. John Francis wrote: Using any particular body has far less effect. If the LX images are captured using the unique features of that body (OTF metering?) that's one thing. But an image that is indistinguishable from one captured with a Spotmatic, MX, PZ-1p, or (heresy!) a Canon or Nikon (or Leica) - how does that serve as a testament to the LX? - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
OT: Mayday monopoly (was Re[10]: $50K for 8 negatives at ebay
Hi, Friday, April 27, 2001, 10:15:31 PM, you wrote: [...] And are you getting ready to snap some photos of London during the May Day riots? Regards, Bob S. not this year. It'll all be happening on Tuesday, so I'll be at work all day. The theme this year is 'Monopoly', and the people who organise these things intend something to happen at as many as possible of the London Monopoly board sites. Since I work in the West End I may be surrounded by fun and games. I also have to steer clear of things a bit this year because I recently had some surgery on my ear. It wouldn't take a great deal of effort to pull the damn thing right off my head, so I'm keeping well clear of large and potentially violent crowds... I was most amused the other day when somebody here suggested we all van Gogh our ears and send them to Japan in protest against the death of the LX - I'm half way there already! --- Ch...ears, Bob mailto:[EMAIL PROTECTED] - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
Re[2]: $50K for 8 negatives at ebay
Hi, in fact, a lot of people do think unhappy news photos are sick - we've had several discussions on this very list about the ethics of photojournalism. Strangely enough the people who seem to oppose photographs of tragedy don't seem to oppose video or film footage of the same subjects, or written coverage, or accuse writers or video journalists of profiting from other people's misery. Strangely inconsistent attitude. --- Bob mailto:[EMAIL PROTECTED] Wednesday, April 25, 2001, 5:32:07 PM, you wrote: Well, if someone from one of major news services had managed to do the shooting you'd have seen those shots over and over again on national TV. Nobody would have said they were sick then. Give a guy a break. What the hell. - This message is from the Pentax-Discuss Mail List. To unsubscribe, go to http://www.pdml.net and follow the directions. Don't forget to visit the Pentax Users' Gallery at http://pug.komkon.org .
