Why won't your friend let you post the pictures on the PUG? Explain that
it's really quite anonymous. We certainly don't know the boy's name, and
we don't know where he lives. It's just a picture. He won't lose his
soul or anything. And, most importantly, tell him that all your friends
on the
Congratulations on your retirement, Bill. I'm envious. But if everything
goes as planned, I may be able to afford to retire by the time I'm 85 or
so. Have one for me.
Paul
Bill Owens wrote:
At this very moment, I'm celebrating my retirement with some Killian's Iris
Red.
Bill, KG4LOV
I got knocked on my butt when I touched the frayed power cord of my
Honeywell Strobonar 882 with wet hands. It uses that 500+ volt Eveready
497 battery, but I don't know what the trigger voltage is. I generally
use the old Honeywell potato masher only with my Mamiya C220 or as a
slave, but I've
T-Max 400 has smaller grain for certain. From personal experience, I
believe it has slightly wider exposure latitude, but highlights can tend
to block up if processing is even slightly incorrect. I think Tri-X
appears sharper on modest sized enlargements due to its grain. T-Max
seems fussier
I have a lot of 25 year old RC prints, the majority on Kodak paper, that
are as good as the day I made them. While most of them have been stored
in boxes, some are framed behind glass.
Paul
William Robb wrote:
- Original Message -
From: tom
Subject: Re: RC Paper problems. Was: Re:
The Takumar K-mount 135/2.5 sells for ten to seventy dollars, as you
say. The Pentax SMC 135/2.5 sells for as much as $200. I believe I paid
$140 for a near mint copy on ebay and I consider it a bargain. It's a
magnificent piece of glass and should never ben mentioned in the same
sentence as the
of f4 or so. You'll need some depth of field, even if the
contestants are equidistant from the lens. In summary, a good first
effort.
Paul Stenquist
(My other commentaries will be posted ASAP)
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Jan van Wijk wrote:
One thing I find distracting in this image in the longer term is the unsharp flower
in
the lower left corner. It draws my attention too much. I would prefer to have some
more DOF
to have this flower sharp, or maybe to move the frame up a bit to get it out of the
, the camera position, outstanding. Again, a very fine
photograph. Thanks for sharing it.
Paul Stenquist
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apparently have
learned it. In terms of BW craftsmanship, I would cite the photo's nice
range of middle grays, along with almost white highlights and almost
black shadows. Your exposure and processing must have been just about
dead on. This one's a keeper for me. It goes in my files.
Paul Stenquist
depicts,
it is, realistically, two worlds. I find that an intriguing
thought.Overall, a very nice rendering of a somewhat conventional scene.
Paul Stenquist
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jeepgirl wrote:
I
for one plan on being here till the day I die or the list shuts down...
Aren't you fellows lucky? :)
jeepin Angel
Yep, we're lucky. But what's this jeepin Angel stuff. Does that mean
you've reformed?
Paul
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Because I am currently overwhelmed with work, I hurried through the PUG
and, quite frankly, had not given your photograph the time or attention
it deserves. Shel's comments directed me to it, and upon further
scrutiny, I found it very compelling. There is a rather vivid sensual
tone to the image.
This has become utter nonsense. The comments were valid. They were well
received. It is very bizarre that we would expend so much time and
energy debating this issue. Leave well enough alone.
Paul
Chris Brogden wrote:
On Sun, 6 May 2001, Lasse Karlsson wrote:
( I F we decide on any form
Hi Shel,
My list is somewhat similar to yours, but there are some differences.
How much I carry depends on what and where I'm shooting. For some
situations, I'll carry a large amount of equipment, for others, much
less. But the following is usually in my kit:
lens cleaner
lens cleaning cloth (in
I frequently travel through airports with a lead bag full of film. I
leave the lead bag in my carry on, and, of course, it shows up on the
x-ray as an impenetrable object. More than once, security guards have
failed to check it. Of course they almost always make me switch on my
laptop. Forget the
When the exposure is that long, it's subject to the reciprocity failure
of the film. That could be anywhere from one to two stops, depeniding on
the emulsion. Try 128 and 256 second exposures at f22.
Paul
Ayash Kanto Mukherjee wrote:
Hi!
I was trying to photograph the dial of my table
In a message dated 5/9/2001 7:27:41 PM US Eastern Standard Time,
[EMAIL PROTECTED] writes:
Must tmax film be developed with tmax developer?
Tx,
Collin
With T-Max 400, I've had better success using D-76 1:1. I generally rate
the film at 320 and soup it for 10 minutes at 68
Michel Adam wrote:
And when they do, they end up
shipping left hand drive cars to Japan and then complaining that
they don't sell many of them over there...
Other than specialty cars, all US cars shipped to Japan are right hand
drive. However, there are huge trade barriers that make it
There was. The term was from copy read by Ricardo Montalban in a 70s
Chrysler commercial. It worked. They sold a lot of cars. Even more
remarkable is how many people still remember it. Of course it's humorous
today. But it worked.
Paul
Len Paris wrote:
I never could figure that one out.
I use old cameras. My most contemporary are an LX and MX. I have
Spotmatics and an H3v that I use now and then. I have a Mamiya C220 that
I use fairly often. I would guess it dates from the mid to late sixties.
And I have a Speed Graphic (late forties or early fifties?) that I use
when I have
My A2X-S is very sharp with either my 400/5.6 K or my 200/4 M. I have an
18x12 print of a race car that I shot with the 400/2XS combo that really
leaves nothing to be desired in terms of sharpness. I don't think the L
converters will fit the 300/4.5, but I could be wrong. Generally, the L
Joseph Tainter wrote (in hope of starting a flame war or, at the very
least, a robust discussion):
Avoid Velvia.
I doubt that I'll use Velvia again. Or if I do, it will be infrequently.
This comes in spite of the fact that my May PUG entry was shot on
Velvia. I shoot a lot of flowers,
There's a mint ES here in Michigan at Oakland Camera Repair. I think
they're asking $200 with two lenses: an SMC Tak 135/3.5 and an SMC Tak
50/1.4. If you wish, I'll hunt up their phone number.
Donald Ross wrote:
Hi Gang
This one was close.
still have him in the deep freeze awaiting burial.
Paul
Doug Franklin wrote:
On Thu, 24 May 2001 22:19:50 -0400, PAUL STENQUIST wrote:
I had a black and white female. I found her wandering in the woods in
Central Jersey. Her name was Ebony and she passed away a couple of years
ago
I agree. I use my LX more than any other camera I won, but my Spotmatics
still own my heart. Thoe are the cameras I lusted after when I couldn't
afford a Pentax, and they're very special to me. I suspect that many
other Pentaxians feel the same way. A Spotmatic tribute is certainly a
good idea.
Bill has raised some important issues here. But remember that a
commemorative gallery can be unofficial. In other words, all those who
own a Spotmatic could shoot their PUG entry for the appropriate month
with the Spotmatic and indicate as much on their submission information.
However the use of
.
Sorry to hear about your hard drive crash, and Merry
Christmas/Hannukah/Eid/Kwaanza, etc...
Richard.
home page: www.richard-seaman.com
--- original message ---
From: Paul Stenquist [EMAIL PROTECTED]
After considerable knashing of teeth and whining to Shel about how hard
Shel Belinkoff wrote:
Nor can you get an accurate reading if you're
standing in a light that's different than that of the subject.
Hi Shel,
When I use an incident meter, it's a given that I position the mteter in
the same light that is striking the subject. It's basically the same as
using
Shel Belinkoff wrote:
I suppose it's like the difference between
manual and automatic cameras - and you know on which side of that
argument I stand g
I'm right there with you on that one, pal.
Have a good one.
Paul
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Shel Belinkoff wrote:
How would you use an incident meter to photograph a scene when you're a
great distance from the area you want to capture, say a distant mountain
range across a wide valley? In a situation like that, IMO, only a spot
meter or a TTL meter can be truly dependable.
I
type of reflected light meter that would work
well is a narrow spot meter. But, I submit, you could have gotten just as
accurate a reading from an incident meter without 1/10th the hassle.
Ciao,
graywolf
[EMAIL PROTECTED]
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED
Thanks Johan.
Johan Schoone wrote:
In local.pentax, you wrote:
I guess I'm going to try to learn as much as I can. Richard's site si quite
stunning on my browser and screen. However I'm at 1280 x 1024, and my simple
Click and Build looks good on my monitor as well. Wouldn't it be nice if
?
Steve Larson
Redondo Beach, California
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, December 25, 2001 9:56 AM
Subject: Re: Epson Stylus C80 --- Opinions?
I think Epson Professional Glossy is available in letter size, but not all
I'd give the Kodak paper a try, Steve. Carlos apparently had good luck with it,
and it was excelent on my Epson 1200, a little bitter in fact than the Epson Pro
Glossy. You are using a different ink system, but give it a try since you have
it. I'm quite sure it will prove better than the HP
is nice to focus in dim light?,
I wouldn`t have guessed.
Steve Larson
Redondo Beach, California
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, December 25, 2001 10:38 AM
Subject: Re: Epson Stylus C80 --- Opinions?
-
This message
Frantisek Vlcek wrote:
2) question - you all told me to use dome and point it AT camera. But
that's for faces and such things, but landscapes are flat - there is
not light from underneath like in 3D objects like faces - so wouldn't
it be better to use the flat diffuser or dome but parallel
[EMAIL PROTECTED] wrote:
(But she did have to tack on and master of
none to someone else's Jack of all trades comment upon hearing
that I'm a programmer/analyst, photographer, and musician. I may
not be as good a photographer as I'd like to be yet, but it was
certainly uncalled for
I agree with his suspicion and your agreement :-). Seriously, I scan my 35 mm
negs at 4000 ppi, which yields a file of about 55 megabytes. As a test, I've
tried scanning at 2000 ppi, which produced a file of 20+megabytes. A print from
the 55 megabyte file was obviously superior in terms of detail
Thanks for the tips, Jostein. I'm going to see if I can find Allaire
Homesite.
Paul
Jostein wrote:
I agree with Shel and advice against Netscape Composer.
However, most visual editors produce more code than really needed.
Microsoft Word and FrontPage are some of the worst examples, but it
I meant to say, sharp detail, even at f4. My finger got lost on its way
to the 4.
Paul Stenquist wrote:
Well, I shot a few test rolls with the 6x7 and SMC Tak 150/2.8. So far
I'm very satisfied with this lens and absolutely in love with the
camera. I posted a hand held shot (f4/1/250) that I
, Paul Stenquist wrote:
Right about now, I'm feeling really good about not have a PZ-1p or an MZ-S.
Not me. I'm feeling really good about having one... :-)
Later,
Gary
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William Robb said,
Yup. I'll drink to that.
Or would, if I had a drink.
William Robb
Well, go round one up, Bill. It's winter in them there parts. Gotta keep
that blood alcohol level up above the danger zone.
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. We're not necessarily
up to date on all the 6x7 news around here, but we're getting better as more
members are adding MF to ther repertoire. In other words, the fact that we
haven't heard about it doesn't mean that it isn't in the works :-).
Paul Stenquist
Jody L. Reese wrote:
Hi Everyone!
My
Dan Scott wrote:
How are they turning out? Still happy?
You bet. I'm very pleased with the 6x7 format and the 150/2.8. The camera is a
joy, and the lens seems quite sharp with great color rendition.
Paul
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I'm not sure the digital SLR is in limbo. I think it's gaining more acceptance with
the working pros every day. And the manufacturers will have to meet that demand. There
are about a dozen major studios in the Detroit area that shoot large format. These are
the really big studios, the ten to
Hi Shel,
I'l intersperse the answers.
The big downside of a
TLR is the faulty parallax:
Macro is of no concern, and I'd think that parallax errors would be an
issue depending on how close one is to the subject. I'd imagine - and
please correct me - that for a typical HS portrait,
manufacture make a camera that I
can use my 6x7 lenses with, or will I throw it all away because I can not
find film or paper to use in my darkroom?
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Thursday, December 27, 2001 6:21 PM
Subject: Re
Hi Collin,
I just came up from my darkroom. I developed a roll of 120 TMY 100 that I shot this
afternoon.
My darkroom is in a section of the basement. Most of my basement is
finished, but there's a furnace room in the back that is fairly large, perhaps 10 x12
or so. The hot water
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]]On Behalf Of Paul Stenquist
Sent: 24 December 2001 01:58
To: Pentax Discuss
Subject: A Website (Hey, I'm trying)
After considerable knashing of teeth and whining to Shel about how hard
this is, I have finally managed
it should be fine for internet posting, but it's too low res for printing. You
need at least 2000 ppi just to do decent 5 x 7s, IMHO.
Paul
Artur LedÛchowski wrote:
Hi,
Anybody has any experience with this stuff? The optical resolution of 1800
is much more than a slide adapter for a flatbed
Good point. Good caveat.
Paul
Tom Rittenhouse wrote:
If you are in some kind of photography where quick reproduction is important
like Photojournalism, or Event Photography then you need to get into digital
ASAP. If you are into some kind of photography where quality is paramount
like Fine
of reflecting
safelights, such as the highly efficient sodium units. However, walls
near the enlarger should be *flat black* to minimize reflection of
enlarger light onto the printing paper.
Paul Stenquist wrote:
Hi Brendan,
Okay, that's test one. For test two, put a lens cap on you enlarger
for investors in the related fields of perpetual motion, and
anti-gravity...
Ciao,
graywolf
[EMAIL PROTECTED]
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Friday, December 28, 2001 10:37 PM
Subject: Re: Let's talk darkrooms, again
I
I don't use all of the paper, but I almost never crop square. Perhaps it has
something to do with the way we see the world. Our vision is basically
rectangular or, more correctly, oval. I don't know what it is, but I rarely
find square prints pleasing to the eye.
Paul
Shel Belinkoff wrote:
I
Hi Shel,
I can't answer your question, but I have a question of my own: Will the
23CII do 4x5? I assume it will do 6x7. I've seen a couple on ebay, but the
sellers don't specify.
Paul
Shel Belinkoff wrote:
I just picked up a fine Beseler 23CII condenser enlarger to complement
the dichro head
You'll need a 620 take up spool. I'll search around and see if I can
find one.
Paul Stenquist
Ann Sanfedele wrote:
On 30 Dec 2001 at 16:56, Ann Sanfedele wrote:
snip
could recommend a good fine grain film for me to play with
in this format? (square 620)
Rob replied:
I have
Very nice. Superb lighting. I wouldn't want less contrast. There's a richness
here that is partly the result of the high contrast. You're not losing
detail in
the highlights as far as I can tell. I think you've nailed it.
Rob Studdert wrote:
Hi Team,
I just though I might share some of my
I agree with your assessment of BH. I've shopped there numerous times, and
have been treated very well. A lot of the countermen are real
enthusiasts and
enjoy talking to their customers. It's a great place. And you're right about
New Yorkers as well. They're not rude, they're just in a hurry. I
Nice shots, Bill. How did you light the locations shots? Are the two
shots in front of the backdrop in your studio? I love the SG-60 screen
and, like you, have found the grid to be a tremendous aid. Just having
it there is a good reminder to check your verticals and horizontals. And
the
I'd like to thank Tom for his efforts on our behalf and for his kind words. The
Printer Challenge was a lot of fun, and I'll look forward to doing it again. I
have a few tricks in mind for next year;-)
Paul Stenquist
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Microsoft Excel.
HARRY BAUGHMAN wrote:
since every one on the list has a computer i would like to ask a question.
what is a good program to create a column and line type chart?
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Interesting perspective (no pun intended) on the whole format question. I guess I'm in
favor of the biggest film area that I can handle in a reasonable manner. Many years
ago, when I shot a lot of drag racing for buff mags, I used a Speed Graphic and
Honeywell Strobe, handheld. I focused with
We've had a great year on the PDML, with a lot of interesting
discussions and learning experiences. I look forward to an even better
2002. Happy New Year to all my Pentax friends, all over the world.
Paul Stenquist
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I've added a normal lens to my 6x7 kit. I was leaning toward the 90/2.8,
but I spotted a 105/2.4 on ebay last night. Like new, in box, with the
soft pouch and all the docs, it was sitting at $296 with one minute to
go. I bit $311 at T-18 and, much to my surprise, got it for $299. I
didn't think
head available for the 45 Beselers. There also used to
be a CB7 model which did 5x7. BTW, all of these can be used with negatives
as small as Minox (8mm x 11mm).
Ciao,
graywolf
[EMAIL PROTECTED]
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent
A K-mount 1000/8 lens went up on ebay. (This is not a reflex.) No buy it
now, so we'll have to wait.
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItemitem=1316793311
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Good idea, Cotty. I'm going to rig one for my AF 400T. With my LX I use a
reflector umbrella and turn the flash backwards in its bracket. That's fine
with TTL metering. However, with my 6x7, I have to use manual exposure
(Mafud would approve) if I use the reflector, since there's no TTL of course
to it. Strangely the print on plain paper is shinier
-
Second Prize (winner of the Leather Pentax Keycase).
Paul Stenquist --Maple Leaf
Epson Photo 1200, printed from a 4800dpi scan using an Agfa Duoscan
2500 T
from a transparency
wide angle for my normal lens but I think
you should enjoy your 105mm (nice fast lens too). Do you know what
production model your new lens is?
Jody
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: Pentax Discuss [EMAIL PROTECTED]
Sent: Monday, December 31, 2001 5:02
Hi,
Stop in at a good camera store and get yourself a copy of the Kodak Darkroom
Dataguide. It will list recommended developers and other chemicals needed to
process that Tri-X . It also provides good instructions. You'll see the book
includes developmeent times for the various films. If I were
Tom Rittenhouse wrote:
We'll have to talk about speed graphics sometime, Paul. We seem to be the
only ones who still use them. Do you use yours as a press camera, or as a
view camera?
Hi Tom,
I now use my Speed Graphic primarily as a view camera, although I have used it
as a press camera in
four times as big a file as a
35mm scan (around 250 megabytes). I'm going to make some 11x16 prints from one
of these later this week. That big a scan should size out to more than 600 ppi
at 11x16.
Paul Stenquist
Tom Rittenhouse wrote:
If your printer is not on this list, or you think you can do
Thanks Frantisek. I'll check it out. I have to get back to working on
the website, but I'm having too much fun taking photographs.
Paul
Frantisek Vlcek wrote:
Paul,
the Irfanview (a freeware image viewer/editor, like ACDsee) can
create HTML pages with thumbnails and links to larger
If it's similar to Quark Xpress, this may be just right for me. I've been using
Quark for at least 15 years. Sounds like a good bet.
Thanks,
Paul
Cotty wrote
While we're on the subject here (I presume you've opened this thread
because you're interested in the subject line), if you have a
(Just as I
did for the other files.). It is noticeably better than the 440 ppi 11 x
14 print. Extremely sharp and photographic. Of course the 255 meg file
is a bear to work with, but it may well be worth the effort.
Paul Stenquist
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I'll second that. I searched for years for Pentax SMC Tak screwmount
lenses and found only a few decent ones. Once I discovvered ebay, I was
able to find every lens I wanted in a matter of months. In the last
month, I was able to sell a medium format camera that I didn't use any
more and buy one
Hi Bill,
The file size does not have to be a divisor of the printer output
rating. It doesn't matter a hoot. Your printer is of the same general
type as mine, and your output should be optimum if your picture file is
in the neighborhood of 550ppi. For 7x10 prints that means a file size of
about
their Epson printhead go down and then sending the unit in for repair
about 12 to 20 months after purchase. What has your experiences been with
your printer?
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, January 02, 2002 8:42 PM
to a higher resolution
would be preferable to printing from the lo-res image. In other words, if
the highest ppi count you can achieve at 7 x 10 is 200 ppi, go ahead and
resize with resample turned on, and make it 400 ppi at 7 x 10.
Paul
Paul Stenquist wrote:
Hi Bill,
The file size does not have
Hi Rob,
This is a dye sub printer. It's a totally different process and, as far as I
know, it is not related to ink-jet printing.
Paul
Rob Studdert wrote:
On 3 Jan 2002 at 6:27, Paul Stenquist wrote:
Hi Bill,
The file size does not have to be a divisor of the printer output
rating
Hi Gerald,
This page discusses dye sub technology. Bill's question is in regard to
ink-jet printing. Totally different animal.
Paul
Gerald Cermak wrote:
Images that don't match the printers resolution need to be resampled by
the driver to match the printer's chosen resolution. Sending a 2700
I don't use a divisor, and I've never encountered a moire pattern. I have
tried using a divisor, but I eventually learned that it accomplished
nothing. I've made close to a thousand hi-res prints. I'm sure you've made
more Aaron, but have you worked extensively without a divisor? In order to
I've decided to reskin one of my LX cameras in Cocker Spaniel. The long hair
can get in the way of the lens if you're not careful, but the look is rather
refreshing.
Paul
Frantisek Vlcek wrote:
a I can see a Pentax Animal Rights thread coming up in the future. :-)
a Tom C.
Actually, I was
I like my MX's (2), but I have a closer attachment to my Spotmatics. I started
working with M42 cameras thirty years ago, and I've come to identify with the
old geezers. Mine are semi-retired (the LX is my main shooter), but I pull a
Spotty out on occasion, because the SMC Tak glass is so good. I
to maintain edge sharpness, etc. the best. On the other
hand resampling at odd vailues is supposed to reduce artifacts, etc. Etc:-)
Ciao,
graywolf
[EMAIL PROTECTED]
- Original Message -
From: Paul Stenquist [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Thursday, January 03, 2002 8
). If you have to scan at 2000 ppi, try a two for one
resample. In other words, resample to double your pixel count.
Paul
William Robb wrote:
- Original Message -
From: Paul Stenquist
Subject: Re: Digital printing questions
I'm replying to my own message, but I wanted to add
It should say Super Multi Coated on the front of the lens.
Paul
[EMAIL PROTECTED] wrote:
Hi
I saw this lens in near mint condition at a secondhand shop. I asked the staff
whether it is a SMC version. He said yes. But I cannot see any label for SMC on the
lens. Could you tell me the quality
Wow! Great bokeh. And it looks like you've got some terrific sharpness
and detail on the barn shot and window shot. (I also think you really
nailed the exposures on both of these.) Were they off a tripod? I blew
them up to 300%, and while that causes them to pixelate, I can still get
a feel for
Fred wrote (in regard to focus feel}
Now there are some who claim that the best screwmount
lenses are better than any K-mount lens.
I have some mint Ks and SMC Taks. I like the focus feel of both, but
slightly prefer the Taks. I would say that the difference iis tactile
rather
with the lens cap on. That's
why it wouldn't wind on. As soon as you took the lens cap off, the meter
calculated that it had enough light, and closed the shutter. Then you
were able to wind on.
Paul Stenquist
Jody wrote:
Hello everyone,
Gianfranco somehow found my home email and contacted
me. I
Shel Belinkoff wrote:
Hi Girish ...
Understanding the Zone System is, IMO, an excellent way to get better
quality negatives and prints, even if you don't implement the system on
every frame on every roll.
Absolutely! Once you know the zone system you understand how film responds to
varying
gabriel bovino wrote:
Well I want to thank everyone for their advice!!! Because I was so
eager to try developing my own negs after about 10 years... I went out a
bought what was only available at the local camera shop.
T-MAX Developer
Kodafix Solution
Kodak Stop Bath
Kodak PhotoFlo
I see more 67s in our future. No one will be sorry.
Paul
Mark Roberts wrote:
Dan Scott wrote:
http://www.luminous-landscape.com/600mm.htm
an interesting read. Image quality comparison between the Pentax 600/4 and
the Canon 300mm f/2.8L IS. One guess which wins...
I just *love* the
J. C. O'Connell wrote:
I think it's better to experiment with film speed and development
time keeping film, developer, developer temp, developer dilution,
agitation all
constant. That way you can really get best results. T
I agree. It's best to perfect one developer before moving on.
Shel Belinkoff wrote:
Paul Stenquist wrote:
Shel Belinkoff wrote:
Using a spot meter has helped me to better
understand the subtleties of correct exposure,
and has given me a better understanding of
light and scene brightness.
Coupled with an understanding of the zone
Shel Belinkoff wrote:
Thanks for everyone trying to explain this to me. I do not understand
any of the responses. Could someone please explain this to me like I
was a child, and perhaps avoid jargon, acronyms, and the like. I'm
really ignorant about this and I'd like to buy a scanner this
Shel Belinkoff wrote:
OK, let's look at it this way. Let's say we have a pixel, which we'll
equate to an artist's canvas, and it's eight bits, and each bit is the
equivalent of a can of paint of a different color. If the artist - or
in this case the scanner - wants to paint a picture on
Collin Brendemuehl wrote:
Here's something just for fun again:
For those who do or have shot portraits,
who was your favorite model?
who would be your ideal model?
Amy.
My daughter Ingrid. But she won't pose for me.
Paul
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Aaron Reynolds wrote:
Anyhow, nothing that I've ever used can touch the MF feel of Pentax's
6x7 lenses. They're all remarkable: fluid, yet solid. Easy to turn,
but they stop right where you want them to. Hell, if there were AF
lenses available for the 67, I wouldn't use them, because of
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