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#41
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No need to know anything..
K W Hart wrote:
"Jean-David Beyer" wrote in message ... I was at a week-long photo workshop long ago. One of the participants was using the 120-size Pentax SLR. Most of the other users used 35mm. I had my 4x5 at the time. But that did not matter a whole lot. People in a workshop like that should use whatever they were most comfortable with, since it was not primarily about technique. He was really concerned that he should use a hardening stop bath, so I suggested SB-4, although I questioned the need. He complained his pictures were not sharp enough. He also said his camera was not doing what it should. I could see that the camera would focus, and could be adjusted to expose correctly, and so on. I asked what his camera should do that it was not doing, but he was pretty vague about that too. I thought his pictures were lousy, but that was due to where he put the four edges of the frame, the depth of field he chose, and what was in it, which were artistic decisions he made, not a fault of the camera. He went on like that all week. /sarcasm mode on/ Everyone knows that a hardening stop bath will improve any picture. You don't even have to look through the viewfinder; just fire the shutter randomly, then use a hardening stop bath, and the pictures will be works of art. In fact, I use hardening versions of all my chemicals: hardening developer, hardening bleach-fix, even hardening wash. Because of that, my pictures are fantastic beyond belief. You know, if he would have bought the latest digital camera and accessories, his pictures would have been great. At least for a year, until a new model camera came out. Then his pictures would be lousy again until he bought a new latest digital camera and it's accessories. This was before digital cameras were usual (about 1975). As far as buying my way to artistic success, my favorite was a series of "filters" sold by Spiratone (I believe it was). This was a thing you screwed to the front of your lens, like a filter. It had a color filter, at least one circular polarizer, and a quarter wave plate. And a lever on the side so you could turn something inside. Moving that lever made it go from clear to the color of the filter. There were some with two colors, so you could change from red to green, for example. I thought of buying one for laughs, but the laugh was not enough to cover the price, so I never got one. /sarcasm mode off/ Ken Hart -- .~. Jean-David Beyer Registered Linux User 85642. /V\ PGP-Key: 9A2FC99A Registered Machine 241939. /( )\ Shrewsbury, New Jersey http://counter.li.org ^^-^^ 16:15:01 up 2 days, 8:09, 4 users, load average: 5.37, 4.97, 4.78 |
#42
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No need to know anything..
"Jean-David Beyer" wrote
As far as buying my way to artistic success, my favorite was a series of "filters" sold by Spiratone (I believe it was). This was a thing you screwed to the front of your lens, like a filter. Now *there* is an outfit I'd completely forgotten -- thanks for the "memory!" |
#43
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No need to know anything..
On 1/15/2011 8:39 AM Howard Lester spake thus:
"David Nebenzahl" I guess I'm lucky, in that the only photography classes I took were not at all like this. I actually had a minor brush with celebrity when I took my first class from Paul Kuiper at his home in Tucson, ca. 1970. Paul's father was the astronomer Gerard Kuiper, who the University of Arizona's Optical Sciences Center was named after. Not quite -- The Optical Sciences Center (now the Meinel Optical Sciences Center) is across the "mall" from the Gerard P. Kuiper Space Sciences Center, formerly the Lunar and Planetary Lab, aka the "Looney Lab." :-) Oops, my bad; after all, this is memory going back, lessee, 40 years. I believe all this is near the Flandreau Planetarium, no? (Named after Grace, right?) -- Comment on quaint Usenet customs, from Usenet: To me, the *plonk...* reminds me of the old man at the public hearing who stands to make his point, then removes his hearing aid as a sign that he is not going to hear any rebuttals. |
#44
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No need to know anything..
"David Nebenzahl" wrote
Not quite -- The Optical Sciences Center (now the Meinel Optical Sciences Center) is across the "mall" from the Gerard P. Kuiper Space Sciences Center, formerly the Lunar and Planetary Lab, aka the "Looney Lab." :-) Oops, my bad; after all, this is memory going back, lessee, 40 years. I believe all this is near the Flandreau Planetarium, no? (Named after Grace, right?) It is just east of the [Grace H.] Flandrau, yes. It, too, had a name change: it's now Flandrau Science Center and Planetarium. I think everything around there's had a name change! (But I had to look that one up!) Good memory, David. The campus has grown a lot since you were there. BTW, I have had the pleasure meeting John Schaefer, including borrowing a couple of his large format lenses for a photo shoot he was involved in. He was responsible for establishing the Center of Creative Photography, as has already been cited, and influenced Ansel Adams to donate his negatives and prints (not all, I am sure). The Center was originally in a vacated bank building on University and Tyndall, west of campus. It was there I got to see some of AA's prints without glass in front of them. Pretty spectacular. A few years later the huge campus building was constructed to house the archives of many photographers, and to provide a sizeable photography library and a full gallery. I spent a fair number of "lunch hours" over there. Howard former Tucsonan |
#45
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No need to know anything..
"Howard Lester" wrote in message ... "David Nebenzahl" wrote Not quite -- The Optical Sciences Center (now the Meinel Optical Sciences Center) is across the "mall" from the Gerard P. Kuiper Space Sciences Center, formerly the Lunar and Planetary Lab, aka the "Looney Lab." :-) Oops, my bad; after all, this is memory going back, lessee, 40 years. I believe all this is near the Flandreau Planetarium, no? (Named after Grace, right?) It is just east of the [Grace H.] Flandrau, yes. It, too, had a name change: it's now Flandrau Science Center and Planetarium. I think everything around there's had a name change! (But I had to look that one up!) Good memory, David. The campus has grown a lot since you were there. BTW, I have had the pleasure meeting John Schaefer, including borrowing a couple of his large format lenses for a photo shoot he was involved in. He was responsible for establishing the Center of Creative Photography, as has already been cited, and influenced Ansel Adams to donate his negatives and prints (not all, I am sure). The Center was originally in a vacated bank building on University and Tyndall, west of campus. It was there I got to see some of AA's prints without glass in front of them. Pretty spectacular. A few years later the huge campus building was constructed to house the archives of many photographers, and to provide a sizeable photography library and a full gallery. I spent a fair number of "lunch hours" over there. ******* As far as I know, all of Adams' negatives are at UA except for the two dozen or so "Yosemite Special Edition Photographs" ones which are kept by the Ansel Adams Gallery in Yosemite Village. Adams - bless his heart - kept those there with the stipulation that prints from them be sold to the public at reasonable prices rather than the sky high ones his prints otherwise command. Those negatives are all of images taken in Yosemite National Park. The prints - about 7 1/2 x 9 1/2 - are true and actual photographic prints, not poster type reproductions. And when I was first aware of them, they sold for $50 each. I see from the Ansel Adams Gallery they now sell for $225 each. http://www.anseladams.com/category_s/2.htm Note - because these are actual silver gelatin prints, there are minor variations among them. If you go to purchase from the gallery in Yosemite Village, go when things are slow - early in the morning on a weekday works well - and ask to see at least 3 prints of the image you want. Then look closely at each print and purchase the one you want. You may have to ask the clerk to humor you - I did...she insisted there was no difference among the prints until I pointed out to her how the detail in the shadows and in the highlights varied among the prints. |
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