wieslaw1

=How then do people cope when they go out with many different

lenses?...=

 

I adjust the exposure by the weather, not the lens!

blarg,

 

Don't scare me because I will not let you make a portrait of me.

I do not care about the meals (I never take any food with me

while going trekking, mountain climbing or skiing for up to 48

hours), but the whip! Christ!

Frank,

A treatment in mercury chloride will drastically increase the grain

of any film.

Cannot view it. They want me to instal lthe newest FLASH!

 

Don't give a damn!

blarg -I was never able to control the grain...-

Have you ever been able to control the subject you photographed the

way you wanted?

If you are a reporter, a member of the -old guard- i.e. a guy who

doesn't have a computer, never heard of internet nor fax, and works

for news publisher, then YES, you need very energetic developers (and

rapid fixers), such that will develop your precious pictures of heros

dying in Iraq or elsewhere, in 2 minutes, or even less.

 

Otherwise, anything shorter than 5 minutes in the developer will give

you smugges, especially on uniform density ares such as cloudless

skies. But if you typically photograph a multitude of nuts and bolts

(literarily) on a picture frame - then who knows, there are plenty of

people who will not notice that one nut is darker than a bolt at

random.

Are you in such a hurry? The longer you develop, the more you save

electricity which illuminates your la

I have reflected a bit about mountain climbing photography, and

concluded that I have seen no more than 2 photographs which

were in theirs own class. There was a picture published in a

book (could the title be associated with PATAGONIA?) of a

climber reaching the top of a rock, facing an abyss behind him.

The gesture, the strained muscles of his hand grabbing the

hold, and particularily, the expression on his face, have told

everything about climbing, and its physical and mental

requirements.

 

Do not remeber the photographer nor the climber, except that

the name sounded Polish. Could it be S. Glowacz?, who is

German anyway, I think. The other photo was of the same class,

but such photographs are indeed rare.

Hallo,

to-day I had an opportunity to visit BORDERS where I found RG's

book - The Art of Adventure Photography-. His work is good and I

liked it, though many photographer-climbers publish nowdays

breathtaking photographs. I see them in almost every

publication related to mountains.

My original judgement was based on some pictures displayed

on the internet, which were uninspiring, and I take it back. Sorry.

Will try to look up more of his work.

Color photography is not easy, primarily, because everybody is

doing it. It takes much more than just to photograph sunsets in

beautiful settings to be an -artist-.

And I see sunsets on his site at Mountain Light. I will try,

however, to find some of his books in a bookstore. Wonder why

I have never seen any book by R.G. I routinly look at photo books

in Barnes and Nobel and other bookstores, and often purchase

selected works. They must be stocked under other keyword than

-art photography-.

Galen Rowell - never heard about this guy, but I am glad I checked the links provided. This is a FIRST CLASS KITSCH! Artificial and unnatural colors , excellent for people who love pixtures of PINK POODLES and the like!

 

Really bad taste, someting, if I can compare, with food stuff offered in supermarkets, where you have any natural product ruined, like for instance ordinary nuts, or other fruits, aritificially colored for an "avareage" consumer to attract his or her eye and his credit card for purchase!

 

There must be some merits, however, to his work, judging by the fact that the guy has worked for the National Geographic, but unfortunately, rather by continuing to develop his talents and ideas, he has chosen to go an easy route and accepted easy commersialism.

 

His portfolio "Antarctica", for example! no mach with Herbert Ponting B&W originals of the 1920-ties. Who cares if he shoots with a 35 or with a million35mm box! Sorry.

 

waz

Please see this:

Practical sharpness test of a Zeiss Tele Tessar T* 200/3,5

 

 

http://users.nac.net/wieslaw/zeisstessar/tessar.html

You are not very specific in regard to "what and how" you want your "stars" to to be seen, except that you do not want the Earth movement to be recorded. Which means that you need short exposure times to employ, although I do not understand what do you mean by "pristine". Certainly you must use the fastest film available and full opening of the lens. And of course, anything longer than 200mm might bring you satisfaction. See the NASA side on the internet. Pretty cool stuff, isn'it?

I was in Santiago 2 weeks ago and developed some negatives at a Kodak lab, right in the center of town, but cannot identify their address. Try www.kodak.cl

Nudes?! Shame on you!

 

But... where are we? In Saudi Arabia? And what is the time reference? Middle le ages or the XXI Century? Ask yor prist or ayatollah for absolution!

I do not recognize the names of the locations near Water Gap you are mentioning. But if you are driving on Rt. 80 from NYC to Pennsylvania, if you turn right just before the bridge on the Delaware river and continue, I do not remember, perhaps a 1/2 a mile, or a mile, there is a lake on the rigth hand side of the road, up in the forest. You have to go up the hill through the bushes and forest to reach it. Honestly, I do not remember how scenic it is, since I was there some 20 years ago. All I remember is that I liked it. The lake is on top of the hill.

Darryl,

 

You can shoot tall buildings with any camera. Just use your

eyes and sight.

 

Here is what I did:

http://www.users.nac.net/wieslaw/Patrialab/skyscrapers/Skynew2.html

 

Enjoy it!

 

waz

A couple of days ago I visited a gallery on Madison Avenue in NY where

they were exhibiting Helmut Newton's works.

 

The prices ranged between 35000$ and 225.000$.

 

Sally Mann's (not sure if I spell her name correctly) pictures were 25000$.

 

Then I visited the AIPAD show in Armory where some 90 photographic

galleries were exhibiting hundreds of photographs. Extremely interesting.

Prices varied from Diana Arbus portfolio of 10 prints for 750.000$ down,

but I do not think, that I saw anything for less than one grand.

 

But here comes something which puts shame on all those petty

photographers, globaly speaking.

 

I received an invitation to an auction by Phillips de Pury & Company on 24

April, 450 West 15 St.

 

Andreas Gursky 'color coupler print' 'Toys R Us 1999'

-e s t i m a t e-:

 

1.200.000 to 1.800.000$ !!!

For the Kodak film you will need at least a common red filter.

For the IR extended films you must have a deep red (almost

black) to note the difference between the IR and the

panchromatic rendition. Yellow filter may give you nice, lighter

greens than normally rendered on a panchromatic film. The

effect is not like on far IR sensitive film.

 

John see the thread before this one; Kodak IR IS NOT

DISCONTINUED.

I am not Scott so perhaps I should not look here.

But I did and I do not understand what are you trying to say. That

you have noise in your enlergements? Who cares?

I just checked the link offered and his section entitled 'Favorites".

Regretfully, I am missing a PINK POODLE in his portfolio.

See the flowers of R. Mapplethorpe.

I did it on a couple of occasions. There is a fine mechanic in

Krakow, Poland who does all kind of precise adjustments and

repairs. I visit them when I am there and need a repair being

made. It is not expensive. Certainly, a fraction of the cost here in

NYC.

It has a dual purpose. You can retouch your face or a negative.

My father was using something like this (a folding mirror) for

shaving every morning.

I suggest that for this type of work you should use one of Zeiss

lenses especially designed for microdocumentation, like

Orthoplanar, or one of S-Planars.