cosmo_genovese

I was in DC a month ago and the Ritz Camera store on 18th & L Street NW carries a wide array of all new Leica bodies, lenses, accessories, and paraphernalia. Take Metro Red Line to Farragut Square at Connecticut & K St NW, take the escalator to L Street level, hang a left (West) onto L Street and go one block til you come to Ritz Camera on the southeast corner of 18th & L.

Megan,

 

These <I>metal</I> 120/220 roll film canisters are the best thing I've ever found for keeping exposed film in. They're waterproof and absolutely lightproof; they're also expensive, but worth the money.

Look here: http://www.acratech.net/prod02.htm

Megan,

 

These <I>metal</I> 120/220 roll film canisters are the best thing I've ever found for keeping exposed film in. They're waterproof and absolutely lightproof; they're also expensive, but worth the money.

One of the reasons the Hasselblad is so cumbersome on the fly is that the waist level finder requires you to orient your brain to see and think in reverse. The PM/PME45 alleviates that problem and makes focusing faster, but it does add weight. Add a quick-focusing ring to the set-up and you'll increase speed even more. That said, however, the Hasselblad will never be as fast as, say, the Mamiya M6 or M7/M7II.

 

I rarely take the Hasselblad out of the studio these days. And, for street photography, I go out with <I>one</I> of the following: the Contax T3, the Leica M6 (with 50mm), a Canonet QL17, or a good ole Nikon (or Nikkormat FT3) with a 35 or 50mm lens.

Grady, these are all questions you need to answer for yourself by going to a Leica dealer and handling the various versions of the M6. Only you can judge the <I>feel</I> of the camera and decide on which lens' angle of view most accurately expresses your perception and vision. You're the one who's going to be using the machine. It may even turn out that the Leica isn't the one for you. Who knows?

<B>3M Scotch</B> <I>Photographic Tape</I> (Pressure Sensitive, Black, Opaque); Product Code for 1"x60 yard (25.4mmx54.8m): UPC 021200-60643-4. Best tape around for taping light leaks in your <I>Diana</I> and <I>Holga</I>, too.

You need to find <I>the</I> professional custom, black & white lab wherever you live. You're wasting time and money taking your film and printing to second- or third-tier processing labs. I've been using the same lab for 20 years and every print that comes out of it is <I>eccellente</I>. This is especially important to me because 90% of what they print for me are 20x24-inch prints. And, best of all, if the print isn't just right for any reason, they reprint it. . . no questions asked. Otherwise, the only way to produce prints that have black blacks and white whites is to print your own stuff.

Tri-X @ EI 200 in D76 1:1 with Benzotriazole. Process Normal.

Gene, I missed that post. . . . :o)

Gene, for a list of the 150 countries that are members of the <I>Berne Convention for the Protection of Literary and Artistic Works</I>, go here:

 

<B>http://www.wipo.int/treaties/documents/english/pdf/e-berne.pdf</B>.

 

I'm sure you'll find there's a good chance you'd be infringing on Leica's copyright in your country.

And, Josh, FYI, note the duration of a copyright:

 

 

"Sec. 302. - Duration of copyright: Works created on or after January 1, 1978

 

 

(a) In General. -

 

Copyright in a work created on or after January 1, 1978, subsists from its creation and, except as provided by the following subsections, <B>endures for a term consisting of the life of the author and 70 years after the author's death.</B>

 

(b) Joint Works. -

 

In the case of a joint work prepared by two or more authors who did not work for hire, the copyright endures for a term consisting of the life of the last surviving author and 70 years after such last surviving author's death.

 

<B>© Anonymous Works, Pseudonymous Works, and Works Made for Hire. - </B>

 

In the case of an anonymous work, a pseudonymous work, or a work made for hire, the <B>copyright endures for a term of 95 years from the year of its first publication, or a term of 120 years from the year of its creation, whichever expires first.</B/ If, before the end of such term, the identity of one or more of the authors of an anonymous or pseudonymous work is revealed in the records of a registration made for that work under subsections (a) or (d) of section 408, or in the records provided by this subsection, the copyright in the work endures for the term specified by subsection (a) or (b), based on the life of the author or authors whose identity has been revealed. Any person having an interest in the copyright in an anonymous or pseudonymous work may at any time record, in records to be maintained by the Copyright Office for that purpose, a statement identifying one or more authors of the work; the statement shall also identify the person filing it, the nature of that person's interest, the source of the information recorded, and the particular work affected, and shall comply in form and content with requirements that the Register of Copyrights shall prescribe by regulation."

 

17 USC Section 302 (emphasis added).

Sec. 504. - Remedies for infringement: Damages and profits

 

(a) In General. - Except as otherwise provided by this title, <B>an infringer of copyright is liable for <I>either</I></B> -

 

(1) the copyright owner's actual damages and any additional profits of the infringer, as provided by subsection (b); <I>or</I>

 

<B>(2) statutory damages</B>, as provided by subsection ©. (b) Actual Damages and Profits. - The copyright owner is entitled to recover the actual damages suffered by him or her as a result of the infringement, and any profits of the infringer that are attributable to the infringement and are not taken into account in computing the actual damages. In establishing the infringer's profits, the copyright owner is required to present proof only of the infringer's gross revenue, and the infringer is required to prove his or her deductible expenses and the elements of profit attributable to factors other than the copyrighted work.

 

<B>© Statutory Damages. - (1) Except as provided by clause (2) of this subsection, the copyright owner may elect, at any time before final judgment is rendered, to recover, instead of actual damages and profits, an award of statutory damages for all infringements involved in the action, with respect to any one work, for which any one infringer is liable individually, or for which any two or more infringers are liable jointly and severally, in a sum of not less than $750 or more than $30,000 as the court considers just. For the purposes of this subsection, all the parts of a compilation or derivative work constitute one work. (2) In a case where the copyright owner sustains the burden of proving, and the court finds, that infringement was committed willfully, the court in its discretion may increase the award of statutory damages to a sum of not more than $150,000. In a case where the infringer sustains the burden of proving, and the court finds, that such infringer was not aware and had no reason to believe that his or her acts constituted an infringement of copyright, the court in its discretion may reduce the award of statutory damages to a sum of not less than $200.</B> The court shall remit statutory damages in any case where an infringer believed and had reasonable grounds for believing that his or her use of the copyrighted work was a fair use under section 107, if the infringer was: (i) an employee or agent of a nonprofit educational institution, library, or archives acting within the scope of his or her employment who, or such institution, library, or archives itself, which infringed by reproducing the work in copies or phonorecords; or (ii) a public broadcasting entity which or a person who, as a regular part of the nonprofit activities of a public broadcasting entity (as defined in subsection (g) of section 118) infringed by performing a published nondramatic literary work or by reproducing a transmission program embodying a performance of such a work. (d) Additional Damages in Certain Cases. - In any case in which the court finds that a defendant proprietor of an establishment who claims as a defense that its activities were exempt under section 110(5) did not have reasonable grounds to believe that its use of a copyrighted work was exempt under such section, the plaintiff shall be entitled to, in addition to any award of damages under this section, an additional award of two times the amount of the license fee that the proprietor of the establishment concerned should have paid the plaintiff for such use during the preceding period of up to 3 years."

 

17 USC, Section 504 (emphasis added).

Copyright is copyright is copyright. You must get permission before you publish the full manual. If you're just quoting a phrase or two, then arguably that would fall under "fair use". However, I'm surprised that members of the Forum would so cavalierly advise someone else to <I>infringe</I> on another's (Leica's) copyright. What would one of you say if you found out that a Forum participant had posted <I>your</I> photo for indiscriminate use on the Internet?

 

 

You do not own the copyright and, therefore, you do not have any right to publish the manual without permission, notwithstanding the fact that Leica might publish <I>their own</I> manuals wherever they like and even permit third parties to download them. Leica can do that; they own the copyright and that's their decision alone to make.

 

Get permission.

To quote photographer Duane Michals: "I used to go to a gym and the guy who ran it had about five thousand dollars worth of photographic equipment. He would always say, 'Listen, what do you think of the Gazebo 17B and their f/4.18 lens?' And I'd say, 'What the hell are you talking about?' I never knew what he was talking about. But then I would ask, 'Well, Lenny, when was the last time you took a picture?' And he'd reply, 'Oh about two months ago.' And I'd say, 'What was that of?' He'd say he photographed a dog and then he'd bring in these prints of his dog. Somehow something got lost in the shuffle. Values got confused. This is a mistake that schools make also. You go to these schools and these kids all show you gorgeous prints of water running over pebbles. I'd rather see a not so gorgeous mistake of a brilliant idea, an idea that maybe the kid didn't even know how to solve technically. But who cares, because he's talking about something incredible. It's not the medium, it's the message for me." [<B>Darkroom</B>, Ed. Eleanor Lewis (Lustrum Press: 1977), page 133.]

To be entirely grammatically correct, your title should be "Their Room<I><B>s</B></I>" (<I>viz</I>--the participants[<B>'</B>] rooms), unless, of course, the (one) room in question belongs to all of them collectively.

Tri-X in D76 1:1 with <I>Zone VI 2% Benzotriazole Solution</I>

How does one order one of this on-off gizmos from the cited site? I can't find any information about cost or where to order. Anybody know?

"Martin Munkacsi: An Aperture Monograph" (ISBN: 0-89381-516-0)

 

"Araki: Tokyo Lucky Hole," (Nobuyoshi Araki;ISBN:3-8228-8189-9)

 

"Sleepless Nights," Helmut Newton (ISBN:0-930186-00-1)

 

"Modernist Nudes," Frantisek Drtikol (ISBN: 0-929196-02-3)

 

"Photo Manifesto: Contemporary Photography in the USSR" (ISBN: 1-55670-199-3)

 

"Mansutti Photos?," (Onorio Mansutti; ISBN: 3-85914-609-2)

 

"Darkroom" [Lustrum Press--i.e., Ralph Gibson's defunct publishing house;(ISBN: 0-912810-20-3)]

 

"Darkroom2" (ISBN: 0-912810-22-X)

 

"William Klein Photographs" (ISBN: 0-89381-049-5)

 

"Henri Cartier-Bresson and the Artless Art" (ISBN: 0-8212-2285-6)

 

"Some Cities," (Victor Burgin; ISBN: 0-520-20636-3)

 

"The Curious Mr Sottsass", (Ettore Sottsass; ISBN:0-500-27919-5)

have the T3 with all the sideshow accoutrements--SA2 bracket, TLA200 flash, filter adapter, filters, lens cap, lens hood, off-camera synch cord, etcetera--and find that while I don't use all the stuff all that much, I appreciate the versatility and expansiveness of this little point-and-shoot "system". However, what I do use is the camera itself, just as it is, 95% of the time. And it's a marvel. I still think, though, that it's a little on the heavy side for a "pocketable" camera. One recent problem I've experienced is that when I turn it off the lens doesn't retract completely, leaving one of the lens-cover blades slightly open. I have to manually gently push the lens that last half millimeter back into the camera's body. It's annoying.

 

I'd recommend the T3, as is, to anyone anyway--despite these shotcomings. In the next breath, however, I'd tell anyone not intent or interested in the T3's Custom Functions, plus or minus exposure compensation, and its other features to buy a truly pocketable Olympus Epic for one-tenth the cost of the T3.

It might be nice to see a little more definition in the hand that's saluting so you can tell it's a hand that's saluting and not just some vague white space.

Keep in mind that the viewfinder on the M6, for example, is calibrated at a -0.5 (minus 0.5) magnification and, therefore, you might first want to check to see if the same applies to the M7 before purchasing the same correction lens as your eyeglass diopter correction. I find that all my cameras have correction lenses of different diopters because the viewfinder magnifications differ from camera to camera.

Ed,

 

For the record here, I said that signing the mat was amateurish. You can sign the actual print anywhere you please, but I prefer the back of the print for aesthetic reasons. Many "famous" photographers sign on the front of their prints below the image area (I've even seen prints signed along the left side in BIG letters). Nevertheless, signing the mat is NOT signing the print. Now, it's a completely different argument if the print is actually dry-mounted to the mat . . . .

Signing the mat is amateurish; sign the print on the back. There are special, "archival" pens for doing so. They are acid-free, light-fast, fade-proof, pigment ink and, most importantly, non-bleeding. They are called "ZIG Memory System" 'Millennium' pens. They come in five point sizes and colors, including the all-important 'Pure Black'.

If you're planning on doing portraiture with a Hasselblad then it's important to note that with the standard Hasselblad 150mm "portrait" lens you'll only be able to fill the frame with head and shoulders. To frame more tightly you'll need a 10-, 16-, or 21-mm extension ring. Some people also use the 80mm with an 8-, 10-, or 16-mm extension ring for portraits. The advantage to using extension rings is that you can stop down as much as you like (if you so desire) and the background always remains out-of-focus. Of course you're in pretty tight with your subject, but the intimacy can get you some nice shots. Check out Albert Watson's and Irving Penn's portraits to see what I mean.

Adam,

 

Note the placement of the semi-colon; 'concave surface' modifies (describes) "soft shutter release" . . . .