bjorke

My last month-long trip saw me with a backpack carrying my gear and a 17" macbook pro -- the most expensive, heaviest, and most fragile piece of kit in the entire bag, just operating as way to get pix from my CF cards (and audio recordings) to the (La Cie) external hard drives and as an email/web device (actually, my HTC phone did just as well on those tasks). BAD IDEA.

 

Why waste your time while travelling by sitting in the dark trying to edit pix? Make the most of those 14 days! Unless you have an editor back in NYC who wants those wildebeests TODAY, leave the editing for when you get back home.

 

With the "basic should be basic and bags should be lightweight" ideas in mind, I too have switched to the ASUS Eee. It totally does the trick, weighs 1/3 what the Mac does, fits in a Domke, and for the cost of the Mac I can buy four or five MORE Eee's.

 

Still love the Mac closer to home of course :)

I just bought one to drag pix (and audio) onto a little La Cie ruggedized drive.

 

Spent a month earlier this year traveling while carrying a 17" Macbook Pro to do the same job -- insane, the Macbook was the largest and most fragile thing in my pack (probably the most expensive too, neck-n-neck with the 5D).

 

Eee + card reader + pocket HD seems like a great travel alternative to the Canon & Epson offerings (okay, it won't take Canon batteries) -- plus it's a web device.

<p>"...I demanded to speak with someone who could tell me his/her name and could also quote the law or city ordinance..."</p>

 

<p>Well done Calico, that's <i>exactly</i> the correct question to ask. Those further threats about "teaching you a lesson" are an excellent recipe for policemen to create embarrassing press for the department and black marks on their own service records (much like the SFPD officers in the muni case of last fall).</p>

 

<p>KB, <a href="http://www.photopermit.org" target="_blank">photopermit.org</a></p>

The 124g has a cold shoe, and a PC socket.

Be sure to set the "X-M" lever to "X" and tape it there.

 

I use a 285HV and an old slaved Sunpak 322 most of the time with mine, but my method would blow you budget as it requires a $500 flash meter. I suppose with a calculator and a measuring tape you could do the same, just more work. Or just leave the 285 on Auto settings.

...I have the tele/wides and a Rollei closeup kit for my Yashica, a camera I got in

1975(!) -- I find the wide especially useful for giving the Yashica a Holga-esque "art"

quality :P

 

They can be had cheaply -- never know when "art" is really what you need, heh.

<p>I asked the USBR about this incident and their policies they were actually

quite open and pleasant about it, and imo it's not as paranoiac and sinister as it

sounds. I've posted their response on <a href="http://www.photopermit.org/forum/

viewtopic.php?p=174#174">photopermit.org</a></p>

</p>Michael, who operated this tour, the Bureau of Reclamation? Under what

authority did they restrict cameras? There is no shortage of photos on the internet. I

am going to call them up and post a followup on <a href="http://

www.photopermit.org/">photopermit.org</a></p>

<p>Andrew, that is a big load of bull they were shoveling. You might want to check

<a href="http://www.photopermit.org/">photopermit.org</a> for some

suggestions on how to manage things if this sort of incident ever repeats.</p>

 

<p>A <i>schoolyard???</i> Oy.</p>

<p>"...critical monuments, buildings and structures" an open question is just

what defines "critical." Most of the people who have been harassed or evenb arrested

in the past couple of years have been photographing things that were quite banal, or

typical tourist sites like city parks, college campuses, or random angles on the street.

In the most egregious cases, the photographers were guilty not of photography

<i>per se,</i> but of being the wrong ethnicity.</p>

 

<p>"when civil liberties are discussed, no one responds?" <a href="http://

www.photopermit.org/">photopermit.org,</a> the ACLU, the EFF, the NPPA....</p>

A new site has opened on the topic of the civil rights of photographers -- specifically

their right to make photographs! This right has been increasingly hemmed-in over

recent years by over-zealous parents, swaggering security guards, and untrained or

unconstrained civil authorities. The new site is designed as a forum, clearinghouse,

and resource to help photographers and the public understand and protect their

rights. Pro journalists has their agencies and editors to help guard their right to work

-- artists and amateurs also need a voice. <a href="http://www.photopermit.org/

">PhotoPermit.Org</a> is intended to provide them with the resources and ideas

that they need.

I know this is a rather late addition to this thread, but I've started a nonprofit web

forum specifically to address such issues: <a href="http://www.photo.permit.org/

">photopermit.org</a>

Try posting it to <a href="http://www.photopermit.org">PhotoPermit.Org,</a> a

new site related to photography and "the panic."

 

Thanks

KB

A couple of weeks back I registered a new URL, <a href="http://

www.photopermit.org/">PhotoPermit.Org,</a> and it has just come on-line. It has a

forum for issues like this and hopefully will grow a list of useful resources. If you feel

strongly about photographic freedom (from any perspective) or have experienced

problesm as described above, check it out. All comments and suggestions are most

welcome.

One extra trick, not mentioned in the Nemeth or other articles (but mentioned <a

href="http://www.botzilla.com/blog/archives/000312.html">here</a>) is that on

the 300D at lest, you need to do a +3 stop adjust on the flash exposure to get E-TTL

to function properly. Why? No idea. But it's been consistently correct at that higher-

than-normal strobe setting when mounting a manual lens.

Lots of high-falutin' talk about non-physicality, as if that's something desireable or

somehow different from television or cave painting. Are you saying that a picture on a

screen is different from a picture on paper? Is it a picture of what a picture *would*

be? Or is it simply a different method of arranging the bits?

 

They are arranged as streams of bits on a CD to be re-assembled on a screen, or they

are trapped in a bit of silver and gelatin to be enlarged or scanned. In either case they

are the same. The fact that it's easy to recognize a negative as such-and-such a

photo doesn't make it significantly more or less concrete. It is not the final product,

nor (and this is the Big Deal) is it the subject. It's a proxy, a representation of your

dog, your grandparents, your trip to Nassau, or even the angst-ridden dreams that

torment your inner child. A representation, in every case. And we've had those around

for at least 20,000 years.

 

Take a belt sander to your favorite CD full of digi pics. Are they non-physical? Yeah,

you *could* have made a copy. You could have a copy neg too. Physical/nonphysical,

plastic art/performance art, these are the basic issues of photography and have been

for 150 years. Tell me, does a rack of heavy film spools resemble Marilyn Monroe?

Only if they are processed on the spot by the appropriate machinery. Same as digital.

VERY FUNNY, direct knockoff of Leica's "hands" advertising....

 

The flyer is informative, though a lot I couldn't read (some, though). Definitely the

real deal.

 

The obvious questions: durability / noise / quick shot-to-shot turnaround....

I agree with Ben, though I also think his tone is a bit stiff in this review (ironic that the

key subject is fluidity!). Lack of fluidity in operation continues to dog digitals, even

the best, pricey ones.

 

Modern designers seem to have completely forgotten the physical relationships of

hand, eyes, mind -- maybe it's because they've given-up their pencils for computer

workstations. Focus-by-wire, EVFs, all are features that make life more convenient for

the designer and for selling to the masses at the expense of artistic control.

 

Someday it will happen.....

..because both are very fast.You can get a pricey Contax version of the SL300R too.

 

If you have R lenses, get a Canon and an adapter. I did it with my Contax lenses and

the combination is sweet -- proper manual-focus shooting on a DSLR. I can buy

several more camera bodies for the likely price of an R8 back and use Leitz (and

other) glass on all of them.

 

The only disappointment is the focal-length shift, which also applies to the RD1.

Annoting to have your 21mm lenses produce an effective length close to 35mm.

> "that level in Unreal Tournament..."

 

"Nani desu ka?" means (more or less) "what the heck is this?"

Thanks all, I guess I'm still really just asking -- *is* Japanese Neopan Presto

400 the same as US Neopan Professional 400? I'm not trying to compare it to

any other film or to offend the legions of the Great Yellow Father, I'm just trying

to find out if it's the same film.

 

The edge indicators read "FUJI 400-PR 273 PR-36" (the "273" portion is "275"

on some roolls, so I'm guessing it's a production date). I've never shot the US-

labelled Neopan, so -- is this the same?

 

thanks, kb<div></div>

I ran out of Delta in Tokyo and picked up a half-dozen rolls of

Neopan Presto 400. Processed it in Xtol 1+1 according to the

digitaltruth.com times.

 

Result: GREAT!!!!!

 

Does anyone know if this film is the same as Neopan 400

Professional, as sold in the U.S.? Is Presto available over here in

the States?

 

Thanks

kb

For a little more info on using the G with wireless flash, try <a href="http://

www.botzilla.com/photo/ETTL1.html">http://www.botzilla.com/photo/

ETTL1.html</a>. Once you get an ST-E2 you'll want to use it for ALL flash

photography on your G. It's just a huge, huge improvement over mounting the

stobe directly.

This book may also be useful as a guide "don't shoot this, it's been done, and very well" -- a cheap way to get all the standard shots out of your system so you can get on with something more specific to your own eye.

This is one of the few library books I liked well enough to subsequently purchase. I now recommend it to anyone who asks me about the techniques and principles of lighting, since it's approachable by beginners and still useful for shooters of all levels.