keirst

<p>Please be on the lookout for the following stolen cameras and lenses. These were taken form our Boston, Massachusetts apartment 12/6/2011 during a break-in. A watch and laptop were recovered by Brookline Massachusetts Police from a suspect, but camera gear was not.<br>

Items: <br>

Nikon F4s camera, Serial # 2178419 . <br>

Nikon 180mm/2.8 AF Nikkor (n) lens, Serial # 213057 . <br>

Pentax 645nII camera w/220 Film insert, Serial # 8899187 .<br>

Pentax 90mm/2.8 67 Lens, Serial # unknown . <br>

Pentax 67->645 Adapter, Serial # unknown . <br>

Pentax 300mm/4 SMC-FA 645 lens in Nikon CL-M2 case, Serial # 4174045 . <br>

Please let me know if you see these items. My daytime phone is 617-496-8486. If you have seen these, please contact Boston Police Department Detectives at 911 or 617-343-4683.<br>

I will reward anyone who finds these with a signed 20x24” print or a cash reward.<br>

Steven Keirstead<br />Photography Website: http://www.people.fas.harvard.edu/~keirst/</p>

 

<p>Please be on the lookout for the following stolen cameras and lenses. These were taken form our Boston, Massachusetts apartment 12/6/2011 during a break-in. A watch and laptop were recovered by Brookline Massachusetts Police from a suspect, but camera gear was not.<br>

Items: <br>

Pentax 645nII camera w/220 Film insert, Serial # 8899187 .<br>

Pentax 90mm/2.8 67 Lens, Serial # unknown . <br>

Pentax 67->645 Adapter, Serial # unknown . <br>

Pentax 300mm/4 SMC-FA 645 lens in Nikon CL-M2 case, Serial # 4174045 . <br>

Nikon F4s camera, Serial # 2178419 . <br>

Nikon 180mm/2.8 AF Nikkor (n) lens, Serial # 213057 . <br>

Please let me know if you see these items. My daytime phone is 617-496-8486. If you have seen these, please contact Boston Police Department Detectives at 911 or 617-343-4683.<br>

I will reward anyone who finds these with a signed 20x24” print or a cash reward.<br>

Steven Keirstead<br />Photography Website: http://www.people.fas.harvard.edu/~keirst/</p>

 

<p>I’m missing RFF too. I hope they can get what they need to fix the site this coming week.</p>

<p>Fujicolor Type II is a very low contrast paper compared to Supra or the discontinued Fuji C. I find that only high contrast negatives work well on Type II. Portra 160 VC should print very well.<br>

I think it is not correct to suggest that any of the new Kodak films are ONLY for digital printing. I have printed new Portra 400 optically without any problem. New Portra 400 still has an orange mask, though you may need to add some more magenta and yellow filtration compared to Portra 400NC or VC, the filtration difference is not great. Portra 160VC is an older film that was reformulated a couple years ago to make it easier to scan, but not to make it impossible to print conventionally.</p>

<p>A water soak also sometimes does wonders. Some grime simply won’t come off with organic solvent based cleaners like PEC 12, but will wash off. Use good distilled or deionized water or at least stuff filtered through a Brita pitcher.</p>

<p>Try a soak in distilled water first. Be patient and hopefully the water sill soak in after a few hours and break the bonds between the emulsion and the clear film. I’ll wager the film was not fully dry when they put it in the sleeves, causing it to stick.</p>

<p>I don’t think the Aperture or Focal Length of Pentax 67 lenses (or other lenses that are not Pentax 645 make) will be transferred to the Pentax 645nII. I have recently started using a 90mm 67 lens on my 645n, and while the adapter preserves the automatic functioning of the aperture, the aperture value is not recorded or visible in the viewfinder. I think this information would require an electrical contact that does not exist in the 67 lens or the adapter.</p>

<p>I just double checked and looking through the Pentax-FA 150mm/2.8, I see it focuses perfectly to infinity on the Pentax Rear Converter-A 1.4X. In fact it focuses slightly beyond infinity at full twist, as I think it should, no doubt to compensate for temperature effects on the 150mm. Many telephotos need to focus differently at hot vs cold temperatures. Is it possible you have over-focused yours Anders, passing the point of sharpest focus?</p>

<p>Something is wrong with your teleconverter I think. My 150/2.8 does focus to infinity on my 1.4x teleconverter. I suggest you return it as defective.</p>

<p>Hi LF shooters. I thought some people might be interested in knowing that LF photographer Peter Brown, author of "On the Plains" and (with Kent Haruf) "West of Last Chance" has a website now at <a href="http://www.petertbrown.com">http://www.petertbrown.com</a>. Peter shoots 4x5" color negative film using a 5x7 Deardorff field camera with a reducing back. There is also a great interview in English in the German online photography magazine Ahorn at <a href="http://www.ahornmagazine.com/issue_5/interview_schutmaat_brown/interview_brown_schutmaat.html">http://www.ahornmagazine.com/issue_5/interview_schutmaat_brown/interview_brown_schutmaat.html</a>.<br>

Peter was one of my photo instructors at Rice University in the late 1980s, and I used to do some printing for him. I recently went to Houston FotoFest for a show I am in at Rice, and met up with him for lunch at his favorite mexican restaurant and bakery. I also got to see some big digital c-prints of his at the Harris gallery near the MFA Houston.</p>

The M7 has the most accurate 1/1000s shutter speed in the film M-line because of it's electromagnetically controlled

shutter. The M7's springs are probably different from the MP cameras shutter. 1/2000 is available from Voigtlander and

Zeiss M mounts, and 1/4000 from the Hexar RF cameras and the M8.

Oh I forgot, our other two native US terrorists Eric Robert Rudolph and Ted Kaczynski also did not use photography in

planning their bombings.

Tim McVeigh was not a Middle Eastern man in his 20's, and most people who are are from the Levant are not terrorists

either, so ethnic profiling isn't an intelligent solution either.

 

But in any case McVeigh, the 9/11 attackers and London and Madrid bombers, all had this in common, according to

Britain's The Guardian, not one of them used photography or video surveillance of their targets. So the LAPD and other

cops are wooly thinkers who are not acting in a manner that will deter real terrorists when they go after photographers.

Fuji Pro 160S and Pro 160C are both very nice color negative films in 4x5". The S-version is lower contrast and available in

loose sheet or Quickload system, while the C-version has higher contrast and is so far only available in Quickload. Kodak

400NC is the only fast film in color negative sheet, and is low contrast. Freestyle sales < http://www.freestylephoto.biz/ >

has all these.

Koni Omega 58mm/5.6 Hexanon is a Biogon derivative for 6x7 cameras and the cells can be unscrewed from the original

shutter and used on Compur, Prontor or Copal 0 shutters. The front lens mount barrel is big, so cells mount better on older

flat fronted shutters. I am going to use one on a view camera with 6x7 roll film adapter.

I got burned buying one of these Fotodiox P645-AI adapters too. I can't believe they have the gall to advertise them as

offering "stop-down metering" when you can't stop down the lens at all without jury rigging it! "Stop-down metering" is a

false or mistaken claim on their part for this adapter. They told me I could adjust the shutter speed to compensate. But

what about using the lens at a different aperture for depth of field or optimal quality on the Nikon body? Don't waste your

money.

 

Anyone know if the Kindai version allows stopping down? It looks from photos of that adapter that it might have a spring to

make the P645 lenses close to the set aperture, but I'd like to know if that's true.

Oh, I forgot to say one way to transcend the class you were born into in pre-Meiji

Japan was to become a Buddhist monk or nun. Many monks went on to become

great artists or calligraphers, and sold their artwork to raise money for their temples.

Buddhist Temples did not recognize the class system.

 

The MIT site is a great resource on Japan in the Meiji period. The senso-e

woodblock prints of that time are notable for their synthesis of Japanese graphic

styles and Western perspective and shading. Though the war images are ghastly

and full of propaganda, they are amazing for dramatic, artistic and historic qualities.

They do show how Japanese nationalism arose with the military success of Japan's

modern army and navy in the Sino-Japanese War of 1894-1895 and Russo-

Japanese War of 1904-1905. This extreme nationalism ultimately led to the second

Sino-Japanese War in the 1930's and the attack on Pearl Harbor in World War II.

They also used to call these minorities <i>eiki</i> or "inhuman." They were allowed

to do jobs most Japanese considered to be unclean such as butchering animals,

recovering drowning victims from rivers, etc.<br><br>

 

The official class system in Japan was imported with Confucianism from China, with

the modification that the Emperor was considered a divine descendant of the Sun

goddess, and was above all others.<br><br>

 

Theoretically the classes were:<br><br>

1) the imperial family<br>

2) farmers<br>

3) nobles and samurai<br>

4) merchants<br>

5) inhumans and foreigners<br><br>

 

In actuality the nobles and merchants were more powerful and better off than the

farmers. The classes were officially abolished by the Meiji Emperor, except for

nobles and imperials, but traces remained, just as in India. To this day, many

Korean descended Japanese still cannot get full citizenship.

Looks like a shutter problem to me too.

See <a href="http://www.thenocturnes.com/">the Nocturnes</a> Website for specific

information on night photography. I'm taking a class from Lance Keimig who will be doing

night photo workshops on night photography in the US and UK this summer. See: <a

href="http://www.thenightskye.com">www.thenightskye.com</a> for his work and

workshop schedule. He also curated a show at Harvard U's Mather House called <a href

="http://www.darknessdarkness.com/">"DarknessDarkness"</a> that is up until the end

of April 2008 and has a nice website to inspire you. <br><br>Shoot with a tripod and use

RAW, 100 ISO if your digital camera can do so. If you are using film use color negative

film, BW400CN or Acros 100. Try long exposures 15sec to several minutes for dark

locations, f/5.6-f/11 for 35mm or medium format, and don't trust your camera meter or

autofocus. The Black Cat Exposure Guide or Kodak guidelines are a good starting point.

Take notes so you can learn what works and what does not.

Nikon did make early lenses for a Bronica camera, but I'm not sure what Bronica model or if

they are compatible with later cameras.

I shot this diptych with the 135mm, which is a bit tricky to use due to the small framelines,

but has nice OOF effects. The 135mm is also easy to mis-focus if I'm not really careful. <a

href="http://www.people.fas.harvard.edu/~keirst/land/landXII.html">http://www.people.fas.

harvard.edu/~keirst/land/landXII.html</a>.

That should be <i>Show Opening</i> of course...

Hi Folks, I'm in a group show with 7 different artists, mainly potters (including my husband Lansing

Wagner) and one painter. The show is in Sudbury, Massachusetts, west by northwest of Boston. It opens

the Weekend of March 29 & 30, but I will only be there Saturday, and the show runs until the 26th of April.

For details, directions, etc. see: <a

href="http://www.people.fas.harvard.edu/~keirst/springartshow.html"> http://www.people.fas.harvard.edu/~keirst/springartshow.html</a><br><br>

 

I'll be showing 13 different diptychs shot with my Bronica RF645. The ones I've chosen are mostly

landscapes and waterscapes from downeast Maine around the Blue Hill Peninsula, plus a couple from

Rockport, MA. I printed optically for the show on 11x14" and 12x18" paper, mostly Fuji Crystal Archive C.<div></div>

Hi Kevin, RI is Rhode Island, the smallest of the United States, south of Massachusetts and

East of Connecticut.