On 24 Apr 2013 02:25:49 GMT, "DoN. Nichols"
wrote:

On 2013-04-23, Gunner Asch wrote:
On Mon, 22 Apr 2013 19:20:51 -0500, "Lloyd E. Sponenburgh"

[ ... ]

yup... all kinds of 'trade expressions' in photography.

How about 'push'? G

LLoyd

50%? 100%? 200%?

Plus-x at ASA 200?

Souped in Diafine?

Microdol-X

G


Still have a freezer full of 120 Plus-x I ought to shoot up...one of
these days.

Hmm ... Ever try "Royal-X Pan"? I think that it was ASA 800
un-pushed. Too grainy for 35mm, but I shot a roll of it in a Zeiss
Ikonta 520 (used eitehr 620 or 120 film rolls, and got sixteen shots per
roll -- sorf of pushing the size thing for that film. :-)

Enjoy,
DoN.

Ayup. It was too grainy for just about anything I was doing. And
even Tri-x pushed once was not as grainy as I recall.


Gunner

On 24 Apr 2013 02:33:32 GMT, "DoN. Nichols"
wrote:

On 2013-04-23, Gunner Asch wrote:
On Mon, 22 Apr 2013 07:27:02 -0500, Richard
wrote:

[ ... ]

You can't create content that is not in the original file
Well, I take that back, you can with Photoshop.

:-)

But post processing digitally has an amazing about of flexibility.

But green really is still green!

Ayup. But it can be processed in digital...sometimes more..sometimes
less. With color negative...it could be "tweaked" a bit. With
slides..you were well and truely ****ed. Got lots of green slides
..sigh.

You could slip the slides into the enlarger and print to a
direct positive print paper (I remember that Ansco had one which was on
white plastic instead of paper) and tweak the colors with filtration,
just as you do with color negatives. You can also get some weird
looking prints using polycontrast filtes on the color paper. :-)

Ayup. But the cost! Printing color really WAS expensive, in film,
paper and chemicals. And Im more of a B&W affectionado. I love good
black and white. Ive done a lot of black and white with the digital
camera too. And sepia toning.

I ought to dig out a couple and see if I can process them to something
less green with the scanner...

You should be able to. Ideally -- save as something other than
jpeg, correct and do everything else you want, and then save to jpeg if
you want it in that format. Each time you go into or out of jpeg, you
lose a little more detail.

For most of the stuff that I do...its for the computer. 640x480
frankly..is good enough. My current Oly C-4000 with a 8gig card in it
allows me to shoot up in the 2000xsomething or other (mumble mumble)
and have photos that are less than 1meg...which frankly..is good
enough. If I was going to do more 24x36" prints again..Ill drag out
the 4x5s. I have a few boxes of Plus-x 4x5 in the freezer still...and
the local camera shop gives me a break when developing..cause I supply
the tank, racks and everything but the soup.

Or even the 330Fs




Enjoy,
DoN.

On Tue, 23 Apr 2013 23:02:45 -0400, "Michael A. Terrell"
wrote:


Gunner Asch wrote:

Assuming you had "color adjusted" eyeballs.

When I was teaching..it never ceased to amaze me the color perceptions
that were so widely varied among people.

Something would come out of the developer with a distinct red/orange
cast..and the student would be tickled ****less. They couldnt see the
color being "off"

Its like having someone in the house adjust the TV for color. Cringe!

Some folks have a wide range..others..swung to one side or
another..and in a few..badly. Those folks tended to be somewhat
colorblind and simply couldnt see too much red etc etc.

We would all be gagging at the off colors in the photo..and the
student would be so proud of it. I tried to steer those folks into
B&W.


40 years ago when I did TV repair, most people had a definite green
tint to their TV sets. They would complain about a bad picture when you
replaced the CRT and did a complete setup to factory standards.


Ayup. The eye tends to translate green easier than most other
colors..and a **** load of people tend to be green oblivious. Used to
drive me nuts in the lab. One of the reasons Im still..still a fan
of B&W

Gunner

On Tue, 23 Apr 2013 23:11:52 -0400, "Michael A. Terrell"
wrote:


"DoN. Nichols" wrote:

"Or equivalent" should inclued "the GIMP" -- especially for your
linux boxen. I believe that gimp is also available compiled for
Windows, and is certainly a *lot* more affordable than PhotoShop is.


Yes, GIMP is available for Windows. I've used it with XP & Win 7.


Its pretty good too.

Though I use Irfanview and all the accessory software that comes as a
seperate (free) download.

On Wed, 24 Apr 2013 00:04:48 -0400
Ed Huntress wrote:

snip
Dood, I lived with Photoshop for 20 years. I'm not paying for it
anymore. And I find that Gimp is about equal to Photoshop 5. If you
only use manual controls -- and that's all I use -- it works great.

I can show you a heavy background-editing job I did with Gimp, if you
want to see the before-and-after.

You might find this set of filters of interest then:

http://gmic.sourceforge.net/index.shtml

of course, you may already know/have them added to Gimp


--
Leon Fisk
Grand Rapids MI/Zone 5b
Remove no.spam for email

On Wed, 24 Apr 2013 13:44:35 -0400, Leon Fisk
wrote:

On Wed, 24 Apr 2013 00:04:48 -0400
Ed Huntress wrote:

snip
Dood, I lived with Photoshop for 20 years. I'm not paying for it
anymore. And I find that Gimp is about equal to Photoshop 5. If you
only use manual controls -- and that's all I use -- it works great.

I can show you a heavy background-editing job I did with Gimp, if you
want to see the before-and-after.

You might find this set of filters of interest then:

http://gmic.sourceforge.net/index.shtml

of course, you may already know/have them added to Gimp

Thanks, Leon. No, I haven't added any filters, although I'm interested
and I'll take a look at those.

I've only used GIMP for a couple of years, and almost strictly for
professional work that involves very mechanical kinds of
hand-retouching. It's all straight photography. I haven't ever used
overal image manipulation, except for the basic corrections --
contrast, color, density, etc. Mostly I clean up backgrounds, correct
mistakes, silhouette, and related things.

But I know there are a lot more Photoshop things you can do with GIMP
if you go for the open-source add-ons. I'll have to look into it
further.

Thanks again.

--
Ed Huntress

On 2013-04-24, Ed Huntress wrote:
On 24 Apr 2013 02:51:10 GMT, "DoN. Nichols"
wrote:

[ ... ]

Well, I don't own a good digital camera. When I'm in Chicago, where I
do most of my photography, I borrow my nephew's Nikons. g

O.K.

I thought that some of them will take multiple exposures? Again, I
don't own a good one, so I don't know.

Some will. I think that my D300s will do it, but I have not
needed that feature so far, so I tend to forget. Time to re-read the
manual, I guess. Always good to do after using the camera for a while
to pick up on things you missed earlier.

With film, I try to do it with one of my two cameras (Calumet 4 x 5,
and a Yashicamat 6 x 6) that allow it without moving the film. My F2
won't allow it; they started that with the F3.

Or -- put a lens with between=the-lens shutter on the camera on
a bellows, and you can do it with the F2. :-)

Yes, but jeez....

:-)

You'll get a kick out of this. I have a behind-the-lens air-bulb
shutter I used with process lenses on my view camera, which I used for
making Tri-Mask in-camera separations for the Trenton Times. I have
put that sucker in *front* of a lens on my Nikon F2 for shooting
multiple exposures. It's a big interleaved shutter.

That will do it. Or an electric shutter such as I used when
building a camera from a large lightbox to 2x2" glass film -- for
integrated circuit layouts.

Though usually I was running the lightbox on a Gralab timer
instead. :-) The lightbox was two neon transformers and white neon
folded in square-wave shape behind a diffuser.

But I don't get into those gymnastics anymore.

Understood.

However, I did a series of nightime architectural shots, for a
portfolio, with my F2 and a 28mm shift lens.

Ah -- the PC-Nikkor.

Yeah, one of them. It belonged to my partner at Windsor Advertising.
He had a gazillion lenses -- and an 8 x 10 Calumet that we used to
shoot giant trade-show Translites for Canon calculators and Prince
tennis rackets. They were around 20 feet wide.

Those were fun times.

Indeed so. My largest format at home is 4x5 -- both a view
camera and a Crown Graphic (like the Speed Graphic, but without the
focal plane shutter.) Yes, the 8x10 Calumet was what I used with the
same light box for printed circuit layouts. Two color layout tapes, and
filters for the two shots for the two sides -- we didn't try
multi-layer boards. :-)

[ ... ]

'Second that. I even use one for doing test shots, to balance the
lights, when I'm doing the final on 4 x 5 film and using a Minolta
Flashmeter IV for exposure.

So you have not depended on the results from the digital, except
as a rough guide -- so you may not have seen the effects of the long
open shutter time, since you probably did not bother blowing up the
image on your computer monitor.

[ ... ]

Actually, for that Amada brochure, I wound up using the digital shot
from a Nikon D5000.

O.K. A bit out of my price range. :-) That and the single-digit
D series. :-)

[ ... ]

Was this a single shot, or a multi-flash one like the above?
For single shot, I would expect the D5000 to be very good.

A single shot with my (then) new Smith Victor daylight fluourescent
scoops. I was using too many new things at once not to have backups.

I have the digital shot on my hard drive if you want to see it --
before and after I worked it over with Gimp.

You could not get it to my mailbox. There is a size limit of
60K (to keep virus e-mails out of a couple of small mailing lists I
host.)

Of course, with the Nikon gear, and a shooting budget, I would
go with the Nikon and a cluster of SB-800 flash units. The camera can
be set up to run all of those as a slave, and when you take the shot, it
first fires a lower intensity pre-flash from each (triggered by the
flash on the camera and metering it in the sensor), and then sends to
each how long a flash duration is required from that one, so when the
shutter finally opens for real, you get a properly balanced
illumination. I've got *one* SB-800, but not a whole herd of them. :-)

Again, I spent too many years lugging 100 pounds or more of flash
heads and power packs, and even my big Bowens Monolights into the
field. No way, Hose-A.

The SB-800 flash units are very light -- often used camera top
on 35mm SLRs. A camera bag with a half dozen of them would be lighter
than my bag full of lenses. You can clamp them pretty much anywhere, or
just set them on a tabletop. And no wires to string -- the camera and
the flash units communicate by encoded flashes. :-)

From now on, I'm going with the daylight
fluorescents. Lots of field photographers are using them now. I'm
convinced, after seeing the densitometer readings on digital images
from my gray card and Macbeth Color Checker. I shot the latter in
daylight and then in daylight fluorescent with the same camera. You
can hardly tell the difference.

Pretty good, then. But probably about the same weight per head
(for just the lamp and the socket) as the SB-800.

I'll buy a good digital some time, but I haven't had enough need to
justify it. I don't shoot for fun like I used to, and I haven't shot a
magazine cover for around a decade now. I rent when I need to.

While I'm back into shooting for fun. For quite a while, I
worked where classified stuff was common, and a camera was a no-no, so I
did not take many shots during that period. Now I'm retired, and having
fun with the digital SLRs from Nikon.

It's a great hobby. Maybe if I retire I'll take it up again.

I *am* retired, so I did. :-)

Enjoy,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

On 2013-04-24, Gunner Asch wrote:
On Tue, 23 Apr 2013 23:11:52 -0400, "Michael A. Terrell"
wrote:


"DoN. Nichols" wrote:

"Or equivalent" should included "the GIMP" -- especially for your
linux boxen. I believe that gimp is also available compiled for
Windows, and is certainly a *lot* more affordable than PhotoShop is.


Yes, GIMP is available for Windows. I've used it with XP & Win 7.


Its pretty good too.

Though I use Irfanview and all the accessory software that comes as a
seperate (free) download.

While I (on Sun unix boxen) use xv for flipping through a lot
of images and selecting them, but gimp for serious working on them.

Since I don't use Windows, I can't use Irfanview -- but I supply
it on DVDs of images that I'm sending out to people who use Windows.

Enjoy,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

On 24 Apr 2013 02:13:31 GMT
"DoN. Nichols" wrote:

snip
Note that I scan to TIFF format, not JPEG, which is a lossy
format, and when the image is uncompressed, there is a loss of fine
detail. Once I have what I want from the negative or slide, I re-save
it as high quality setting JPEG for convenience of others, but I save
the TIFF image for future needs.

You may want to checkout JP2 format (aka JPEG2000).
Could save you some space. It can be setup to save as loss-less. There
are libraries/apps available for Unix/Linux now. It sucks hard on the
processor though...

If you dig into the raw files (storing the un-retouched scans) at:

http://www.archive.org/

for their old books for instance you will find they are using JP2
for many of them. I haven't tried to figure out what setting they are
using though (ie how much loss, if any).

--
Leon Fisk
Grand Rapids MI/Zone 5b
Remove no.spam for email

On Wed, 24 Apr 2013 14:00:30 -0400
Ed Huntress wrote:

snip
I've only used GIMP for a couple of years, and almost strictly for
professional work that involves very mechanical kinds of
hand-retouching. It's all straight photography. I haven't ever used
overal image manipulation, except for the basic corrections --
contrast, color, density, etc. Mostly I clean up backgrounds, correct
mistakes, silhouette, and related things.

You need to have some filters to play with. Try this/that and then
finally decide that none of them will do what you want/need. Then you
can get down to the real job of manually editing the image pixel by
pixel, spot by spot

Much of the time I find loading up GIMP is kinda like calling in the
National Guard when your only traffic light in town fails...

Most of what I do is adjust gamma, contrast, crop, unsharp mask, add
text and I've found a simple filter that will redistribute contrast (ie
boost low areas and reduce the highs). The latter is great for pulling
out detail lost in the shadows. For doing all that I usually run
Irfanview via Wine on Linux. You can do all that with GIMP but it would
take me an half hour as opposed to maybe three minutes with Irfanview.
GIMP's user interface is anything but intuitive...

Of course I also use XnView, XnConvert, Mtpaint, Fotoxx, Mashup, Image
Analyzer, FotoTouch (ancient Win3.xx)... different apps for different
problems.

But you speak the truth, many times it comes down to pixel editing/hand
retouching here and there. I haven't found any "magic bullets" for
getting that kind of work done, well, yet anyway. I keep looking ;-)

--
Leon Fisk
Grand Rapids MI/Zone 5b
Remove no.spam for email

Leon Fisk fired this volley in news:klbndi$pvr
:

But you speak the truth, many times it comes down to pixel editing/hand
retouching here and there. I haven't found any "magic bullets" for
getting that kind of work done, well, yet anyway. I keep looking ;-)

And _sometimes_ that sort of editing is the only way to properly blend a
defect. The filters don't always have the intelligence to handle
gradients that run three ways across a chip in the emulsion.

Lloyd

On Thu, 25 Apr 2013 12:56:25 -0400, Leon Fisk
wrote:

On Wed, 24 Apr 2013 14:00:30 -0400
Ed Huntress wrote:

snip
I've only used GIMP for a couple of years, and almost strictly for
professional work that involves very mechanical kinds of
hand-retouching. It's all straight photography. I haven't ever used
overal image manipulation, except for the basic corrections --
contrast, color, density, etc. Mostly I clean up backgrounds, correct
mistakes, silhouette, and related things.

You need to have some filters to play with. Try this/that and then
finally decide that none of them will do what you want/need. Then you
can get down to the real job of manually editing the image pixel by
pixel, spot by spot

Much of the time I find loading up GIMP is kinda like calling in the
National Guard when your only traffic light in town fails...

Most of what I do is adjust gamma, contrast, crop, unsharp mask, add
text and I've found a simple filter that will redistribute contrast (ie
boost low areas and reduce the highs). The latter is great for pulling
out detail lost in the shadows. For doing all that I usually run
Irfanview via Wine on Linux. You can do all that with GIMP but it would
take me an half hour as opposed to maybe three minutes with Irfanview.
GIMP's user interface is anything but intuitive...

Of course I also use XnView, XnConvert, Mtpaint, Fotoxx, Mashup, Image
Analyzer, FotoTouch (ancient Win3.xx)... different apps for different
problems.

But you speak the truth, many times it comes down to pixel editing/hand
retouching here and there. I haven't found any "magic bullets" for
getting that kind of work done, well, yet anyway. I keep looking ;-)

I'm always interested in finding the magic pixel-munger that will make
my job easier. g I've not found it yet, and I used Photoshop from
the first few months it was on the market; and PhotoStyler before
that.

Meantime, a program that allows easy selection, paths, and the other
fundamentals -- with speed and accuracy -- is all I need. I have a
fast desktop with 6 GB of RAM, so Gimp works fast enough to satisfy
me.

One thing I could use, though, is conversion back and forth to a
really broad colorspace that has a lightness (black and white)
channel. I used L,a,b with Photoshop. You get superior results with
unsharp masking by working only on the lightness channel (it avoids
color artifacts), and there are other things I like to do with it.

There may be a plug-in for doing it with Gimp, but I haven't looked.
I've gotten away with lesser colorspaces because I've done work mostly
for the Web lately, and it's not very demanding.

If you know of one, I could use it.

--
Ed Huntress

On Thu, 25 Apr 2013 16:07:13 -0400
Ed Huntress wrote:

snip
One thing I could use, though, is conversion back and forth to a
really broad colorspace that has a lightness (black and white)
channel. I used L,a,b with Photoshop. You get superior results with
unsharp masking by working only on the lightness channel (it avoids
color artifacts), and there are other things I like to do with it.

I'm not familiar with this (but learning). See if this blog entry
helps:

"...One of the hidden secrets of Gimp is that it supports the LAB color
space so you can get access to the L, a and b channels in an image.
This adjustment therefore produces similar results to those you can
achieve with my earlier post using Photoshop its just that the process
in Gimp is a little different..."

http://digital-photography-school.co...to-wow-in-gimp


--
Leon Fisk
Grand Rapids MI/Zone 5b
Remove no.spam for email

On Thu, 25 Apr 2013 16:35:23 -0400, Leon Fisk
wrote:

On Thu, 25 Apr 2013 16:07:13 -0400
Ed Huntress wrote:

snip
One thing I could use, though, is conversion back and forth to a
really broad colorspace that has a lightness (black and white)
channel. I used L,a,b with Photoshop. You get superior results with
unsharp masking by working only on the lightness channel (it avoids
color artifacts), and there are other things I like to do with it.

I'm not familiar with this (but learning). See if this blog entry
helps:

"...One of the hidden secrets of Gimp is that it supports the LAB color
space so you can get access to the L, a and b channels in an image.
This adjustment therefore produces similar results to those you can
achieve with my earlier post using Photoshop it’s just that the process
in Gimp is a little different..."

http://digital-photography-school.co...to-wow-in-gimp

Wow, it was right in there all along! Thanks, Leon. I can use that.

Playing with colors in L,a,b or other colorspace that has a density
channel and two-pole color channels (like HSB) is very tricky. I see
from the article that the author has tried to rationalize it. I'll
have to look it over.

Thanks again!

--
Ed Huntress

On 4/26/2013 12:36 AM, Michael A. Terrell wrote:

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

Let me know how that works out, Michael?
I have a 5300 also.
It was my first digital and is a fine backup.


Certainly.

Do you have the service manual? It's available as a .pdf file
online, but I could send a copy to you.


No I don't have that one...

I went looking for it on the net and didn't find anyplace I'd
want to risk downloading anything from.

If you wouldn't mind?

On 2013-04-25, Leon Fisk wrote:
On 24 Apr 2013 02:13:31 GMT
"DoN. Nichols" wrote:

snip
Note that I scan to TIFF format, not JPEG, which is a lossy
format, and when the image is uncompressed, there is a loss of fine
detail. Once I have what I want from the negative or slide, I re-save
it as high quality setting JPEG for convenience of others, but I save
the TIFF image for future needs.

You may want to checkout JP2 format (aka JPEG2000).
Could save you some space. It can be setup to save as loss-less. There
are libraries/apps available for Unix/Linux now. It sucks hard on the
processor though...

TIFF can be saved with compression too -- and I would use many
of those -- but not the JPEG compression.

If you dig into the raw files (storing the un-retouched scans) at:

http://www.archive.org/

for their old books for instance you will find they are using JP2
for many of them. I haven't tried to figure out what setting they are
using though (ie how much loss, if any).

O.K.

Enjoy,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

Let me know how that works out, Michael?
I have a 5300 also.
It was my first digital and is a fine backup.


Certainly.

Do you have the service manual? It's available as a .pdf file
online, but I could send a copy to you.

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

sorry - 5200.

I just washed my hands and can't do a thing with them...


It's about time you washed them! I hope you did a good job, this
time! ;-)

On 4/26/2013 8:24 PM, Michael A. Terrell wrote:

Richard wrote:

On 4/26/2013 12:36 AM, Michael A. Terrell wrote:

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

Let me know how that works out, Michael?
I have a 5300 also.
It was my first digital and is a fine backup.


Certainly.

Do you have the service manual? It's available as a .pdf file
online, but I could send a copy to you.

No I don't have that one...

I went looking for it on the net and didn't find anyplace I'd
want to risk downloading anything from.

If you wouldn't mind?

Here are a copies of the service& use manuals:

Service Manual:
http://elektrotanya.com/fuji_finepix.../download.html
Click on download on the third line below the preview image.

User Manual:
http://www.manualslib.com/manual/547...ilm-S5200.html

it doesn't work!

On 4/26/2013 8:24 PM, Michael A. Terrell wrote:

Richard wrote:

On 4/26/2013 12:36 AM, Michael A. Terrell wrote:

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

Let me know how that works out, Michael?
I have a 5300 also.
It was my first digital and is a fine backup.


Certainly.

Do you have the service manual? It's available as a .pdf file
online, but I could send a copy to you.

No I don't have that one...

I went looking for it on the net and didn't find anyplace I'd
want to risk downloading anything from.

If you wouldn't mind?

Here are a copies of the service& use manuals:

Service Manual:
http://elektrotanya.com/fuji_finepix.../download.html
Click on download on the third line below the preview image.

User Manual:
http://www.manualslib.com/manual/547...ilm-S5200.html

ok - it finally did...

Thanks

On Sun, 21 Apr 2013 19:17:30 -0700, Gunner Asch
wrote:

On Mon, 22 Apr 2013 08:09:09 +0700, J.B.Slocomb
wrote:


A light box is handy but it only serves to light the entire object and
eliminate shadows. You can use reflectors and diffusers to do
essentially the same thing with, probably, more bother.

Try some diffusers made from thin white plastic in front of your flash
and (probably) three or four flash heads and see if you can't get the
effects that you want.

An electronic camera is nice as you don't need to waste all the trial
shots that you do with film.


Thats what I figured. Its been years since I did it with film...a
stroke got in the way..and I dont remember much about what/ how I did
it.

I know this question doesnt show it..but I used to be a fairly
competent semi-pro photographer. Shrug.

The ability to break it down and set it up quickly would be nice as
well. Im running out of floor/shop space.

Anyone have any good links to "inexpensive" slave strobes? Or anyone
have any older slave strobes that they have outgrown?

Gunner

Quit thinking strobes! It's 2013, Floods will do! If it looks good
to your eye, it will look good to the camera.

And if you really want to make it pop, get a camera that does HDR Mode
- Multiple shots, automatically bracketed exposures, and the computer
matches and blends the bright areas with the dark areas. Automatic
Dodge & Burn.

The equivalent ISO of a Digital camera is miles ahead of film - the
days where you had to use ISO-25 Kodachrome to get fine grain and good
detail are long over - Besides, so is Kodachrome.

Get a batch of 300W or 500W Quartz stand lights, I'm sure you can come
up with *that*... And for reflective surfaces you rig up some cloud
diffusers in front, or bounce them off aluminized screen fabric. Think
Windshield Spring Shades, the aluminized side.

Try to get the lamps all close to the same color temperature - the
camera can correct the color temperature, but not if one side is lit
at 5000K and the other side at 2700K - it'll freak.

For a background, new clean off-white canvas Painters Tarps. Already
sewn together, cheap, big enough to drape on the wall and then bring
out on the floor or table. And easy to dump in a commercial washer
with a box or two of Rit Dye if you want colors.

And when you're done taking pictures, use the tarps for painting. The
paint splotches will add extra pizzazz to the photos, and nobody will
steal your funny colored dropcloths - they'd stand out in even a
satellite photo. "Hey, Gunner made a batch of Tie-Dye Buckskin Tan
dropcloths like this a few years ago, and then they disappeared from
the back of his truck..."

-- Bruce --

On 2013-04-25, Leon Fisk wrote:

[ ... ]

I'm not familiar with this (but learning). See if this blog entry
helps:

"...One of the hidden secrets of Gimp is that it supports the LAB color
space so you can get access to the L, a and b channels in an image.
This adjustment therefore produces similar results to those you can
achieve with my earlier post using Photoshop it?s just that the process
in Gimp is a little different..."

http://digital-photography-school.co...to-wow-in-gimp

A nice collection of useful tricks. Thanks. I've been working
self-taught, and did not know of those tricks. Bookmarked for the next
thing that she decides to share.

Right now, I am dealing with some 78 rolls of B&W negatives,
recently scanned. I've gotten quite a few ussable images out of
terribly exposed negatives. Not much I can do about when the shutter on
the Contaflex Super was sticking partially open -- lots of weird streaks
on those images. :-) About the time I move on to the Miranda F, and got
true lens interchangeability. (The Contaflex Super had only the front
element interchangeable, with a between the lens shutter.

Thanks,
DoN.

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--- Black Holes are where God is dividing by zero ---

On 2013-04-26, Bruce L. Bergman (munged human readable) wrote:
On Sun, 21 Apr 2013 19:17:30 -0700, Gunner Asch
wrote:

[ ... ]

Anyone have any good links to "inexpensive" slave strobes? Or anyone
have any older slave strobes that they have outgrown?

[ ... ]

Quit thinking strobes! It's 2013, Floods will do! If it looks good
to your eye, it will look good to the camera.

Agreed -- at least if you let the camera learn the proper color
balance for the lights you have. There are a lot of presets for various
light sources, and at least some have the ability to measure the color
balance off a neutral gray card for a given setup -- and use that.

[ ... ]

The equivalent ISO of a Digital camera is miles ahead of film - the
days where you had to use ISO-25 Kodachrome to get fine grain and good
detail are long over - Besides, so is Kodachrome.

Yep. I'm shooting up to ISO 3200. (And back in the days of the
Kodachrome you mentioned, it was ASA-25, not ISO-25. :-) IIRC, the other
common system in use then was DIN -- a very different scale, and if you
were lucky, your exposure meter was marked with both scales. :-)

Get a batch of 300W or 500W Quartz stand lights, I'm sure you can come
up with *that*... And for reflective surfaces you rig up some cloud
diffusers in front, or bounce them off aluminized screen fabric. Think
Windshield Spring Shades, the aluminized side.

Try to get the lamps all close to the same color temperature - the
camera can correct the color temperature, but not if one side is lit
at 5000K and the other side at 2700K - it'll freak.

Unless you want to use the color difference for modeling shapes.
Let the camera learn the proper white balance for one set of lights
alone, and use the other to make interesting color shading.

For a background, new clean off-white canvas Painters Tarps. Already
sewn together, cheap, big enough to drape on the wall and then bring
out on the floor or table. And easy to dump in a commercial washer
with a box or two of Rit Dye if you want colors.

Well ... perhaps not for close-ups on really small things. The
coarse weave will stand out in the images.

And when you're done taking pictures, use the tarps for painting. The
paint splotches will add extra pizzazz to the photos, and nobody will
steal your funny colored dropcloths - they'd stand out in even a
satellite photo. "Hey, Gunner made a batch of Tie-Dye Buckskin Tan
dropcloths like this a few years ago, and then they disappeared from
the back of his truck..."

:-)

How about camouflage pattern?

Enjoy,
DoN.

--
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Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

Richard wrote:

On 4/26/2013 12:36 AM, Michael A. Terrell wrote:

Richard wrote:

On 4/23/2013 10:16 PM, Michael A. Terrell wrote:

whit3rd wrote:

On Sunday, April 21, 2013 2:20:04 PM UTC-7, Gunner Asch wrote:
Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Something for shooting photos for Ebay for example.

Why not just put a curtain rod on rollaround stands, and light with
halogen lamps? Put the camera on a tripod, and use the
self-timer to keep your hands from causing blur.

Flash lighting is for subjects that are moving, 'product photography'
doesn't usually benefit from freezing the action.


I need to replace the memory battery in my Fujifilm S5200, and I am
going to see if there is enough spare space to add a tiny 433 MHz
receiver to give me a remote shutter function.

Let me know how that works out, Michael?
I have a 5300 also.
It was my first digital and is a fine backup.


Certainly.

Do you have the service manual? It's available as a .pdf file
online, but I could send a copy to you.

No I don't have that one...

I went looking for it on the net and didn't find anyplace I'd
want to risk downloading anything from.

If you wouldn't mind?

Here are a copies of the service & use manuals:

Service Manual:
http://elektrotanya.com/fuji_finepix.../download.html
Click on download on the third line below the preview image.

User Manual:
http://www.manualslib.com/manual/547...ilm-S5200.html

Richard wrote:

On 4/26/2013 8:24 PM, Michael A. Terrell wrote:

Here are a copies of the service& use manuals:

Service Manual:
http://elektrotanya.com/fuji_finepix.../download.html
Click on download on the third line below the preview image.

User Manual:
http://www.manualslib.com/manual/547...ilm-S5200.html

ok - it finally did...

Thanks


You're welcome. My camera no longer remembers the date & time. The
battery is supposed to be on the main board, but the battery part number
draws a blank. I an going to wait till I have the new air conditioning
in place, and a new workbench finished so I have plenty of light and I'm
less likely to lose any of those tiny screws.


The fan bearings went in my A/C the other day. I picked up a new GE
8,000 BTU at Sam's Club for $187 yesterday, but I'll have to wait a few
days to get help to lift it up, and put it into the wall.

The old unit was ~ 10 years old, and a new fan was $192 wit a six
week wait. I doubt the old motor is worth repairing. From the high
pitched death wail it let out, I would expect to find badly worn shafts
and chewed up sleeve bearings.

On 26 Apr 2013 19:44:44 GMT, "DoN. Nichols"
wrote:
On 2013-04-26, Bruce L. Bergman (munged human readable) wrote:

And when you're done taking pictures, use the tarps for painting. The
paint splotches will add extra pizzazz to the photos, and nobody will
steal your funny colored dropcloths - they'd stand out in even a
satellite photo. "Hey, Gunner made a batch of Tie-Dye Buckskin Tan
dropcloths like this a few years ago, and then they disappeared from
the back of his truck..."

:-)

How about camouflage pattern?

Can't do that - the stuff would be lost forever...

On 2013-04-27, Michael A. Terrell wrote:

[ ... ]

You're welcome. My camera no longer remembers the date & time. The
battery is supposed to be on the main board, but the battery part number
draws a blank. I an going to wait till I have the new air conditioning
in place, and a new workbench finished so I have plenty of light and I'm
less likely to lose any of those tiny screws.

A suggestion from the watchmakers and jewelers people, who deal
with this problem all the time.

Set up a frame which pulls out from the bench like a drawer, but
which has a soft light cloth attached slackly in the frame, so small
screws and parts dropped won't bounce off to never-never land, and will
simply roll to the lowest point in the middle and wait patiently to be
recovered.

Good Luck,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

On Sun, 21 Apr 2013 14:54:51 -0700, Gunner Asch
wrote:

On Sun, 21 Apr 2013 14:20:04 -0700, Gunner Asch
wrote:

Anyone have any good suggestions for types of lightboxes for product
photography?

I do NOT have a hip slick and cool digital SLR, and even the external
strobe connections are a *******.

Id like to build a lightbox..but it needs to be big enough/rugged
enough.. to put in a dirty, oily part or piece.

Something for shooting photos for Ebay for example.

Ive seen how some Ebay companies like Reliable Tools do it..but I dont
have that kind of floor space (theirs is 50'x50' with huge movable
fill lights in towers on wheels.

So Im going to need something useable with at least 3 strobes and
operational via slave flash.

Anyone have any links etc etc for simple designs suitable for what we
do?

Gunner


Oh..I use Olympus Camedia C-4000s, C-3030s and C-3000 cameras.

Cheap, take good photos and are rugged as hell.

Gunner

You don' need no steenkin' lightbox. About any aimable strobe
compatible with your camera will suffice, just one will suffice
nicely. The other accessory would be an aluminized umbrella,
available for about $30. The backwards-aimed strobe bounces off the
umbrella. Many excellent professional photos of technical objects,
including photos for glossy corporate annual reports, have been
done this way with a single bounce strobe. Been there, seen that
done. The pro photographer was Al W at Honeywell, Inc.

I've used an Olympus FL-40 which works with my old Camedia 2500 and
will also work with C 3030, C 4040 and C 5050.

"DoN. Nichols" wrote:

On 2013-04-27, Michael A. Terrell wrote:

[ ... ]

You're welcome. My camera no longer remembers the date & time. The
battery is supposed to be on the main board, but the battery part number
draws a blank. I an going to wait till I have the new air conditioning
in place, and a new workbench finished so I have plenty of light and I'm
less likely to lose any of those tiny screws.

A suggestion from the watchmakers and jewelers people, who deal
with this problem all the time.

Set up a frame which pulls out from the bench like a drawer, but
which has a soft light cloth attached slackly in the frame, so small
screws and parts dropped won't bounce off to never-never land, and will
simply roll to the lowest point in the middle and wait patiently to be
recovered.


I like a slight lip on the edges of the bench, to keep things from
rolling off.

On 2013-04-29, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

[ ... ]

A suggestion from the watchmakers and jewelers people, who deal
with this problem all the time.

Set up a frame which pulls out from the bench like a drawer, but
which has a soft light cloth attached slackly in the frame, so small
screws and parts dropped won't bounce off to never-never land, and will
simply roll to the lowest point in the middle and wait patiently to be
recovered.


I like a slight lip on the edges of the bench, to keep things from
rolling off.

Yes -- that is good -- but tiny screws tend to bounce and hop
over the lip -- and then go hiding down there on the floor. Or -- I
have found them in the cuffs of pants which had cuffs -- after a half
hour looking on a white tile floor. :-)

Enjoy,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

"DoN. Nichols" wrote:

On 2013-04-29, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

[ ... ]

A suggestion from the watchmakers and jewelers people, who deal
with this problem all the time.

Set up a frame which pulls out from the bench like a drawer, but
which has a soft light cloth attached slackly in the frame, so small
screws and parts dropped won't bounce off to never-never land, and will
simply roll to the lowest point in the middle and wait patiently to be
recovered.


I like a slight lip on the edges of the bench, to keep things from
rolling off.

Yes -- that is good -- but tiny screws tend to bounce and hop
over the lip -- and then go hiding down there on the floor. Or -- I
have found them in the cuffs of pants which had cuffs -- after a half
hour looking on a white tile floor. :-)


Pants, in Florida? Are ye insane, man? ;-)

Items with small screws are serviced on colored carpet samples, and a
foot front the edge of the bench.

On 2013-05-02, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

On 2013-04-29, Michael A. Terrell wrote:

[ ... ]

I like a slight lip on the edges of the bench, to keep things from
rolling off.

Yes -- that is good -- but tiny screws tend to bounce and hop
over the lip -- and then go hiding down there on the floor. Or -- I
have found them in the cuffs of pants which had cuffs -- after a half
hour looking on a white tile floor. :-)


Pants, in Florida? Are ye insane, man? ;-)

I may be insane (I haven't been tested recently), but I'm not in
Florida. I had that pants cuff experience in an Army lab on raised
white tile flooring, and with overly-aggressive air conditioning.

Items with small screws are serviced on colored carpet samples, and a
foot front the edge of the bench.

Hmm ... solid colored? Patterns could act as camouflage and
make it more difficult to find things.

Enjoy,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

"DoN. Nichols" wrote:

On 2013-05-02, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

On 2013-04-29, Michael A. Terrell wrote:

[ ... ]

I like a slight lip on the edges of the bench, to keep things from
rolling off.

Yes -- that is good -- but tiny screws tend to bounce and hop
over the lip -- and then go hiding down there on the floor. Or -- I
have found them in the cuffs of pants which had cuffs -- after a half
hour looking on a white tile floor. :-)


Pants, in Florida? Are ye insane, man? ;-)

I may be insane (I haven't been tested recently), but I'm not in
Florida. I had that pants cuff experience in an Army lab on raised
white tile flooring, and with overly-aggressive air conditioning.


Air conditioning in the shop? I'm lucky to be able to afford the
window AC for my bedroom, and set it for 80° F. It's shorts, a thin
tee-shirt and a fan aimed right at me.


Items with small screws are serviced on colored carpet samples, and a
foot front the edge of the bench.

Hmm ... solid colored? Patterns could act as camouflage and
make it more difficult to find things.



Always solid colors. I keep a half dozen different colors so I can
pick one that has good contrast to what I'm working on.

On 2013-05-04, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

On 2013-05-02, Michael A. Terrell wrote:

[ ... ]

Pants, in Florida? Are ye insane, man? ;-)

I may be insane (I haven't been tested recently), but I'm not in
Florida. I had that pants cuff experience in an Army lab on raised
white tile flooring, and with overly-aggressive air conditioning.


Air conditioning in the shop? I'm lucky to be able to afford the
window AC for my bedroom, and set it for 80° F. It's shorts, a thin
tee-shirt and a fan aimed right at me.

Air conditioning in an Army R&D lab -- not a shop. I still
wound up taking apart things with small screws and other parts.

And the government paid for the AC, not me (at least not just
me). And Northern VA near DC gets quite hot and quite humid in the
summer, so it is really needed, especially where sensitive measurements
are being made.

Items with small screws are serviced on colored carpet samples, and a
foot front the edge of the bench.

Hmm ... solid colored? Patterns could act as camouflage and
make it more difficult to find things.

Always solid colors. I keep a half dozen different colors so I can
pick one that has good contrast to what I'm working on.

Sounds like a good idea. I'll remember that one.

Thanks,
DoN.

--
Remove oil spill source from e-mail
Email: | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

"DoN. Nichols" wrote:

On 2013-05-04, Michael A. Terrell wrote:

"DoN. Nichols" wrote:

On 2013-05-02, Michael A. Terrell wrote:

[ ... ]

Pants, in Florida? Are ye insane, man? ;-)

I may be insane (I haven't been tested recently), but I'm not in
Florida. I had that pants cuff experience in an Army lab on raised
white tile flooring, and with overly-aggressive air conditioning.


Air conditioning in the shop? I'm lucky to be able to afford the
window AC for my bedroom, and set it for 80° F. It's shorts, a thin
tee-shirt and a fan aimed right at me.

Air conditioning in an Army R&D lab -- not a shop. I still
wound up taking apart things with small screws and other parts.

And the government paid for the AC, not me (at least not just
me). And Northern VA near DC gets quite hot and quite humid in the
summer, so it is really needed, especially where sensitive measurements
are being made.


Some days it's over 100 degrees and quite humid in my shop.


Items with small screws are serviced on colored carpet samples, and a
foot front the edge of the bench.

Hmm ... solid colored? Patterns could act as camouflage and
make it more difficult to find things.

Always solid colors. I keep a half dozen different colors so I can
pick one that has good contrast to what I'm working on.

Sounds like a good idea. I'll remember that one.


I used to find them at flea markets for 25 cents. The last pieces I
bought were $1 each. They have fabric sewn around the edge, which is the
first place to look for missing screws or small parts. I also have a
couple hundred empty pill bottles to store hardware while waiting on
parts.