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#1101 David Beard

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Posted 10 July 2012 - 06:07

Though close, it seems the border color was matched by eye. In case you're not sure how, take a sample of the image color you want to use as a border using the eyedropper tool in PS... then use as your border color. I


I actually used the facility you describe, but in Topaz Adjust. Perhaps I didn't take the sample from the best part of the shot?

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#1102 E1pix

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Posted 10 July 2012 - 07:12

I thought you might have because the gold is from the same hue — or matched by eye. Maybe you sampled it from the darkest "feathery" golds left of the handle base?

Personal preference, really. It looks great regardless, a lighter gold that represents more of the overall image golds might "fit" better... or at least that's what I do in similar cases. But I'm being really nitty gritty (and I think you know I'm not being at all harsh here).

It's a great image with or without any adjustment. You're on to a really nice technique, which of course only works when an image is as strong as this is! :up:

#1103 elansprint72

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Posted 12 July 2012 - 22:49

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Le Mans Classic. Calm before the storm; most folks only ever see this tunnel under the track jammed with people.

I was on the accreditation journey of discovery- even when you are working for the event organiser and have been assured of a one-stop sign-in process it seems that much driving thro' check-points and schlepping for miles is the order of the day. However; if it had gone exactly according to plan, this shot would not be in the book. :smoking:

Edited by elansprint72, 12 July 2012 - 22:50.


#1104 elansprint72

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Posted 11 August 2012 - 21:38

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#1105 E1pix

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Posted 11 August 2012 - 22:07

Oh Man, is that ever cool! :up: :up: :up:

#1106 elansprint72

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Posted 12 August 2012 - 22:05

Oh Man, is that ever cool! :up: :up: :up:

Thanks E1, finally I have a computer which puts me back in the same place as my 1970 darkroom! It takes about the same amount of time to produce a print- however, the result can be saved and replicated! 16gB ram, i7 quad-core, whatever that means. :confused: Damn I miss the smell of fixer on my hands!


#1107 E1pix

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Posted 12 August 2012 - 22:45

Yep, that sounds great. WOW, 16gb of RAM! Is it a Mac? That'll do Ya for a long time, even for your 4x5s! I hope you're scanning and making use of those. I am but am stuck on 4gb for now and doing 600mb files. (meaning, :rolleyes: :drunk: :cry: )

You've surely figured out the BW conversions, quite lovely. Love the borders as well... but it appears like the guy wouldn't agree in it being a fun moment for him. :evil:

I kinda sense you initially "embraced" the digital nonsense kicking and screaming as have I. But for things like printing and matching, it's quite unreal. My old optical lab prints can't touch what I can do myself now, as with yours I suspect. Technology has destroyed all my art careers but in the end might allow us to live on the road for years. Maybe I'm finally "getting even." The real problem is re-inventing my life's work, either I'll get it done or Guinness will make a fortune. :)

Keep up the stunning work. :up:

#1108 E1pix

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Posted 18 August 2012 - 01:33

I would like to welcome you to the BB like I would anyone sharing our passions for images and sport.

It's worth mentioning, though, that your giving away your work might not endear you to some here, either. You see, some of us actually rely on our work to buy our bread as our careers. Not to mention, per the rules here, it's not a good idea to PR yourself on your 10,000th post, much less your first.

Ahem, you might well be mistaking 'Prima Donnas' with professionals... who see you taking away their business in the worst way... just like you might if I offered to do your job for free.

#1109 David Beard

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Posted 21 August 2012 - 21:15

"Pit lane rain"

Photo deleted after an unfavourable comment from a well known TNfer when posted elsewhere :(


Edited by David Beard, 22 August 2012 - 19:26.


#1110 kayemod

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Posted 28 August 2012 - 14:33

This should really be in the 'paddock shots' thread, but I've only just found today and quickly scanned it.

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It's from 1968, I'd just seen Jackie Stewart win the Oulton Gold Cup. I ducked under the rope 'barrier' into the paddock, tried to look as if I belonged there, not too easy when you're a lanky teenager, and got this pic of Jackie and Ken Tyrrell, JYS clutching the trophy itself.

I took this on an Olympus 35 compact of some kind, it could even have been the Kodak Retinette I had before that, on Agfa CT100 slide film. The slide has held up well over 44 years, just scanned it on my Nikonscan LS-50. A slight crop will help, but any suggestions for minimising the slight crazing in the sky areas? I'll do a bit of work on this when I get a moment, I'm sure I can improve it somehow. I've just scanned it exactly as I found it, any suggestions for cleaning etc that aren't going to risk doing any damage?

I've just posted this on the 'Golden Age' thread to illustrate a point, but I'll probably get more helpful expert comment on here. Quite an interesting 'find' after all this time, I'd forgotten all about it. I'll keep on looking, there may be more from Oulton and Aintree, mostly back in the late 60s.


#1111 elansprint72

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Posted 28 August 2012 - 15:14

Rob,
Do you have Photoshop Elements, or some-such thing? It's dead easy to clean up things like this (and correct the exposure!) but why do you want the empty, bald sky anyway? If you want me to clean it up, my usual fee applies... bugger all, just ask. ;)


EDIT: Job done- check your PMs.

Edited by elansprint72, 28 August 2012 - 15:28.


#1112 elansprint72

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Posted 28 August 2012 - 15:17

On the subject of scanners; my new PC is 64 bit, no idea what that means but evidently Canon do not produce a 64-bit driver for my scanner/copier; this is a nuisance because now I'll have to plumb the scanner into our old PC upstairs,scan and save the files to memory stick and take that down to the new PC. Progress, eh?

Edited by elansprint72, 28 August 2012 - 18:44.


#1113 kayemod

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Posted 28 August 2012 - 15:54

Rob,
Do you have Photoshop Elements, or some-such thing? It's dead easy to clean up things like this (and correct the exposure!) but why do you want the empty, bald sky anyway? If you want me to clean it up, my usual fee applies... bugger all, just ask.;)


EDIT: Job done- check your PMs.


Yes Pete, I have the Adobe CS5 full monty, but don't use the Photoshop part much, I prefer Nikon Capture NX2, or even View NX for photo work, though I wouldn't claim to be very expert with any of these, as some may have noticed from past offerings. That's the full 36 x 24mm slide, scanned exactly as it fell out of the box, I didn't even dust it. I'll have to work back through this thread to find some help on looking after ancient slides, but I'm still getting over the shock of finding the thing, who knows what may still lurk in the cupboard over the stairs?

On your scanner question, I can help. I too have a 64bit Windows 7 computer, and I had the same problem. To the great annoyance of many, Nikon have abandoned us, deciding that it wasn't worth bothering to do updated drivers etc, and the old 32bit NikonScan software is useless on 64bit computers. My IT expert got a copy of some US software called VueScan Professional, he loaded this for me, and it works perfectly, even better in many respects than the original NikonScan software, and I imagine it would work with your Canon just as well. Not a cheap solution, but I can't recommend it too highly, it makes what must be the best slide scanner ever, into something even better. I'm still finding my way with it, but I expect I've lost all the clever dust & scratch removal features of the Nikon software, though it might have something similar hidden away somewhere.


#1114 E1pix

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Posted 28 August 2012 - 21:14

Be forewarned this is one of my infamous long posts because this is a worthy topic we all struggle with!

First, Kayemod's Stewart image is incredibly nostalgic and worthy of what I'll drone on about here... I've heard good things about VueScan, here's some other and general ideas for re-inventing our old slides.

I scan most of my 35mm slides with a Nikon 5000ED with a bulk loader. I use NikonScan for the later films like Fuji 50 and Velvia, and it's wonderful how NikonScan handles the gunk with Digital ICE. Once scanned at full-res, I average 2-4 minutes per 60 mb slide to clean and crop with preset 3:2 horizontal and vertical marquee tool crops in Photoshop. The shortcoming of NikonScan is lack of scanning profiles so the scanner recognizes how Kodachrome responds vs. Velvia, despite their "Kodachrome" setting. Luckily Velvia comes our fairly neutral but Kodachromes are still quite cold (blue cast) and the ICE doesn't work with Kodachromes so on to a long dusting of each image. Maddening. Enter SilverFast.

Yes Guys, Nikon did abandon us, bloody terrible as a 25-year user of their equipment. I feel the very same way and almost jumped to Canon for digital bodies (which I've yet to buy, but staying with Nikon with either a D700 or D800). Regarding SilverFast, they make a software version for the Nikon scanners and have no intention of dropping support for them in response to a market for abandoned shooters like us. Their full-boat version includes a function called Multi-Exposure that does two scans and merges them for faaaaaar more shadow detail. The upside of that app is it's current, and you can buy IT8 film targets. Basically, you put the target in the scanner, it's basically a color chart on a slide. The SilverFast IT8s are great, the ones from Wolf Faust are individually-measured for accurate and are a little better (he's a great guy also). The app has a profile creator so you scan the target and it automatically builds a profile that you select for scanning your film type. SilverFast also has canned profiles for several BW films like Tri-X, Pan-X, etc. I've got IT8 targets and custom profiles made now for Kodachrome, Ektachrome, Velvia, and Provia. The difference between these and using NikonScan is enormous in color accuracy per each film type.

The downside, though (always has to be those buggers, Hey???) is SilverFast doesn't include Digital ICE, at least not in the Mac version. They have their own patented methods but I still find it slow and too prone to operator error compared to ICE. I was a teenager for my oldest shots and didn't care well enough for them, many, many slide shows and general lack of knowledge left me with some dirty and scratched images. A couple things I do is wash with film cleaner with cotton balls, and then cotton swabs to clean to edges along the mounts. Actually, I use a product called KAMI Scanner Mounting Fluid which I stock for reasons below. Pre-cleaning like this probably saves 80% in cleanup time, and it's fairly benign, meaning I have yet to have it damage any slides partly as it evaporates quickly and cleanly.

For a really filthy and scratched image, I use a technique taught me by a lab owner. It's scary as heck initially, but all you need is chrome tape, some distilled water, cotton balls, and a hair dryer. You unmount the slide (Carefully, especially with cardboard mounts!), do a quick clean with film cleaner or scanning fluid (I soak a cotton ball and work the film between my thumb and fingers to wash it, and give a quick dry with dry cotton), then seal the image to a clean light table or smooth surface with the tape. Drench the cotton in the distilled water, and wash the image lightly but thoroughly for a minute or so. Roll the cotton ball into a bedroll shape and squeegee off the excess water. Put the hairdryer on LOW, just a semi-warm setting on high speed, and dry it until it's shiny again. You will be well shocked, if there's no scratches it looks like the day the lab gave it to you. On the base side you'll still have deep scratches (except for 4x5 Velvia because it has an "emulsion-like" layer on the base side), but when you un-tape it and wash/dry the emulsion side it will fill all but the deepest scratches in the emulsion. One trick here is to fingernail-seal the tape overlaps, you don't want any water seeping under (though it won't really hurt anything, it just means you have to re-do the first side).

Okay, still awake??? Good. I also use an Epson V750M-Pro scanner, bought to scan 4x5s but of late it's proving a lifesaver with old Kodachromes. Quickest solution I've found and I've been looking for 10 years. The reason is you can wet-scan! You unmount the image or several of them, or a film strip, lay down a piece of clear mylar, squirt the KAMI fluid and slip in the slide. You then "squeegee" out the air bubbles with Photex Scanner Wipes, and the SilverFast software squares up each image regardless of how level you laid them down. You can even pre-scan a batch and then walk away while they scan to your preset. I've re-done some images that took an hour to clean and now they take a couple minutes like with NikonScan and Velvias. This scanner was $800 and the app around $300 I think, a lot of money for sure, but with my wanting [Edit: NOT wanting :rolleyes: ] to spend the rest of my life scanning it was worth every penny to me. One more thing I haven't researched is there's manufacturers out there who make "wet-scan slide mounts" which might be just the thing for using the Nikon scanner with old chromes. Worthy of exploration for sure.

Per Dust & Scratch features, Photoshop has those for you. The Median and Reduce Noise functions are also great with grainy images. With bad scratches, you can use the Lasoo tool in Photoshop and just outline (select) the scratch and apply a Median filter to the scratch, works well in most cases for hiding the scratch somewhat. I dupe the Background layer if it needs major help, or to make as a Sharpening layer once cleaned. The background Layer itself is never corrected throughout my processes except for normal dusting. I do all my corrections in Layers, typically a Curve layer, a Hue/Saturation Layer above that, and a Selective Color Layer at top (which is awesome!), and I save as LZW tiff which takes away maybe a third of file size but at no loss to quality whatsoever (the only compression I know of that can say that). As always these functions do reduce clarity a hair, but for getting these done before we die it's worth it.

I'm happy to help if I can, we're all in the same boat.

Edited by E1pix, 28 August 2012 - 23:25.


#1115 Julian Roberts

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Posted 28 August 2012 - 21:48

All I can add, is that I wish JYS would revert to that hairstlye as opposed to the 70's throwback cut he's sported fo the last 40 + years.

#1116 elansprint72

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Posted 29 August 2012 - 08:12

All I can add, is that I wish JYS would revert to that hairstlye as opposed to the 70's throwback cut he's sported fo the last 40 + years.

I have always assumed that he's been working towards some sort of life-time award for the worst haircut ever; for all his wealth and world travel it seems that he's never managed to find a barber who know what he's doing. Does Helen cut it for him?  ;)

#1117 kayemod

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Posted 29 August 2012 - 08:51

For anyone still interested, this is the Jackie'n Ken pic after a skilled photo technician (Pete elansprint) spent a claimed "two minutes" fiddling with it.

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I rarely do anything more than minor tweaks to my digital images, and more recent slides haven't needed much doing to them, but if I dig out any more of these 40+ year old relics, I'll have to take it all a bit more seriously. A problem we all faced in those days was the cost of photography, wandering around a paddock these days, we'd all take hundreds of pics, but back then I only had one film that probably already had some exposures on it when I arrived at Oulton Park, and I'd made that journey by hitch-hiking from Manchester. Thinking back, my camera must have been my first 'proper' one after a Brownie box, it was a Kodak Retinette 1A, a birthday present that probably cost something like £10.00 secondhand. My Nikon era didn't begin until I started a proper job several years later, but I knew from very early days that a 'good eye' was absolutely priceless, if you haven't got that, no amount of expenditure will improve your results.

#1118 kayemod

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Posted 29 August 2012 - 09:04

And this is it, anyone else get started with one of these?

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I don't think it cost as much as £20.00 when new, how much would a 36exp Agfa CT100 slide film have cost in those days?

#1119 David Beard

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Posted 29 August 2012 - 12:09

For those who are fed up with my computery experiments...I've just bought a film for my Canon A1

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It belonged to my late father in law. Still works a treat, unlike the later T90 I also have from him.

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#1120 IanMH

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Posted 29 August 2012 - 14:43

this was my effort Rob...cropped it... selected the sky with the magic wand...desaturated it...brushed out the blemishes with the clone stamp...and applied auto-colour and a little bit of shadow/highlight with PS CS1...indeed only two minutes work!..

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I love Photoshop...but is this a step too far? What do you think?!...


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Cheers Ian :wave:

#1121 uffen

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Posted 29 August 2012 - 15:45

Looks good, IanMH, but what's the blob in front of Ken's eye? Sunglasses that have lost definition?

#1122 kayemod

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Posted 29 August 2012 - 16:55

Looks good, IanMH, but what's the blob in front of Ken's eye? Sunglasses that have lost definition?


Pete elansprint certainly got the better of you there Ian, did you miss that? I'd guess that the partially obscured objects some way behind Ken are two speakers on a pole.

"To get rid of the green thing sticking out of the front and back of Ken's head I zoomed right in to single pixel view- hold down "Ctrl" key and repeatedly press "+" key until you get to required magnification, then I used the "clone stamp tool" again but with the size of the tool reduced to just a couple of pixels."

Any more efforts? We could all judge them, awarding marks out of ten.

I met Jackie Stewart several times in 1971, as I made and fitted the seat for his Lola T260 CanAm car. I didn't have the temerity to mention that we'd 'met' before at Oulton Park three years earlier. How's that for progress though, starstruck fan to bespoke seat moulder and fitter to F1's stars in three short years.

Edited by kayemod, 29 August 2012 - 17:06.


#1123 IanMH

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Posted 29 August 2012 - 17:42

Damn!...this was my second attempt... :lol:

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Cheers Ian :wave:

#1124 E1pix

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Posted 29 August 2012 - 20:26

Couldn't help myself, had to give it three minutes ;)

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#1125 JacnGille

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Posted 29 August 2012 - 21:06

Hold on while I look for my box of crayons. :)

#1126 IanMH

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Posted 29 August 2012 - 21:51

fully understand your cynicism, Jacngille...you probably hate photoshop as much as I hate Facebook and Twitter!...but that's progress for you...but if the technology is there , why not use it? many of the Pros do!... Cheers Ian :wave:

#1127 E1pix

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Posted 29 August 2012 - 22:25

Hold on while I look for my box of crayons. :)

Nah Ian, he's just giving me a bad time 'cause we're buddies... I think we're buddies anyway. Pretty much almost sure. ;)

By the way, I love your shots above, very nice. I went into this "progress" ("pro" should be swapped for "re" in my artistic opinion) kicking and bellering like a little girl but had no choice... unless I wanted to flip burgers or somethin'.

Funny how now I sometimes get accused of being a Techno-Geek, and that being my baseline for photography, when I've been shooting for 37 years. My primary camera's wood for crying out loud! :lol:

Thanks, Ian. :up:

#1128 Frank S

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Posted 30 August 2012 - 01:57

I left my box of crayons in the back window of the car, driving across the desert, so they make a better Pan flute than image markers.

The spidery stuff in the upper left looks like mold to me. I don't know the Default World cure for that, but in Photoshopland a meticulous processor could make it disappear. I'm not real strict about spots and whatnot, since toi me they seem to be in the realm of patina, if they aren't stuck to the end of someone's nose, so to speak.

My contribution will be to "open up" the shadows a tad. Maybe oversharpened even more of a tad?

Any road, I really like the moment that was captured here; even Mr Stewart's closed eyes have a meaning all their own.

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#1129 Slurp1955

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Posted 30 August 2012 - 06:52

"Any road, I really like the moment that was captured here; even Mr Stewart's closed eyes have a meaning all their own."

My instinct is that Jackie doesn't have his eyes closed at all, but is looking in to the cockpit of the Matra. Would you close your eyes stood on one leg ? Great shot by the way, JohnP :cool:

Edited by Slurp1955, 30 August 2012 - 06:53.


#1130 E1pix

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Posted 30 August 2012 - 19:29

I left my box of crayons in the back window of the car, driving across the desert, so they make a better Pan flute than image markers.

Yes, our first time in Death Valley yielded a book called Death Valley's Victims. Left it on the dash for an hour in July. Newest victim. :smoking:

#1131 Alan Cox

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Posted 09 September 2012 - 09:39

Donington Park 1996 - Thomas Bscher's Birdcage
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#1132 Phil Rainford

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Posted 09 September 2012 - 21:14

From a Sprint at Three Sisters today....

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PAR





#1133 TimRTC

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Posted 18 October 2012 - 13:30

Some rain soaked highlights from the Blancpain Endurance Series:

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The Super Trofeo safety car continues to lead by Tim R-T-C, on Flickr

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Christopher Mies racing hard at Silverstone by Tim R-T-C, on Flickr

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The Ecurie Ecosse Z4 rounding Copse by Tim R-T-C, on Flickr

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The marshalls give the drivers a Le Mans style congratulations by Tim R-T-C, on Flickr

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The Pro Class drivers celebrate on the podium by Tim R-T-C, on Flickr

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Andrea Amici takes the chequered flag by Tim R-T-C, on Flickr

#1134 WDH74

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Posted 19 October 2012 - 23:03

And this is it, anyone else get started with one of these?

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I don't think it cost as much as £20.00 when new, how much would a 36exp Agfa CT100 slide film have cost in those days?


I realize this post is a few months old, but I almost bought one of these at the flea market a couple of weeks ago. I think they wanted $40 for it. I passed, since I was really looking for a TLR or an old Polaroid.

And, in the spirit of sharing (apologies if this has appeared before). Taken this past summer at Road America

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Datsun by William 74, on Flickr

Edited by WDH74, 19 October 2012 - 23:05.


#1135 TimRTC

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Posted 31 October 2012 - 08:16

Two things, firstly a little rant:

I was up at Croft at the weekend for the Rallycross Grand Prix and am just getting so fed up with the "professional photographers" at these events. Stood at the bottom of the track on the dirt (near the old Samson (?) corner) there is a viewing section on the in-field with audience barriers then metal barriers closer to the track. Obviously a lot of fans had set up here to get some good photos and most had been there all day. There were some media photographers too who had arrived and were careful not to get in the way of the public photographers, then there were others who just walked around in front of the paying fans, one chap was not even looking at the racing, just wondering back and forward playing with his camera while blocking people's shots. Now I understand the need for some professional photographers for publications like Autosport, but does a meeting like that really need a dozen photographers since it receives minimal press coverage? Plus, since they have full track access, why do they flock to duplicate the a general admission viewpoint? Just very frustrating.

On a better note, I am aiming for a new camera over the winter down-time and thinking of the new Canon 6D. Can anyone recommend a good Canon telephoto to match that has good low light performance and quick focusing (wanting a relatively compact lens). Thanks.

#1136 kayemod

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Posted 28 November 2012 - 11:43

We've discussed the wonderful work of O Winston Link before in this thread, and some of his photos have been posted, but many will be interested to know that a book of his creations has been published.

http://www.dailymail...aphs-1950s.html

Some of the images reproduced in this Daily Mail article were new to me, and as we all know his lighting source for the night shots was an unimaginable number of single-use flash bulbs, cleverly rigged to fire simultaneously. I was amused by the writer's terminology in describing this as "moribund technology", but I suppose they'd use that term for anything less than a modern camera-phone.

#1137 Stephen W

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Posted 29 November 2012 - 09:39

I was up at Croft at the weekend for the Rallycross Grand Prix and am just getting so fed up with the "professional photographers" at these events. Stood at the bottom of the track on the dirt (near the old Samson (?) corner) there is a viewing section on the in-field with audience barriers then metal barriers closer to the track. Obviously a lot of fans had set up here to get some good photos and most had been there all day. There were some media photographers too who had arrived and were careful not to get in the way of the public photographers, then there were others who just walked around in front of the paying fans, one chap was not even looking at the racing, just wondering back and forward playing with his camera while blocking people's shots. Now I understand the need for some professional photographers for publications like Autosport, but does a meeting like that really need a dozen photographers since it receives minimal press coverage? Plus, since they have full track access, why do they flock to duplicate the a general admission viewpoint? Just very frustrating.


It was always the way. I used to always pick-up a couple of empty Coke cans then flatten them on my way into race meetings. I found them useful to throw at photographers who swanned up at the last minute to block my view. I had to use them on a surprisingly frequent basis. Once on the RAC Rally I had been in situ for over an hour on the side of a windswept hill in Yorkshire when a film crew came along and plonked themselves in my direct line of sight. Not having a Coke can I used a piece of turf to draw their attention. When I suggested that they move to the other side of the track where (a) they would not be blocking the paying spectators and (b) they would get a better view of the whole track, they were quiet offensive. I pointed out the large number of half bricks piled up a dozen or so yards away and suggested that they would cause a lot of damage to their precious cameras and lenses - at this point they moved.

I suspect it is the digital age that has produced this sudden increase in so called "professional photographers" but how they make a living is beyond me as I have struggled to break even for the last 20+ years. I suspect they just want to get a closer view!

#1138 Marticelli

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Posted 21 January 2013 - 15:52

This may not be the right place to air an issue about copyright and fair use of images, but I have recently struck an unexpected problem. A well known photo-library which has thousands of old images recently sent me A4 prints of two B&W images of a Bleriot Whippet which was raced at Brooklands circa 1922. As Blackburne Marque Specialist in the VMCC I am assisting with the creation of a faithful replica of this car, and these images are all that we can find of the vehicle from which we hope to be able to fashion authentic replica bodywork on an original chassis.

I mentioned in passing to the library that I have scanned these images so that I can discern small details not easily seen by the naked eye, and I got a very shirty email stating I had infringed the terms of the copyright under which these images were supplied which specifically precludes the copying of the prints in any way for any purpose, even it seems for one's own perusal within the confines of one's own home.

As far as I can ascertain, such private and personal use is covered by the term 'Fair Use' and should be beyond the scope of any normal copyright condition. After all, I can if I wish shred, burn, deface or do anything else to my property provided I do it privately. What do others think? I am perplexed!! :confused:

Marticelli

#1139 alansart

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Posted 21 January 2013 - 16:39

This may not be the right place to air an issue about copyright and fair use of images, but I have recently struck an unexpected problem. A well known photo-library which has thousands of old images recently sent me A4 prints of two B&W images of a Bleriot Whippet which was raced at Brooklands circa 1922. As Blackburne Marque Specialist in the VMCC I am assisting with the creation of a faithful replica of this car, and these images are all that we can find of the vehicle from which we hope to be able to fashion authentic replica bodywork on an original chassis.

I mentioned in passing to the library that I have scanned these images so that I can discern small details not easily seen by the naked eye, and I got a very shirty email stating I had infringed the terms of the copyright under which these images were supplied which specifically precludes the copying of the prints in any way for any purpose, even it seems for one's own perusal within the confines of one's own home.

As far as I can ascertain, such private and personal use is covered by the term 'Fair Use' and should be beyond the scope of any normal copyright condition. After all, I can if I wish shred, burn, deface or do anything else to my property provided I do it privately. What do others think? I am perplexed!! :confused:

Marticelli



If the terms of copyright say so then that's the case. Their argument being that if you wanted enlargements of various areas then they should provide them. In reality it's a bit nitpicking. Perhaps you could apologise to them pleading ignorance but that you would be happy to publicly acknowledge their help once the car is complete and available for the public to view.

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#1140 E1pix

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Posted 21 January 2013 - 18:49

Perfectly stated, I agree with Alan on all counts. :up:

I realize it does come off as harsh, but as a photographer ruthlessly pilfered on many fronts in the digital age, I understand it. The problem Marticelli is us guys in the creative fields have been robbed so many times, in a market that often pays dimes on the dollar for our life's work that we paid to produce — often entirely at our expense and hoping to get paid back someday — that we're all fed up with watching our efforts be either stolen or grossly underpaid. In my case I spent over a half-million dollars on my files and am about to live on the road to save expenses and try to resurrect what's left, so I understand more than most. ( :mad: )

If this was me, and you wrote to apologize and claim ignorance as Alan said, I'd understand. Try to put yourself in their shoes, and how you'd feel if it were your bread-earner. Just go easy 'cause the alternative isn't good.

Thanks for re-firing Pete's thread! I miss him around here, though we've been in touch via email.

Edited by E1pix, 21 January 2013 - 18:50.


#1141 E1pix

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Posted 21 January 2013 - 18:57

I suspect it is the digital age that has produced this sudden increase in so called "professional photographers" but how they make a living is beyond me as I have struggled to break even for the last 20+ years. I suspect they just want to get a closer view!

Dead on the money.

What I can say, in defense of my business and associates in photography, is that the "weekend warriors" are typically the ones oblivious to the fans in this way. In many cases they seem to intentionally be rude as if they're better. Seen it a hundred times when credentialed, drove me batty and I'd often make comments to the infringers. Personally, when I walked in front of anyone shooting from the fan spots I excused myself so I didn't ruin their image, having a credential was an honor not a reason to gloat, and I've found most professionals feel this way as well. The higher the caliber of event, the less the issue as well.

#1142 Marticelli

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Posted 21 January 2013 - 22:02

The problem Marticelli is us guys in the creative fields have been robbed so many times

Ah, but I think you perhaps missed my point... I am talking about archive images which were taken 90 years ago, not the work of still living 'creative people'. I have absolutely no desire to rob anyone living of their rights to their creative work, but if I buy an image as a valid copy for a market price which reflects the fact that this is a good image, then I am surely entitled to look at it? If that entails looking at it by scanning, enlarging and enhancing it so as to see detail obscured by shadow or simply because its too small to see with the naked eye, that must be possible - to suggest otherwise I think is nonsense.

I have no need to publish the resultant scan, merely look at it in my own study, make measurements from it and as a result help recreate the actual vehicle in the image, as countless others have done in recent years as described on TNF... Nor do I stand to gain by this process, quite the reverse.

Marticelli


#1143 E1pix

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Posted 21 January 2013 - 22:08

I wasn't at all trying to be argumentative, just backing Alan up and explaining why copyright issues have gotten so heated. I said nothing about your specific case.

#1144 TimRTC

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Posted 28 January 2013 - 13:42

Been off the scene for a bit over the winter months, but now in the process of buying a new camera for the 2013 season. Considering the new Canon 6D as it is reportedly very good in low light. Anyone tried it or heard any feedback on this model for motorsports style shots?

#1145 D_M_J

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Posted 30 January 2013 - 13:06

Been off the scene for a bit over the winter months, but now in the process of buying a new camera for the 2013 season. Considering the new Canon 6D as it is reportedly very good in low light. Anyone tried it or heard any feedback on this model for motorsports style shots?


I haven't used the 6D, so can't really comment on how good it is, looks a very capable camera though. The main thing I would consider, is whether you would be happy using a 'full frame' camera for motorsport shots, or prefer getting a little more reach (focal length) from a 'crop' body. I've used both, but I'm not sure I could get by without the extra reach at times.

Also, make sure any lenses you've got work on the 6D.

Cheers,
David :)

#1146 David Beard

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Posted 30 January 2013 - 13:10

I haven't used the 6D, so can't really comment on how good it is, looks a very capable camera though. The main thing I would consider, is whether you would be happy using a 'full frame' camera for motorsport shots, or prefer getting a little more reach (focal length) from a 'crop' body. I've used both, but I'm not sure I could get by without the extra reach at times.

Also, make sure any lenses you've got work on the 6D.

Cheers,
David :)


I think I might prefer a second hand 5D Mk2 now that the expensive Mk3 is out. Isn't the 6D a rather plasticised full frame?

#1147 kayemod

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Posted 30 January 2013 - 13:28

I think I might prefer a second hand 5D Mk2 now that the expensive Mk3 is out. Isn't the 6D a rather plasticised full frame?


I'm a lifelong Nikon user, and while agreeing with the last two posters, it worries me slightly that both Canon and Nikon seem to be trying to steer their 'professional' users into full-frame bodies. Like D-M-J I find that my cropped frame, DX in Nikon parlance, D300 suits me just fine, but all new Nikon bodies in their professional range are full-frame FX, when I eventually replace my D300, I really don't want to move down to something cheaper with all-plastic construction, in order to stay with a cropped-frame DX format. The two Nikon lenses I use most are an 18-200 and a 12-24, which are effectively 27-300 and 18-36 in use. The 12-24 won't fit on an FX body, though they do make one that does, replacing both a body and my 12-24 is rather more expense than I'm planning for or can justify, I'm really only a snapper these days, so I hope that Canon aren't doing the same thing. Of course, I appreciate the improvements in resolution that FX offers over DX, but I'm sure there are plenty like me who want a solid fully-featured metal body, while staying with their preferred DX cropped-frame format. I can make pin-sharp A3 prints, who needs anything more in normal everyday use?


#1148 Tony Matthews

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Posted 30 January 2013 - 13:43

You could use the DX crop feature which all, I think, FX Nikon bodies allow.

#1149 kayemod

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Posted 30 January 2013 - 14:09

You could use the DX crop feature which all, I think, FX Nikon bodies allow.


Perfectly true, but I'd still have a redundant £800+ 12-24 lens, I think a 14-24 replacement that will work properly on an FX body is over £1300 isn't it?

#1150 David Beard

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Posted 30 January 2013 - 14:40

Perfectly true, but I'd still have a redundant £800+ 12-24 lens, I think a 14-24 replacement that will work properly on an FX body is over £1300 isn't it?


Me no speak Nikon. Funny how it's all different...