Ira Ratner

There probably WASN'T hardly any wind noise, because as a South Florida resident, believe me: Anything the TV stations and their on-air personalities can do to hype up the tension of a hurricane, like that wind noise, they would definitely do. So they sure wouldn't do anything to get RID of that noise. It's their one shot at being famous, important, and noticed--because as a rule, that's all that they live for in the first place. Who the hell decides to become a METEOROLOGIST? And even worse, someone they just send out to report on this stuff?

Are you shooting film or video?

I will continue to live--for now, anyway. Ike is staying south of us and we should only get the outer edge, if it stays on its current track. We got HAMMERED during Wilma three years ago, so we're not taking any chances. I'm headed out today to buy ice for my 5-day coolers anyway. Dave, didn't your Peleng come with rear filters? Mine has three, and it's threaded back there for this very reason. A clear daylight, and a red and yellow for b&w. The trick is, try finding any OTHERS at this tiny size. (Do you remember the size offhand? Maybe these ARE still available for use on rangefinders like Leicas.) I guess you could also rig something to take the large Cokin squares, but I'll cross that bridge when I get to it. The other thing is, you mention it's slow at 3.5, but I don't foresee a problem shooting outdoors in Florida sun with 100D Tri or Ekt. However, every review that I've read for this lens said sharpness-wise, it rocks from 8 to 16, with one guy swearing up and down that 11 is the sweetest spot of all. It's been so long since I shot film, so a question: Shooting at 24fps which is 1/60th under blaring sun with 100ASA, what kind of aperture do you think I'm looking at? I should be able to stop down enough, right? Or for the B&W, should I be looking at 200 Tri instead to be able to stop down that much? For my color reversal, I guess I'm stuck with Ext at 100. Another thing I heard about the Peleng is that not only is flare such an issue that you have to be really careful, but with the sun at your back, your SHADOWS are a PITA to deal with, since the lens captures EVERYTHING. So I plan on buying two inexpensive rechargeable Black and Decker spots to fill the shadows. I wanted to buy them yesterday, but brilliant me didn't make the connection between these lights and the needs of hurricane-terrorized Floridians. (Translation--sold out.) My first testing shoot will be at the Loxahatchee Everglades Preserve, which is just a few miles from me. I figure the place will give me enough variety of panoramic (the preserve) and medium and closeup (nature) to put the equipment to the test. (Plus there's a bar not too far from the Park's entrance, which is always nice.) I'm still looking at about 3 weeks before I start shooting. Still have to buy those lights, plus the film and a TRIPOD, and then I'm good to go. I don't want to make the mistake of buying a cheap one, especially with the gears on that K-3 cranking and having to manually hold the shutter button. THIS tripod will be built like a tank, just like the K-3 itself. By the way: Ever hear of famous New York adman Jerry Della Femina? I worked with him for 10 years before I moved to Florida, and still keep in touch with friends working with his current agency. I also go back every year for a reunion party that he throws for his ex-workers. A GREAT guy!!!

$200 ain't that cheap in my universe: http://www.bhphotovideo.com/c/product/1842...iewfinder_.html But how come it says it can be used for 16mm, but a reviewer says no 16mm?

Thank YOU!!! Posting here is so much easier than having to read books.

Or IS there such a thing: Let's say I'm driving by a strip club with an open window that gives you a great view of the stage. I park the car, walk around, and find the best place to set up the K-3 so no one will catch me when I start shooting the next day. Is there a device or technique that I can use/utilize that will help me determine the focal length I'm going to want to use from that camera position, so I don't have to shlep the entire lens arsenal, and also give me a better idea on which stock I should be thinking about using? As an amateur, I'm of course aware of the framing-a-scene-with-your-fingers gag, but is there a scope that actually does this? If so, my guess is that it would be a simple spotting scope, with different field of views just etched into the finder. And as mentioned, I need it for 16mm.

This guy is CLEVER!!!

Oooops: I found a typo: It's thank you in "advance," not "advanced."

Sean, the one thing I can contribute here is that you're totally on the ball: For 18, you've demonstrated not only your ability to express yourself beautifully, but there wasn't one damn typo or misplaced comma in any of the posts. This is a rare thing for anyone, let alone at 18. Know what I'm talking about? There are skills you'll need for any profession you go into, but the skill of communication is one that will benefit you in ALL of them. And you got it, kid. GOOD LUCK!!!

Nothing black off the sides to give it darker edges? Also, won't ice reflect you in it, and you have to get far way?

By the way: A major hurricane is headed my way (Ike), and I might die. So if I do, it's been nice talking to all of you.

I shot exclusively with Ektachrome and Kodachrome in my 35mm still days (YEARS AGO), and here's the thing: Yes, you don't have the latitude for reversal like you do with negative, BUT... When you're shooting still, you start playing around with both aperture AND shutter speed to make yourself the next Ansel Adams. It's just a BALL shooting at F22 and at 1/30th, or a full second, or B and holding the shutter release cable button down until you feel it's down long enough --you name it. Because what the heck for a still subject when you're on a tripod and just shooting one frame of 35mm? With cine, it's only aperture you're controlling. So in a nutshell, if you're doing your meter readings properly, be it in-camera and/or handheld metering, things shouldn't go that wrong. And it is CRUCIAL to learn the proper methods of metering, because that also affects how you light things. You could light just perfect for your subject, but the background and everything else stinks. Or vice versa. But if you WANT the other to stink, then you're okay. The main thing is, YOU have to control it. The film is what it is. It's not like it changes from roll to roll.

Dave, I haven't shot a single frame yet. I have a totally retarded way of doing things, and I wanted all of my ducks in a row before starting testing my camera. Once my last two lenses arrive, I sit down and make a serious decision on what stocks I'm going to test with, and pre-plan what I'm going to shoot and with which lenses. I figure I'll go with reversal, 100D Ekt and Plus-X to start. The sun in South Florida where I live is weird--it's always there. Or it's raining. Or clouds roll in and out, but we typically don't have what you would call overcast days. I'm in this for the fun. No ambitions of it going anywhere, so I figure with my level of experience (zero), I'm going to lean in a direction where I do a series of similar shoots with the same look and feel. In other words, TRY to develop a style that I can replicate time and time again. That's why the 8mm Peleng was so attractive to me: For better or worse, it sure has style.

The problem with analyzing this stuff is that everyone involved in the production is dead. And you can only believe 10% of what any of the grandkids say about it is because, well, they weren't there, but they enjoy the fame talking about it. Creating revisionist history is nothing new, and if you think Jane Fonda is qualified to comment on what happened on any of her dad's films, I have to strongly disagree. Finally, just because you haven't seen a lighting technique like this elsewhere before doesn't mean it wasn't used elsewhere. In fact, ALL of the greats copy other's techniques. That's what makes them great: They're not necessarily innovative, but they know what to use what when. Grapes of Wrath was a great film that survived the passage of time, but everyone thought so many other movies were thought of as crap, no commercial value, and they threw the existing prints in the garbage. But to get back to my original point which relates to this one: I can guarantee you that no one who watched the above mentioned scene back then thought, "Great lighting! What did that guy use for that!?" Story and acting first.

Jason, you understand the concept of depth of field, right? If not, let us know. Depending on the amount of light and the film you're using...which affects your correct aperture/F stop...that will have a huge impact on any focusing problems.

Close-ups of a chick in a bikini would be nice, but not THAT guy. HAH!!!!!

Ian said: "Focus with the 12.5mm isn't too difficult, you can almost leave it set on infinity the whole time!" And this is what I read today about the Peleng 8mm on a bunch of sites--since I just ordered one today for my M42 K-3. So since we're going all over the road here in this thread, let me continue: From what I've gleaned, I meter based on the outside aperture ring. Then I match that setting with the INSIDE stop-down ring, and hit lock. I ask because this seems to be the same case with my cheap 200mm Lentar. Anyway, I'm done buying lenses, because as of today, I will soon have all of the following: 1) Stock K-3 zoom, 17 to 69. 2) The 8mm Peleng 3) Super Takumar 55mm, 1.8. (Yeah, not the fastest, but what the hell.) 4) Cheap 200mm 4.5 Lentar (TEN BUCKS!!!) 5) Vivitar 28mm 2.8 6) Super Takumar 135mm 3.5 I also had a bid on a Fujinon 43 to 75 zoom, which I just now see that the seller CANCELLED the sale, because it was a no reserve and I guess the price wasn't going anywhere near where he wanted, with the auction ending tomorrow. 5) Super Takumar 135mm 3.5

Thanks, John! (I have to study the sales jargon too.) And Paul--she doesn't do a thing for me. Must have something to do with the politics.

Boy--that's a good point. Seeing it on film, full-screen. I guess now I have to watch it again, since I'm getting into 16 as a hobby. I always thought that an old-fashioned theater showing the good old stuff--totally maxed to the 9s like it was the 30s--would do okay in the right neighborhood. But maybe not because of economics and today's sensibilities. (I mean, there's not a single alien in "Grapes of Wrath.") I love the scene change in that movie when they finally settle into the nice "camp," the morning after they arrive. From total desperation and fear (darkness and such) to hope and happiness (bright and cherry), with children running and playing and their kids having that adventure with the flush toilet. Pretty powerful political statement for its time (and now too). That sometimes, people need a hand in life and it's no crime.

Does one exist on this site? So if idiots like me see a term we don't understand, we can find the meaning? Like, I just read a script where it directs, "Sarah walks in, removes blouse and bra, gets down on one knee, topless, rubs left breast seductively, and says to John..." I can't figure out what "topless" means, and it would be nice to have a resource to teach me this stuff, you know? P.S.--Did anyone catch the Sarah Palin inference here? HAH!!!!

Where did you do the shoot? Old Canarsie boy here.

I gotta tell you: I thought the production stills were out of this world, but the frame grabs were absolutely AWESOME as well. As a non-professional, not only did I think that the lighting/color work was totally gorgeous, but who the hell did the CASTING!? Just looking at the stills, I am MEGA impressed and anxious to one day see this thing to see what's actually going on. Those actors have million dollar faces! (And the girl in the car scene has million dollar boobs.) You've inspired me. Not to the quality you've achieved, but at least to shoot for better focus. HAH!!! Congratulations on this, because you deserve it! FANTASTIC LOOKING STUFF!!!!!!!!!!!!!!!!!!!!!!!!

Daniel, you're a young pup, huh? And you're talking about the original, correct? With Henry Fonda? Well, I can proudly say that I'm totally unqualified to comment on the cinematic details of the film, but I CAN say this: A great story, great acting, great directing, the TRUE human condition--without any fancy technical stuff and special effects--is what makes a great film. And while the technical details of the shooting impressed you, those techniques were pretty common for the time. I don't think anything was that out of the ordinary, and everyone pretty much used the same film back then. You just have to look at the recent success of the pretty simple and basic "Juno" to demonstrate that those basics haven't changed in all of these years. So all you have to do is to find yourself another John Steinbeck for your story and you're in business. ---------------------------------------------------------- A big P.S.: Wanna see another masterpiece? If you can find it, get a hold of "The Good Earth," written by Pearl Buck and set in China, and starring Paul Muni. There's even a scene where millions of locusts descend on the farm, and man--it looked like every one of them bugs was real and not some special effect. And we're talking the THIRTIES here as well! There are dozens of these old masterpieces that make today's blockbusters look like total crap.

Dave, I don't have nearly enough experience to say which is sharper, but the Takumars are about as good as they get in the price range. As far as going underwater, I have enough problems ABOVE water to ever consider that. I have something else going on which has me scratching my head: Yesterday, I received a Vivitar 28 and a Lentar 200 off eBay. Both are as spotless as they come, and I won the 200 for only 10 bucks, so what the heck. But I don't see a pin on it, and there are TWO aperature rings. When you turn one ring closed/stop it down, it rotates the other ring, but only in one direction, stopping it down. Does one ring affect only the metering? And then you have to match it with the other one? Never saw something like this before, and I've een on this earth a pretty long time. To make matters more complicated, the Vivitar has an L/0 button. What the heck is THAT!? .

The links don't work, but OKC may indicate the brand.