New York October Meet Up Date?

Well, I started a new job and I'm working in the City again and of course on
Sundays I work but I have to request the day off in advance like I did for
November 1st which I'll see you all there. Anyway I need sale's we are having
this contest and there watching our sales and email totals (which I love) so
anybody needs anything for the home send me a PM and I'll tell you where
I am and hook you up.

Bob
 
Also I'm selling some gear and books- check the classified
I can bring to the meetup if interested
Thanks
Philippe
 
Phillipe,

Good luck with the sales.

Its been a while, but my kit has increased. Found a Busch 2x3 Pressman at the Housing Works by Puck Fair for $24.00. It cleaned up nice, but I need a film holder to shoot it. Had my Wetzlar M6 tweaked and my black paint MP serviced and modified (75mm frames stripped out). Found a black paint 35 Cron ASPH boxed and in "LN" condition. I just shipped my version 1 50 Rigid to Focal Point to get overhauled and the front element recoated.

My last cool retro lens find is this tiny 45/2.8 Super Rokkor in LTM that features this oversized exaggerated scalloped focus ring that has unusual ergonomics like no detents on the aperture. The rendering of this simple 1947-1955 lens is remarkable wide open with this sharp, detaileled, 3-D look of a Tessar/Heliar like lens, but with mucho punchy contrast. The Monochrom makes super wonderful histograms with this lens. Looks kinda odd and strange in a "Calzone" kinda way, but the way it draws kinda makes it a "magic" lens. Nice thing is that on my 0.85 MP 45mm is more or less the full VF'er so no external VF'er is required.

I know its early, but I'm almost ready for the February "Beauty Contest." Also know that I expect another strange/unusual lens next week with more "Calzone" factor. LOL.

See you at the PhotoPlusExpo.

Also know I made a connection with a dealer in New Jersey who will offer discounts on printers, paper and monitors. I have his contact info to get quotes on insider deals. I already bought my 27 Eizo from this dealer and got a great price. I intend on buying about $1K of paper soon and got a commitment to getting more insider deals. Send me an e-mail if you want to make the call for an insider deal. BTW this dealer is the biggest distributor of Canson paper in the U.S.A.

Cal
 
jsrockit said:
Keep it secret Cal...unveil it at the contest!
Click to expand...

John,

You know me: I'm a tease. LOL.

BTW Housing Works by Puck Fair is a real hot spot for vintage cameras. A friend I met there told me they get mucho old cameras. I need to stop buying because I already have too many cameras, and I want to avoid having too many "Shelf Queens." Someone else has to stimulate the economy.

Since I already have a full kit of modern Leica glass, I'm concentrating on unusual glass that offers novelty. That old (later version) 45/2.8 Super Rokkor (Minolta before they became Minolta) looks particularly strange and bizzare on my Monochrom. Angel at Adorama kinda freaked out because he never saw one. Also Angel was kinda moved by the good condition.

Also know that if that room-more is true about a Monochrom version of the M-240 is true I already cleared away some debt to buy one. I would keep my now two year old Monochrom, but I would then be able to shoot my Monochrom and MM-240 as a digital pair like how I shoot two film cameras.

Still have to find a Grand Prize for February's contest/pagent.

Cal
 
$24 Cal? That is in my price bracket. You'll spend more on the grafmatic 23's you are getting to use it. A horseman or graphlex 6x7 or 6x9 probably makes more sense though.
 
CNNY said:
$24 Cal? That is in my price bracket. You'll spend more on the grafmatic 23's you are getting to use it. A horseman or graphlex 6x7 or 6x9 probably makes more sense though.
Click to expand...

Angel at Adorama had a Graphlex 6x7 for me, but I was thinking I want the 6x9. The Busch Pressman comes with a very cool "CalArt" rangefinder and the aux optical VF'er. Remarkably the shutter seems spot on at one second.

It cleaned up nicely, and to me is a bit of a trophy find. Only thing that would be better is if were a 4x5.

John,

Did you check out the Dew Tour televised on NBC last Saturday and Sunday?

It was interesting re-experiencing an event I shot. The different perspective of the Portland competition verses the Brooklyn experience was a rather profound event for me in many ways: First I got really acquainted with the culture of "Street Style" and how this applies to skate boarding; and secondly the interview by the winner offered some profound wisdom that some how transferes to photography and street shooting.

Basically the 18-19 year old winner stated that everyone learns the same basic tricks and technics, but what distinguishes each skater is the sense of style that evolves and how somehow at a high level one's own personality gets projected into one's self expression. Anyways my interpetation is less eloquent than the winner's interview, but the idea that how eventually a sense of style evolves from basics draws a strong parallel to photography. In another sense like street style skaters street shooters interact with their enviornment to express themselves. Anyways I related very strongly to the winner's interview, and I was deeply inspired. For me street photography has always been like skate boarding, meaning a performance that is spontainious interacting with my enviornment. The winner's words really resonated strongly for me.

Cal
 
Calzone said:
John,

Did you check out the Dew Tour televised on NBC last Saturday and Sunday?

It was interesting re-experiencing an event I shot. The different perspective of the Portland competition verses the Brooklyn experience was a rather profound event for me in many ways: First I got really acquainted with the culture of "Street Style" and how this applies to skate boarding; and secondly the interview by the winner offered some profound wisdom that some how transferes to photography and street shooting.

Basically the 18-19 year old winner stated that everyone learns the same basic tricks and technics, but what distinguishes each skater is the sense of style that evolves and how somehow at a high level one's own personality gets projected into one's self expression. Anyways my interpetation is less eloquent than the winner's interview, but the idea that how eventually a sense of style evolves from basics draws a strong parallel to photography. In another sense like street style skaters street shooters interact with their enviornment to express themselves. Anyways I related very strongly to the winner's interview, and I was deeply inspired. For me street photography has always been like skate boarding, meaning a performance that is spontainious interacting with my enviornment. The winner's words really resonated strongly for me.

Cal
Click to expand...

I didn't see it (damn!)...and I agree with the analogy as well (having tried my hand at both).
 
jsrockit said:
I didn't see it (damn!)...and I agree with the analogy as well (having tried my hand at both).
Click to expand...

John,

Sorry you missed the event and the 4 hours of programming. Even though I am no longer young, there was a certain vibe and energy that made me feel both old and young at the same time. On one hand I know the times of racing bikes and even running the NYC Marathon are now only parts of my former life, but somehow I still have that youthful attitude. I found validation for my work and what I do, and I can see that I still have passion in my life that keeps me young at heart.

The winner of the Brooklyn Dew Tour event got his best score on his last and final run of three. The course was three city blocks long, and the winner said by the very end of the course your legs are basically dead. He said he only won because somehow he was able to make every trick and that the course took down many of the competitors. To him, humbly, it was just a lucky run that came rather unexpectedly because he was surprised that he made it to the end making every trick. I would also say in comparing the Portland and Brooklyn courses that the Brooklyn course was more aggressive and in fact crazier with more attitude.

Is this not what we do when we go out into the world street shooting?

Anyways seeing the programs on TV was an exclaimation point for me.

Cal
 
Calzone said:
I would also say in comparing the Portland and Brooklyn courses that the Brooklyn course was more aggressive and in fact crazier with more attitude.
Click to expand...

The Brooklyn one is most likely like the San Fran ones in the past... a real street course and not a street course in an arena. Right? I'm sure I can find it online.
 
jsrockit said:
The Brooklyn one is most likely like the San Fran ones in the past... a real street course and not a street course in an arena. Right? I'm sure I can find it online.
Click to expand...

John,

Part of the event was in that courtyard of the black building next to "Pop's" the work clothes store on Franklyn Avenue. They kinda made a skateboard park to run the "Best Trick" section of the Dew Tour Event.

From what I know the San Francisco event had a slope built into the course that made high speed part of the event. Brooklyn had mucho ramps, and the beginning of the course was a "launching" area wich was two cargo containers side by side with an added platform with a rail that some moe-foes kicked off of before plunging down into a savage ramp.

The first ob-stick-L was this divided upward ramp: one side was to catch big air; and the other side was an upward ramp with a platformed rail.

Second obstical was a three ramped Toyota Camray car jump. Then there was this section with a combination Jersey Barrier, inclined rails, horizintal limbo bar, built around what was called a "tank Trap."

There was also some thing called an "A-Frame" that was nothing more than a massive equalateral triangle that really was made for the Street Style BMX bikes, but some skaters also utilized the A-Frame. The last section was built ontop of a shipping container and the idea was to skate off the shipping container onto a long descending rail with style without killing yourself or doing a face plant.

Anyways I learned a lot about shooting action with a rangefinder. I'm happy with the shots I got, but if I had the opportunity to shoot this event again I think my IQ would have been better going higher ISO to max out shutter speed. I was so close and these skaters were moving so fast that a higher shutter speed would of made a difference in sharpness. I only learned when I zoomed in on my 27 inch Eizo that there might be a limit to how big I can print these images.

I also think I should of tried to pan more. I have at least one great shot of this lanky skater sliding on the Jersey Barrier where he is in focus and his background and the crowds are motion blurred.

One old skater from New Jersey is part of skating history. This guy was kinda wacked and crazy. Perhaps he was trying to kill himself. I really like shooting this guy because he would launch off the cargo containers and choose the ramp for big air and altitude. In the TV coverage this man was presented as a living legend, and from where I was standing shooting I would capture this guy 15-18 feet in the air, but I also had to worry about getting hit in the face with an errant skateboard because I was that close.

Cal
 
Calzone said:
One old skater from New Jersey is part of skating history. This guy was kinda wacked and crazy. Perhaps he was trying to kill himself. I really like shooting this guy because he would launch off the cargo containers and choose the ramp for big air and altitude. In the TV coverage this man was presented as a living legend, and from where I was standing shooting I would capture this guy 15-18 feet in the air, but I also had to worry about getting hit in the face with an errant skateboard because I was that close.

Cal
Click to expand...

Was it Mike Vallely?
 
Cal
Where do you stock all that gear? Do you have a separate , locked room?
I'm not going to PhotoPlusExp . Or does film have any presence there (Ilford , Kodak , darkroom and enlargers ? )
Philippe
 
lamefrog said:
Cal
Where do you stock all that gear? Do you have a separate , locked room?
I'm not going to PhotoPlusExp . Or does film have any presence there (Ilford , Kodak , darkroom and enlargers ? )
Philippe
Click to expand...


Knowing Cal, wherever he keeps his gear you can bet it's better protected than Fort Knox! Probably booby-trapped. A thief would wind up getting hit in the head with a toaster oven while the moment was captured on film and digital in 10 different formats. Do you really want to know where Cal keeps his gear -- that's dangerous info! Have you read his posts? It's like Jimmy Breslin meets Rambo.
 
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