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Martin sat in an old office chair. It didn't seem odd in the New Old West saloon. End o' the world and all, he thought. He knew them the moment they walked in. The man and woman were dressed right, but out of place. "Evenin'" Martin said casually. "We understand you buy new technology," the man said The lanky woman reached under her poncho and held a small black rectangular object out to him. Martin looked at it, said, "OK, I give up. What's it do?" The man dropped something, and there was a blinding explosion. "Flash-bang," Martin thought as he holstered his pistol. He scooped up the black rectangle, shoved it in his pocket and left. Back at his house Martin, looked at the device, set his drink down. He pulled out a cheroot, lit it, examined the device closely. His thumb ran along the flat surface and everything got loud suddenly. There was a blast and white light and the room disappeared. Martin felt rapid movement, said, "Another mission," and was gone.
I discovered very quickly that the Pentax 645 was much easier to use than the Hasselblad 500c. I got more photos per roll, too, even though they were smaller than the 6-by-6cm of the 500c. The were/are 6-by-4.5cm, which is where the Ò645Ó comes from in the name. One thing I did notice was the clarity and sharpness of that prime lens. To my eyes, it was just as good if not a tiny bit better than the renowned Carl Zeiss Planar 80mm f/2.8 prime lens. I started shooting with the Pentax 645 a lot because unlike the 500c and the two Mamiyas, it isnÕt a pain to use. It acts a lot like a 35mm SLR or even a DSLR, much more so than my three other medium-format cameras.
Since Five Easy Pieces was already taken as a title, I guess Short Rounds will have to do. Also, it seems appropriate that, as of this writing, I have five published books in print. These five short stories can serve as a complementary addendum to those five books. I also include a short ñspiritual memoirî titled Faith Came Easy and two previously unpublished poems. I will try to let the short fiction speak for itself, but I should add that it is as eclectic as I can make it. There is mystery, science fiction, scene portraiture and even an attempt at horror. So here goes. Some quick reads and, I hope, interesting pieces. They pretty much all stand alone, except possibly ñInside Out, î which utilizes the main character from my Adirondack Mystery series, Hallum Johnson. The other stories are all orphans in character and the fact that this is the first time they have seen the light of day in publication.
Simply put, medium-format photography is quite a bit more complex than shooting with 35mm film SLRs or 35mm-style DSLRs. It takes a bit more skill - and experience - to handle medium-format cameras. Not only do you need to learn to think differently about how you shoot, but you also have a whole new type of equipment to learn. Medium-format cameras produce bigger images, which allows for more detail and greater enlargement. And because they, in general, were designed for professional photographers, the lenses tend to be of better quality that most 35mm lenses, which also adds to the detail in the images. In this book, we'll take a look at medium-format SLRs and TLRs, and we'll even touch upon some other types. We'll also consider a few lenses, although these largely are a matter of choice. And there are far fewer choices for medium-format cameras than for other types. Time to do some weight training and heft those medium-format cameras and lenses into position. Let's go.
It has been a long, strange road, and probably has no end clearly in sight. Many more books are in the works as I write this in early December 2018. For example, I have published nine novels to date, and am writing nine more, with plans for some beyond that. The Shawn M. Tomlinson's Guide to Photography series has 29 titles in print, with another five or six nearly complete, and plans for 30 to 40 more. I'm also trying to rework and rearrange those books into omnibus editions by chronology and by theme.I never will get every book done I want to do, but it keeps me busy.I always planned on putting out a catalog of all the Zirlinson Books, but kept getting waylaid for one reason or another until now. This catalog is available as a print book in color. The color print book will be cost prohibitive for many people, so there likely will be a black and white version available, too.
ÒJust like me to never have any money when the end of the world comes, Ó thought Martin Fahy as he walked through the bitter, ceaseless rain. He laughed slightly and wondered what he was going to do now. Sure, he had been the one who always knew The End was coming soon, but he just couldnÕt convince anyone else. He wasnÕt a religious fanatic or anything and his predictions of the coming doom had nothing to do with apocalyptic visions or cultist beliefs. It was based largely on his continual observation of scientific predictions. And now, it all was happening. Fahy realized what heÕd always said was his prime philosophy still was true: The only way out is throughÉ
Phenomenal Stories #11 is our first Special Issue, focusing upon the editor's obsession with once-world-famous author Robert W. Chambers. The editor literally wrote the book - the only biography - about Chambers, a writer who influenced such luminaries as H.P. Lovecraft, Clark Ashton Smith, Robert E. Howard and many others. This Special Issue features two of Chambers' classic horror stories - thankfully in the public domain - "The Yellow Sign" and "Repairer of Reputations." Also featured are cover art depicting Chambers by Carole A. Tomlinson and takes on Chambers from J.D. Hayes-Canell and Richard H. Nilsen, as well as the 2nd part of the 'The Darkness' from Carlos Rios. Don't worry, we're also continuing the Adirondack mystery story of Hal Johnson in 'An Old-Fashioned Shooting, ' as well as the science fiction novel 'Time: Book 01: Timenami' from Shawn M. Tomlinson. Phenomenal Stories is a modern-day tribute to the science fiction/horror/fantasy/speculative pulp magazines of the 1920s, 1930s and 1940s
Photographer and writer Shawn M. Tomlinson, author of the Photo Curmudgeon column and books, makes creating black and white and toned photos simple with this how-to guide. "In a world dominated by colorful images, black and white and toned photographs can stand out as something different, something somehow more beautiful," Tomlinson writes. "To really work in the 21st century, a black and white or toned image must be special. It must express something not there in color. There must be a reason to change the reality of the image by turning it grayscale, not just that you can. All that said, there is absolutely nothing like a truly great black and white image." The author covers the basics of B&W and toned photos including processing techniques, printing, presentation in eBooks, and much more. This is an expanded and revised edition of the original eBook and trade paperback editions.
Everybody gives out tips for better photography. Well, maybe not your boss or the guy who fixes your furnace (although mine does), but most photography websites, forums and magazines fill their pages with tips for becoming a better photographer. There's a reason there are so many tips out there: photographers want them. On the other hand, we who have some little knowledge like to give them, too. Most people like to pass on what they've learned. I've been a photographer for nearly four decades. I've published thousands of photographs. I write a photography column (Photo Curmudgeon). I love photography. I read tips from other photographers often. Sometimes, I read something new, or at least put in a new way so that it sparks an idea. No one can tell you how to develop your photographer's eye. Only you can figure that out. What I can do is give you some pointers about how to develop your own photographer's eye, and how to get better as a photographer.
A lot has changed since I wrote and published this first volume of what became this guide series. One thing hasnÕt. I still have the same enthusiasm and joy in photography I had way back at the beginning of the series. I have a lot more knowledge and experience now and, occasionally even get close to taking good photographs. ThatÕs the thing, see. I didnÕt know a lot when I originally wrote this guide. I had been working in photography since 1982 professionally. Everything I knew, pretty much, was self-taught. In general, thatÕs still true. ThereÕs no need for you to do it all by yourself, too, though. This book and this series are meant to help you get going with the basics fast. Yes, OK, I tend to relate my own experiences, but that, too, is meant to help you avoid some basic mistakes I made. And, perhaps, I write in a tad too friendly manner, but think of it as sitting down with me to have a friendly talk about a passion we share: Photography!