 They even stayed at the scene for you there. That's right. They did good. We have some more coming. Are you all in? Sure. Have yourself. You bet. Now, the CCB hasn't been approved to remove the 250, so all you'll have is a 90. And that's all we brought today was a 90 for you. Some others up here, there weren't as many buildings out of it. I know. They just keep growing up. When we started this, I was documenting all that. We used to come up here and shoot it for resolution. We'd shoot those grates over there. And boy, when it was out, you could really tell it on those grates. Can I get trained? We've got sufficient. Yeah, help yourself. If you need help, I'm going to let you do it. Good finders. Yeah. Yep. Stop shutter speed. What film you got in here, Jane? This is the 5017. That's ASA 64. Yeah, the one place I was thinking it might be worth, I'm not even sure you would need to change the focus on this thing, but with the telescope up at Appendage Deploy, I think in the 90, pretty good shot. Oh yeah. We separate away. It'd be fantastic. Lauren, how far, how long is it till we're up about, just coming up on 90 above and we're looking at the telescope down against the earth? Does that be the other good place for 25 to 30 minutes? Transition time. Up to almost. That'd be the other sequence once we're about 100 feet or so back and starting with a telescope. You know, but I bet you Infinity is still fine for that. We'll look at the depth of field and if you're going to get... Against Earthshine, it's going to be at least F11. Oh yeah. So I'll have to pull out the books, but I think Infinity's still going to be alright for that. We'll go into... I'll talk to Jeff and get him to give you a setting for that. You may be going just towards the terminator. Just getting right towards the terminator about that 20 or 25 minute point depending on where we release, where we actually get it released compared to orbit. Uh huh. Now you're going to have... Did you push big base in this one? Good, okay. Because we don't have a whole lot of thin base, but you will have the thin base in yours which will give you 2.7 or somewhere there about so you should have plenty of film. Now I've got the gel filter holders ordered for the Nikon. The 180 F28 seems to be a real good lens. It's relatively fast and we still get some magnification on it. What was that? It's a 180 millimeter F2.8. You can just add it. It's a lot of big deal. That's about the size tripod you've got to have with that big of camera. LBJ needed his technical rationale which was the access to deep draft barge. I think that's the only time we've used it, isn't it? I think that's the only time we've used it too. Yeah, it's the only two times. I remember the day they floated that in. I think I came down to see it when I brought it in. I'm going to make sure the park was in here. With a little bit of it I can see. Yeah. How many are we supposed to take? A couple. Okay, I think there's enough for about six or eight everybody. Well, I'm going to take my six. There you go ahead. Just tell me what it is. We'll try that. Paco's all the way to New Orleans. I think it's a... I don't know. Yeah, it's a beautiful shot. Fantastic. And the funny part was that you can tell distinctively where the Balconas escarpment is. You can fly over it and can't even see it, but for some reason I think it's vegetation or anything. You can tell right where that sucker is. Can I see where'd you shoot? Because I just got to eat again? No, I got to take a little circle and make sure it's clear of the roof. Just line it up on the dark part of the South Shore Harbor, yeah. Three point up? Right in the corner window there. Good again. I think you're getting either some sunlight, some sky in there. If I take it up to the clouds, I get 5.6. Oh, I wasn't doing that. I was just lining right up on the side of the building there. I wonder if we're looking at the same building. Yeah, the South Shore Harbor. It's the only big building in the hotel. I got it right in that green window in the corner. The circle around there. Yeah. Yeah, I was going lower so that I tried to get... You may be getting some sunlight in the marina. Yeah. I sure hope we get some nice pictures with it. Yeah. Oh, you will, I guarantee you. You stick it out the window. You'll get nice pictures with it. Point it out the window. We got, what, two magazines? Yeah, I'm too mad now. You'll have two and then we'll have about two 70 exposures to eat. So you got plenty of film. Take pictures. Don't worry about whether you should take it or not. Just take them. You should have plenty of film. Did I hear you saying something about a filter for this? No. No, we're talking about a different subject. With an icon and a couple of gel filters. I didn't remember one from last time. No, there's a haze filter on there, but you don't have to do anything whether it just keeps the lens clean for some reason. Okay. Spacecraft windows is a good enough haze filter, really. Yeah. Well, I'll have these processed and I'll get them to Judy and she'll bring them and show them to you. Okay. Thank you very much. Thank you for coming over. Thank you. You need another session or anything? Okay. Give me a holler. We'll set it up again. How about one on the top of one on the lower? That'd be nice. I don't know if NASA will pay my way there or not, though. Yeah, primarily because it was, you know, seven, eight, nine magnitude stars are what typically you have accurate positions for, because they're easy and there's enough of them and it's straightforward to do. Okay. 16 millimeter class. It's the same as the 35. I'm going to go up here and see and then we'll put it together and then we'll go up here and take pictures. And the last thing we do is film loading because it's kind of complicated. So the very last thing is film loading. If you want to load it, it's fine. I'll load it first. If you don't want to load it or you want to wait till you go home and check one out, it's just great too. Of course, you're going to start in the generic checklist if you haven't hooked up a photo camera checklist in a long time. Here or now, we have flight-specific books. The mail functions are here and on the 16 stuff, this camera does great. So there's a lot of things in there where the part of the problem is the operator error. And we tried to do it through mail functions right close to the pictures that you found is pretty straightforward. The 16 millimeter camera is not exactly your instamatic and people just get a little bit more confused on this one. Were you here in the days of the deck cameras? Yeah. This is an instamatic. Anyway, that's all there is in this book. There's the same thing in malfunctioning pictures for all the systems that we have. Anything that flies pretty often is in our inventory, is in your limelight or spot meter and stuff of that sort. In the same sort of such, in the flight supplement. Okay? So that's that. Also, there isn't a workbook on this camera that is still in use. But I did bring in 35 workbooks and 70 workbooks. You can go ahead and start reading although they're out of 70. If I've got three of them, before we leave at that time. Okay. I've taken off all the attachments to this camera so we can just start from scratch here. Set it 45 degrees. So we cut out into like a pie. And it turns. So one minute you're doing, one minute take a picture. One minute you're doing, one minute you're taking a picture. That's pretty slow for me. If you look in here, you can see the mirror turning around. And actually, it, you can see some flickering but most of the time you just forget that's even happening. So that's how it's through the lens. Just get the diopter next to you and watch the screen get sharp and not so sharp. Yeah, I did that. Okay. The other thing is, you know, the mirror turns. Well, when you turn the camera off, it always continues as much as it needs to to put the mirror in the viewing position. If you pick up the camera, somebody's going to mess with it or the battery is dead. You're in a machine. You can't see through it. Your mirror is just not adjusted. To get it back in the right position you can physically turn it or put a fresh battery on there. Most of the time it's going to be a problem. So you can put all this stuff on there and then you can fill in there. The camera in the bag and everything is about 30 pounds at 9 in the morning and it's about, actually it starts at 100 at 7. It goes to low at 9 and it goes back up to the day. Techniques. Why aren't I getting it to run here? Okay, are we in standby? Yeah. Stand by or run? There you go. I didn't see it move, but maybe it did. You didn't have that. I don't think so. No, it was gone. So I got to actually do both of them on one flight. It was a pain in the neck. Out of line on the battery capabilities. And with the day 6, the day 7 EVA, we're going to get the EVA on. Attached to means which has the automatic motor. Yeah, so it's not coupling. And the exposure LED is coming from the same thing. That's not an exposure LED. You mean a little red line? Yeah. Okay, there's a red line in there. You can find it. And it's a motor speed light. When you first turn the camera on, it should come on and then go off. And when you turn the camera off, it should actually blink as you can. Yeah. That means that the motor is not up to 24 frames a second yet. Engines up there real quick. If you have a bad battery that light can stay on constantly, and it tells you you have a bad battery, and therefore your motor speed is dropping. But if you hit it and lock it down, it might go out. If that light doesn't go out, it's somewhere off speed. And it could be because you have a film draft. It could be that you have a bad battery. It's running but not so fast. Anyway, okay. So now let's see. We put the camera together. We adjusted the eye-opter. We put the battery on. We detached the magazine and hand-grip. We know how to do all that. The next thing, we're going to talk about is lenses. And this system has two lenses. And lenses are quite different. Some people like one, some don't like the other. You remember I told you yesterday about widening lenses for no focusing? Okay, this is one right here. This lens is a 5-9. It's extremely wide-angle. Only control on this is amateur. And there's pros and cons. Even focus is really easy because it's 0.2. But there's no auto meter needle bosons. See, because like this. Down, you're over exposed. Why they did that? I don't know. If it's up, it's under exposed. It's backwards. But anyway, if you use a 5-9, focus is really easy. But exposure is not really easy. So you have to constantly adjust here. Now, if you're in the mid-deck, once you adjust it, it's pretty much going to be the same no matter what you shoot. But on a flight deck with windows and stuff like that, it gets a little bit more intricate. Say, there's my metering. Get your metering right. And then you can do the metering. No focus involved whatsoever. So I'd like to pass that around and have you operate the meter. And while you're doing that, I'm going to talk about this other lens. The zoom lens is extremely popular. First off, I'm taking the orange filter off. And what in the heck is this orange filter for? The strange thing that we do is that we fly tungsten film. So if we shoot daylight, we have to color correct it. Makes sense. Also, with this zoom lens, our smallest aperture is F16. We have 148, so we're overexposure. So not only is this color correction but it's sunglasses. And it cuts down as a neutral density and it's a good exposure. Obviously, if you were to come into the cabin, you would want to take this off. Because almost all of the cabin and photography is wide open. There's just not much light in there. Unless you have lots of sunshine streaming in, you need all the light you can get. So you always take this off or inside. So you're going to say, well, put it on and go outside or off. These are sunglasses up here with macro. So you focus and then you have your zoom ring here. If you want to go into macro, push the macro button and you're in the macro. If you want to get back out of macro, push the macro button and you're back out of macro. The normal area is the normal zoom range and focus. You can only go into macro if you had something really special. We'll talk about that when you get the camera in the pan. The aperture ring is a little bit strange in that it moves from F16 to F2. But if you push this button, now you go into auto. So I'm in auto exposure. And so I don't have to adjust exposure at all. Camera takes care of that. All I do is zoom and focus. It's really easy. As we get through looking at the camera, I'm going to touch this and talk about that. The exposure on that again is a sort of fly from it. It shows a plus in that you should. If it shows a plus, it means it needs more light to open up. It means you are overexposed. It's the situation that you are. It doesn't tell you what to do. It turns excessive light. Excuse me. You know, the reason you're out of light coming in, overexposed is down and underexposed is over. So with that lens, as you adjust the aperture, you're going to get the needle right in the center. If you point the camera up at the light, the needle should drop to the overexposed area. And then you readjust for that. Play with that. Inside the finder, you see some areas. TV safe areas. You know, when they take this film stuff, they transfer it to video. So you want to keep your image within these little lines here. That's your TV set area. One of the major problems we have is couldn't you know how to get contrasts so close there? So once you put it on, you just do a lens claim. The lens claim gets a little long. There's a caption for that one. I know there's a star up there. I know there is. What I thought we'd do is not really concentrate on the specifics of the camera or fear of getting into kind of negative training situations. So if you just bear with us, the real objective both in this session and the bit one in building nine is for you to take some pictures that we can go into the theater and look at. So we won't talk too much about equipment. We'll talk a bit about photography. So I turned over to James and David to help them and charge on our head. Well, the first thing I'll do is have a look at the tripod because that's going to be your zero G simulator for the day. And we've got two controls on pan and tilt. If you want to tilt it, we have a lock here. We'll lock it wherever you want to put it. We have a pan lock to the front, the same sort of lever right in front. So anytime you want to move the camera, just unlock those and put it wherever you want it and lock them back in the stay right there. So we'll go through all four of those today. We'll talk some about exposure, how to use the light meter out here and be able to relate that to what the film is going to record and the sort of range of values you'll be able to portion it. And of course we'll shoot in Simon. We'll compare lenses when you see things in the sun since apparently you'll be looking a lot in the sun with HST. So we want to get you familiar with what the different lenses will do in that situation and really get contrast range going over here with the Saturn V. So that's some of the things we'll be doing out here today and then we'll go on into the CCT later in the afternoon and do some interior things. What do you want to add to that? Mr. Douglas? Just going to pipe in once in a while. Keep the action, the main action in the Omni-Max. Try to keep it really down in the low part of the frame otherwise people have to look around and strain their neck to see what's going on. When you put it down almost. If you can. If you have a chance to do that. If you've got that choice you can do it. Generally speaking if you keep things in the more in the center part and not too high up that's kind of a good ground. A good rule of thumb for almost anything. With lots of shots you've got no choice. You're going to fill the frame. Our normal pattern has been for everybody to take at least one and if possible two shots I think while you're here. Why don't we try for everybody to take two? Think about a shot you'd like to take here, here, wherever. We can move the camera to wherever you want and think of a couple of different lenses. One shot with one lens, another shot with another. And we'll try to move it around and give everybody two turns to shoot something. So you choose the you just look around and find something you'd like to shoot. So what you'll want to do is probably zoom this in if it's not zoomed in. Find that little switch that's for sure. Shutter switch. I kind of need to do that. Okay that knob is moving a little element group in here. On the flight camera you're actually pushing on a lever which is attached to the element group but you couldn't get that finder with this. He asked the guy that wears glasses. I'm going to ask him. It looks focused to me. The lines are supposed to be grins, right? Rotate this. See I haven't bothered his adjustment because if the black lines are crisp. Are you zoomed in? I'm zoomed in. And I can see little furry when I say they're crisp. What? Little furry creature. Hairy-legged little I would not bother it. So now you're in a position to decide whether or not the lens is in focus. Okay. You don't like playing the hyper-focal business game? Well, we'll go into that a bit later too. Okay. In fact you can do is you can if your focus about Shoot it and then we're going to vote on it. You guys are going to go change it now. So you get repetitive friends? With Gramsby and interviews Phyllis lives in the background and she's the governor of the state of Texas or something so we want to make sure. We can care less about this rock. The lens, once you get it past F8 everything is pretty nice. That's the other thing. Set your lens up and set your frame and do your focus in with the lens. Wide open. I don't know Charlie. See we didn't change the f-stop. No we didn't. I just wanted to make the point that when you're going to do this process that you check the lens on the camera is wide open because everything's just way harder. I want to close this thing down and just have a look at the difference of looking through there. There's wide open. Now if you try to focus like that see how kind of trouble you'd be in. That's 22. That's halfway open. Even there it's really difficult to do. When you first grab it to focus just make sure it's wide open. Not today. I don't know of it. By then you'll be so fast it won't matter. Your critical focus is one forward. Right hand there Bruce. The little one there. You can use that to zoom in on that little circle. In fact this shot is very difficult to do with your problem because to get a really in the print they fudge it a bit because it can work with the print. But on the film it's always been hard to print it so you've got reasonable blue on the earth and reasonable detail on the card. Just a little bit too wide. I don't even know if this is open up or down. That's up. I decided to grab the just about the ultimate range that you can set up wide open. I like it. The fedora suits you. Yeah I think so. I need it. We'll get to things though. There will be a start up checklist for you on the camera. There's a big roll of film here weighs 10 pounds. Sometimes the next guy who shoots after you take this shot what will happen probably is there will be a little extra film once the camera stops that weight will carry around a little bit further. So you just try to take the slack out of that and you feel it doesn't start up and then hit that stop. Hit that stop. It's starting. I'll put some in there so you can feel better. Come around the corner. Just a minute. Back again. You want to be all unlocked. Everything you're all unlocked. You ready to go? Yeah it's getting smooth. James? Give him a little more room. Since Bruce and Kathy are EVA right now and I want to get the telescope and I'm going to I think I'll go ahead and focus on Bruce. Yeah it's all the way in and I've got the thing here. Keep them low on the frame. How far up the frame is my head right now? Your head is right in the middle. Bruce's head Bruce's head is right below the bottom of the T.