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* At the time of publication, whilst every effort has been made to ensure the accuracy of the information/image relating to the the products appearing in this catalogue, Yardley Hospitality accepts no responsibility for any errors or ommissions contained herein.

Clock Radios

No. Product Description CTN QTY
Philips AJ3226/79 AM/FM Clock Radio Battery Back-up Dual/Repeat Alarm Philips AJ3121 AM/FM Clock Radio Battery Back-up Single Alarm Philips AJ3540 AM/FM Clock Radio Battery Back-up Kambrook KCR30 AM/FM Clock Radio Battery Back-up Kambrook KCR40 AM/FM Clock Radio Dual Alarm Battery Back-up Panasonic RC-700 AM/FM Clock Radio Battery Back-up Panasonic RC7290 AM/FM Clock Radio Dual Alarm Battery Back-up Sony ICFC218B AM/FM Clock Radio Battery Back-up Sony ICFC218W AM/FM Clock Radio Battery Back-up Colour White Sony ICFC273 AM/FM Clock Radio Dual Alarm Battery Back-up Sony ICFC318S AM/FM Clock Radio Dual Alarm Battery Back-up Sony ICFC414 AM/FM Clock Radio Dual Alarm Battery Back Up Teac CRX8 AM/FM Clock Radio Battery Back Up Teac CRX118 AM/FM Clock Radio Battery Back-up 1 min buy min buy min buy min buy min buy min buy 10

CD Clock Radios

15 Teac CRX240 CD Clock Radio Dual Alarm Battery Back-up 4

Clock Radios - iPod

No. 13 Product Description P hilips AJ301D/79 (White) FM Tuner Clock Radio Dock Connector for iPod Charging Dual Alarm 191 (h) x 161 (w) x 164 (d) mm Teac SRL7Xi AM/FM Clock Radio Dock Connector for iPod Charging 58 (h) x 152 (w) x 145 (d) mm Philips DC315 FM Tuner Clock Radio Dock Connector for iPod/iPhone Charging Dual Alarm 80 (h) x 216 (w) x 79 (d) mm Philips DC190 FM Tuner Clock Radio Dock Connector for iPod Charging Dual Alarm 144 (h) x 144 (w) x 62 (d) mm Teac SRLX10i FM Clock Radio Dock Connector for iPod Charging 80 (h) x 231 (w) x 155 (d) mm Sony ICFC7iP AM/FM Clock Radio Dock Connector for iPod/iPhone Charging Dual Alarm 124.7 (h) x 115 (w) x 97.1 (d) mm Sony ICFCD3IP - iPod Dock CD Clock Radio AM/FM Dock Connector for iPod/iPhone Charging Dual Alarm 156.8 (h) x 145 (w) x 115.8 (d) mm Teac CRX3131 AM/FM Clock Radio Dock Connector for iPod Charging 71 (h) x 160 (w) x 125 (d) mm A VLABS AVL785B FM Clock Radio Dock Connector for iPod Charging Wake to iPod or Tuner 100 (h) x 280 (w) x 170 (d) mm AVLABS AVL787 FM Clock Radio Dock Connector for iPod/iPhone Charging Dual Alarm 80 (h) x 155 (w) x 280 (d) mm Sony ICFC1IPMK2BC AM/FM Clock Radio - Dock Connector for iPod charging Dual Alarm 130 (h) x 300 (w) x 139 (d) mm Panasonic RC-DC1 AM/FM Clock Radio Dock Connector for iPod Charging Dual Alarm 80 (h) x 112 (w) x 150 (d) mm Sony ICFC05IP FM Clock Radio Dock Connector for iPod/iPhone Charging Wake to iPod or Tuner 64 (h) x 134 (w) x 124.5 (d) mm CTN QTY 1

8 & 9 PLACE SETTINGs

14 Omega DW300XA 8 Place setting Electronic/Rotary Dial Stainless Steel 850 (h) x 450 (w) x 585 (d) mm Haier HDW9WHT 9 place setting Manual Controls 850 (h) x 450 (w) x 600 (d) mm Haier HDW9SST 9 place setting Manual Controls Stainless Steel - 850 (h) x 450 (w) x 600 (d) mm 1

12 PLACE SETTINGs

Fisher & Paykel DW60CSWplace setting Electronic Controls 850 (h) x 600 (w) x 600 (d) mm Fisher & Paykel DW60CSXplace setting Electronic Controls Brushed Stainless Steel 850 (h) x 600 (w) x 600 (d) mm Dishlex DX103WK 12 place setting Rotary Controls 850 (h) x 600 (w) x 610 (d) mm Dishlex DX103SK 12 place setting Rotary Controls 850 (h) x 600 (w) x 610 (d) mm Haier HDW100WCT 12 place setting Semi-Electronic Controls 850 (h) x 600 (w) x 600 (d) mm Haier HDW100SCT 12 place setting Semi-Electronic Controls Stainless Steel 850 (h) x 600 (w) x 600 (d) mm Haier DW12-TFE4WH 12 place setting Semi Electronic Controls Half Load Option 850 (h) x 600 (w) x 620 (d) mm Haier DW12-TFE4SS 12 place setting Semi Electronic Controls Half Load Option Stainless Steel 850 (h) x 600 (w) x 620 (d) mm

14 PLACE SETTINGs

17 LG LD-1419Wplace setting Electronic Controls Half Load Option 850 (h) x 600 (w) x 600 (d) mm LG LD-1419Mplace setting Electronic Controls Half Load Option Titanium Finish 850 (h) x 600 (w) x 600 (d) mm LG LD-1419Tplace setting Electronic Controls Half Load Option Stainless Steel Finish 850 (h) x 600 (w) x 600 (d) mm 1 1

Electric Blankets

No. Product Description CTN QTY 4 4
SINGLE & LARGE SINGLE
Kingsley (by Sunbeam) BL412K Large Single Tie Down Electric Blanket Machine Washable Kambrook KEB201 Single Tie Down Electric Blanket Hand Washable Kambrook KEB211 Large Single Tie Down Electric Blanket Hand Washable Sunbeam BL3121 Safe & Sound Large Single Tie Down Electric Blanket Machine Washable Sunbeam BL3421 Safe & Sound Fitted Electric Blanket Machine Washable K ambrook KEB302 Single Tie Down Electric Blanket Machine Washable K ambrook KEB312 Single/Large Single Fitted Electric Blanket Machine Washable Kambrook KEB413 Large Single Fitted Electric Blanket Machine Washable

DOUBLE / QUEEN

Kingsley (by Sunbeam) BL415K Double/Queen Tie Down Electric Blanket Machine Washable Kambrook KEB231 Double/Queen Tie Down Electric Blanket Hand Washable Kambrook KEB332 Double/Queen Tie Down Electric Blanket Machine Washable Sunbeam BL3151 Safe & Sound Double/Queen Tie Down Electric Blanket Machine Washable Kingsley (by Sunbeam) BL445K Double/Queen Fitted Electric Blanket Machine Washable Kambrook KEB432 Double/Queen Fitted Electric Blanket Machine Washable Sunbeam BL3441 Safe & Sound Double Fitted Electric Blanket Machine Washable Sunbeam BL3451 Safe & Sound Queen Fitted Electric Blanket Machine Washable

Fridges (Bar)

Bar Fridges

44-65 LITRES

5 Haier HRZ-Litres Half Width Chiller Compartment 520 (h) x 440 (w) x 475 (d) mm Plastic Coated Wire Shelf Reversible Door LG GR051SW 48 Litre Half Width Freezer 501 (h) x 443 (w) x 450 (d) mm Plastic Coated Wire Shelf Lemair RQ50H 48 Litre Half Width Freezer 510 (h) x 440 (w) x 470 (d) mm Plastic Coated Wire Shelf Heller BFHLitre Half Width Freezer 510 (h) x 440 (w) x 470 (d) mm P lastic Coated Wire Shelf Reversible Door Haier HBF55W 55 Litres Half Width Ice Box Compartment 520 (h) x 500 (w) x 500 (d) mm Plastic Coated Wire Shelf Reversible Door Push Button Defrost 1

70-80 LITRES

8 Lemair RQ80H 70 Litre - Half Width Freezer 640 (h) X 440 (w) X 510 (d) mm Plastic Coated Wire Shelves Reversible Door Haier HBF80W 80 Litres Half Width Ice Box Compartment 660 (h) x 500 (w) x 500 (d) mm Plastic Coated Wire Shelves Reversible Door Push Button Defrost Daewoo FR-094R 80 Litre Full Width Ice Box Compartment 726 (h) x 440 (w) x 455 (d) mm Plastic Coated Wire Shelves Reversible Door 1

115-120 LITRES

Heller BFHLitre Full Width Freezer 845 (h) x 480 (w) x 585 (d) mm Plastic Coated Wire Shelves Reversible Door Heller BFH120B 120 Litre Full Width Freezer 865 (h) x 503 (w) x 490 (d) mm Plastic Coated Wire Shelves Reversible Door Colour Black Heller BFH120SS 120 Litre Full Width Freeze 865 (h) x 503 (w) x 490 (d) mm Plastic Coated Wire Shelves Reversible Door Colour Stainless Steel Lemair RQ115M 115 Litres Full Width Freezer 840 (h) x 500 (w) x 560 (d) Plastic Coated Wire Shelves - Reversible Door Fisher & Paykel P120RW 115 Litres Half Width Freezer 819 (h) x 525 (w) x 570 (d) mm Plastic Shelves Available in left or right hand hinge Fisher & Paykel P120RSX 115 Litres Half Width Freezer 819 (h) x 525 (w) x 570 (d) mm Plastic Shelves Available in left or right hand hinge Brushed Stainless Steel Finish Westinghouse WIM1200WC 120 Litre Full Width Freezer 845 (h) x 550 (w) x 570 (d) mm Glass Shelves - Reversible door Westinghouse WIM1200SC 120 Litre Full Width Freezer 845 (h) x 550 (w) x 570 (d) mm Glass Shelves Reversible Door Stainless Steel Look 1 1

127-150 LITRES

21 LG GR-151SW 129 Litre Full Width Freezer 850 (h) x 484 (w) x 549 (d) mm Plastic Top Table & 2 Plastic Coated Wire Shelves Haier HBF130W 130 Litre Full Width Ice Box Compartment 855 (h) x 500 (w) x 560 (d) mm Clear Spill Proof Adjustable Plastic Shelves Reversible Door Haier HBF130S 130 Litre Full Width Ice Box Compartment 855 (h) x 500 (w) x 560 (d) mm Clear Spill Proof Adjustable Plastic Shelves Reversible Door Stainless Steel Finish LG GC-181SA 140 Litre Full Width Freezer 850 (h) x 550 (w) x 600 (d) mm Plastic Top Table & 2 Plastic Coated Wire Shelves Haier HBF165W 149 Litres Full Width Ice Box Compartment 1095 (h) x 500 (w) x 560 (d) mm Clear Plastic Spill Proof Shelves 1

Ironing Boards & Covers

Ironing Boards

(Hills) Frazer BG205831 Executive Ironing Board Fixed Iron Holder Includes a Silver Heat Resistant Cover Ironing Surface 112 x 33cm In Upright Folded Position 144cm High H ills BG205800 Verini Ironing Board No Iron Holder Includes a Scorch-guard Cotton Cover with an Elastic Hem and Adjustable Toggle for a Snug Fit Ironing Surface 120 x 35cm In Upright Folded Position 157.5cm High Hills BG205589 Divita Everyday Ironing Board Sliding Iron Holder Includes a Fitted Cotton Cover with an Elastic Hem and Adjustable Toggle for a Snug Fit Ironing Surface 120 x 35cm In Upright Folded Position 157.5cm High Hills BG1000 Tabletop Ironing Board Iron Holder Ironing Surface 81 x 31cm In Upright Folded Position 105cm High Sunbeam SB4100 Sliding Iron Holder Includes a printed cotton cover Ironing Surface 120 x 40cm In Upright folded position 153cm High First Class YJ288 Compact Ironing Board Sliding Iron Holder Silver Scorch Guard Cover Ironing Surface 104 x 33cm In Upright Folded Position 107cm 2 3

Covers

7 Hills BG205718 Scorch Resistant Silver Cover 120 x 35cm Suits Divita (Model BG205589), Verini (Model BG205800), Frazer Executive (Model BG205831) & Frazer Basic (Model BG205824) Sunbeam SB0410 Printed cotton cover with drawstring Machine Washable Fits any brand board up to 120 x 40cm Hills BG205701 Scorch Resistant Silver Cover 130 x 40cm Suits Sienna Ironing Board Model BG205596 Sunbeam SB0810 Printed cotton cover with drawstring and built in quality 10mm underlay which is reversible (Colour Gold on white pattern on top and Teflon Treated Silver on reverse)Machine Washable Fits any brand board up to 135 x 45cm Sunbeam SBO710 - Printed cotton cover with drawstring Machine Washable Fits any brand board up to 135 x 45cm Sunbeam SBO720 - Superior glide Teflon treated cotton cover with drawstring Machine Washable Fits any brand board up to 135 x 45cm Hills BG205695 Scorch Resistant Silver Cover 140 x 45cm Suits Caprice Ironing Board Model BG205602 H ills BG205619 Cotton Cover & Underlay 82 x 31cm Suits Table Top Ironing Board Model BG1000 3

Iron Cleaner

Sunbeam SRO300 250ml - Removes scale deposits improves steam performance prolongs the life of your ironing 11

Auto Off Irons

9 Kambrook KI780 Variable Steam/Dry Iron Non-stick Soleplate 2000 Watts Kambrook KI820 Variable Steam/Dry Iron Durable & Scratch-Resistant Anodized Soleplate (The sole plate is all metal with NO Non-stick Coating) 2400 Watts Sunbeam SR5880 Steam Iron Stainless Steel Soleplate 2400 Watts Sunbeam SR6600 Steam Iron Stainless Steel Soleplate 2400 Watts Sunbeam SR6500 Steam Iron Teflon Platinum Pro Soleplate 2400 Watts Sunbeam SR5460 Steam Iron Polished Aluminium 1800 Watts Philips GC2560 Steam Iron Silver 3 layered coating Soleplate (Premium Quality Non-stick Soleplate) 2100 Watts First Class 5288B Steam/Spray Iron Stainless Steel Soleplate 1200 Watts (For internal use only Freight Free Delivery into Capital Cities only) Philips GC2860 Steam Iron SteamGlide Soleplate & Steam Tip 2200 Watts 4

Laundry Trolleys

Numatic NX-1501 Silver Tubes XChassis Grey Heavy Duty 150 Litre Bag Numatic NX-2401 Silver Tubes XChassis Grey Heavy Duty 240 Litre Bag 1 1

Kettles & Urns

No. Product Description 1 2 CTN QTY

Kettles

1-1.4 LITRES
Sunbeam KELitre Cordless Auto Off Concealed Element Brushed Stainless Steel (Height with base 19cm - w/out base 17.5cm) B reville BKELitre Cordless Auto Off Concealed Element Brushed Stainless Steel (Height with base 20cm - w/out base 18.5cm) Sunbeam KE1400 1.4 Litre Corded Auto Off Concealed Element Non-Opening Lid - White - (Height 23cm) Sunbeam KE1600 1.4 Litre Cordless Auto Off Non-Opening Lid White (Height with base 23cm w/out base 21cm) Sunbeam KE1600B 1.4 Litre Cordless Auto Off Non-Opening Lid Black (Height with base 23cm w/out base 21cm) 2

5 22 23

1.7 LITRES
Kambrook KSK100 1.7 Litre Cordless Auto Off Stainless Steel Kambrook KSK210 1.7 Litre Cordless Auto Off Concealed Element Brushed Stainless Steel Kambrook KSK65 1.7 Litre Cordless Auto Off Concealed Element Brushed Stainless Steel Kambrook KSK310 1.7 Litre Cordless Auto Off Concealed Element Brushed Stainless Steel Breville TK060C 1.7 Litre Cordless Auto Off Concealed Element Charcoal Breville TK060 1.7 Litre Cordless Auto Off Concealed Element White Sunbeam KE3560 1.7 Litre Cordless Auto Off Full Lined Stainless Steel Base White Sunbeam KE6300 1.7 Litre Cordless Auto Off Brushed Stainless Steel Sunbeam KE7600 1.7 Litre Cordless Auto Off Concealed Element Polished Stainless Steel Sunbeam KE7600B 1.7 Litre Cordless Auto Off Concealed Element Brushed Stainless Steel Breville BKE360 1.7 Litre Cordless Auto Off Brushed Stainless Steel B reville BKE570 1.7 Litre Cordless Auto Off Quiet Boil Technology Brushed Stainless Steel K ambrook KAK36 1.7 Litre Cordless Auto Off White K ambrook KAK35 1.7 Litre Corded Auto Off White B reville BKE470 1.7 Litre Cordless Auto Off Quiet Boil Technology Brushed Stainless Steel Breville BKE420 1.7 Litre Cordless Auto Off Concealed Element Brushed Stainless Steel

1.8 LITRES

Kambrook KSK110 1.8 Litre Cordless Auto Off Concealed Element - Brushed Stainless Steel B reville BKE400 1.8 Litre Cordless Auto Off Brushed Stainless Steel
24 S unbeam KE2350 1.8 Litre Cordless Auto Off White KAK5 1.8 Litre Cordless Auto Off White 25 K ambrook 26 Sunbeam KE4500 1.8 Litre Cordless Auto Off Concealed Element White 27 Sunbeam KE7350 1.8 Litre Cordless Auto Off Polished Stainless Steel

Kitchen Appliances / Microwaves
No. Product Description CTN QTY 1 1

17-19 LITRES

T iffany MMW17M 17 Litres 700 Watts White 258 (h) x 440 (w) x 325 (d) mm Tiffany MW017E 17 Litre 700 Watts White 258 (h) x 440 (w) x 330 (d) mm L G MS1949G 19 Litres 800 Watts White 281 (h) x 455 (w) x 340 (d) mm LG MS1949TL 19 Litres 800 Watts Stainless Steel 285 (h) x 455 (w) x 325 (d) mm

20-23 LITRES

Daewoo KOR6QDB 20 Litres 800 Watts White 279 (h) x 465 (w) x 336 (d) mm Samsung MW73B 20 Litres 800 Watts White 275 (h) x 489 (w) x 320 (d) mm Samsung MW73B-S 20 Litres 800 Watts Silver 275 (h) x 489 (w) x 320 (d) mm Panasonic NN-ST340WQPQ 23 Litres 800 Watts White 279 (h) x 488 (w) x 405 (d) mm Panasonic NN-SD376S 22 Litres 850 Watts Stainless Steel 282 (h) x 482 (w) x 357 (d) mm LG MS2346S 23 Litres 850 Watts White 285 (h) x 505 (w) x 390 (d) mm LG MS2346SS 23 Litres 850 Watts Silver 285 (h) x 485 (w) x 376 (d) mm Samsung MW83Z 23 Litres 850 Watts White 275 (h) x 489 (w) x 360 (d) mm

25-28 LITRES

L G MS2548GR 25 Litres 850 Watts White Round Internal Cavity 302 (h) x 510 (w) x 408 (d) mm L G MS2548XR 25 Litres 850 Watts Stainless Steel Round Internal Cavity 302 (h) x 510 (w) x 408 (d) mm Westinghouse WMS281WF Medium Category 900 Watts White 305 (h) x 513 (w) x 422 (d) mm Westinghouse WMS281SF Medium Category 900 Watts Stainless Steel 305 (h) x 513 (w) x 422 (d) mm B reville BMOLitres 900 Watts Charcoal/Stainless Steel 290 (h) x 510 (w) x 425 (d) mm Panasonic NN-ST557M 25 Litres 1000 Watts Metallic Silver 304 (h) x 510 (w) x 380 (d) mm Panasonic NN-ST557W 25 Litres 1000 Watts White 304 (h) x 510 (w) x 380 (d) mm Samsung MW103H 28 Litres 1000 Watts White 275 (h) x 489 (w) x 398 (d) mm Samsung ME6104ST 28 Litres 1000 Watts Stainless Steel Trim Finish 275 (h) x 517 (w) x 398 (d) mm

30+ LITRES

Breville BMOLitres 900 Watts Black & Stainless Steel 320 (h) x 520 (w) x 440 (d) mm Samsung MW9114W 32 Litres 1000 Watts White 313 (h) x 555 (w) x 439 (d) mm Samsung MW9114W-B 32 Litres 1000 Watts Black 313 (h) x 555 (w) x 439 (d) mm Panasonic NN-ST659W 32 Litres Inverter White 301 (h) x 518 (w) x 404 (d) mm Breville BMOLitres 1100 Watts Brushed Stainless Steel 310 (h) x 520 (w) x 450 (d) mm L G MS3446VRL 34 Litres 1100 Watts Round Internal Cavity Stainless Steel 320 (h) x 556 (w) x 438 (d) mm LG MS3446VRW 34 Litres 1100 Watts Round Internal Cavity White 320 (h) x 556 (w) x 438 (d) mm Samsung ME6124W 34 Litres 1000 Watts White Trim Finish 297 (h) x 523 (w) x 415 (d) mm Samsung ME6124ST 34 Litres 1000 Watts Stainless Steel Fascia 297 (h) x 523 (w) x 415 (d) mm

Kitchen Appliances / Toasters

2 Slice Toasters

17 B reville BT320 Cool Touch Exterior White K ambrook KT50 Extra Wide & Deep Slots White Sunbeam TA1210 Cool Touch Exterior White Sunbeam TA2210 Cool Touch Exterior Extra Wide Slots White Sunbeam TA4250 Self Centring Extra Wide Slots Brushed Stainless Steel Panels Kambrook KT110 Self Centring Extra Wide Slots Brushed Stainless Steel Kambrook KT220 Self Centring Extra Wide Slots - Brushed Stainless Steel Design Kambrook KT250 Self Centring Extra Wide Slots Brushed Stainless Steel B reville BTO300 Self Centring Extra Wide & Deep Slots Stainless Steel Breville BTA320 Extra Wide & Deep Toasting Slots White With Chrome Side Panels Sunbeam TA3220 Cool Touch Exterior Extra Wide Slots Chrome & Black Sunbeam TA3220B Cool Touch Exterior Extra Wide Slots Brushed Stainless Steel & Black Sunbeam TA6220 Cool Touch Exterior Extra Wide Slots Brushed Stainless Steel & Black B reville CT25B Extra Wide Slots Chrome & Black Sunbeam TA4200 Cool Touch Exterior Extra Wide Slots White Breville BTA320C Extra Wide & Deep Toasting Slots Stylish Charcoal Colour Sunbeam TA2210B Self Centring Extra Wide Slots Black 4

4 Slice Toasters

Sunbeam TA4400 Extra Wide and Deep Toasting Slots White Kambrook KT60 Extra Wide Slots White B reville BT905 Wide Slots Adjusts Automatically for Thick or Thin Slices White Sunbeam TA3420 Cool Touch Exterior Extra Wide Slots Chrome & Black Sunbeam TA3420B Cool Touch Exterior Extra Wide Slots Brushed Stainless Steel & Black Breville BTA550 Unique Lift & Look Feature Brushed Stainless Steel Sunbeam TA6420 Cool Touch Exterior Extra Wide Slots Brushes Stainless Steel Kambrook KT450 Self Centring Extra Wide Slots Brushed Stainless Steel S unbeam TA9400 Cafe Series Extra Wide & Deep Slots Brushed Stainless Steel Breville BTA840 Professional grade die cast 4 slice toaster Motorised Design - Brushed Stainless Steel 1 1

Laundry Appliances

Washing Machines

$835.49

40-42 INCH
16 Philips 40PFL5605H LED TV (LCD with LED Backlighting) 40 102cm Full HD 1920 x 1080p Pro TV 100 Hz with 2 milliseconds performance for superb motion sharpness Advanced hotel mode - Welcome message on displayInstallation menu locking Cloning of TV settings via USB up to 40% more energy efficient than normal LCD TVs Flame retardant housing Table top swivel stand VESA 200 x 200mm Manufactured in Europe 3 Year Commercial Warranty PLEASE NOTE NO IR LINK Available on this model Can only be used in Stand Alone Mode or with External IR Sensor Philips 42HFL4372D/10 (LCD with LED Backlighting) 42 - 107cm Full HD 1920 x 1080p PrimeSuite My Choice Compatible Low Power Consumption Bathroom Speaker connectivity Integrated Clock Advanced hotel mode One Combined channel list for Analog and Digital Channels Welcome message on display Installation menu locking Cloning of TV settings via USB Flame retardant housing (Pedestal Stand Optional Extra) VESA 200 x 200mm Manufactured in Europe 3 year warranty (Plus Optional Extra at an additional cost -- extended 2 year warranty) Stand to suit Philips 42HFL4372D/10 Samsung LA40C530F1H 40 101cm Both Full HD (Resolution 1920 x 1080p) & Analogue Tuners inbuilt Hotel Logo Display with Time out Setting Hotel Lock Feature Tuning & Volume Level Maximum Bathroom Speaker Output Hotel Mode (Universal plug and play Interface for all major Pay-Per-View Systems) USB Cloning Fire Resistant Casing VESA mounts 200 x 200mm 3 Year Commercial Warranty Samsung UA40C6900VH (LCDs Screen with LED Edge Lights) 40 101cm Both Full HD (Resolution 1920 x 1080p) & Analogue Tuners inbuilt Hotel Logo Display with Time out Setting Hotel Lock Feature Tuning & Volume Level Maximum Swivel Stand Bathroom Speaker Output - Hotel Mode (Universal plug and play Interface for all major Pay-Per-View Systems) USB Cloning Fire Resistant Casing VESA mounts 200 x 200mm 3 Year Commercial Warranty LG 42LD320H 42 106cm Full HD 1920 x 1080p Hotel Logo Display USB Cloning Swivel Stand Streamlined Clock Design Hotel Mode Anti-Theft Protection - VESA mounts 200 x 200mm 3 Year Commercial Warranty $932.40 1

$865.80

$40.00 $1058.80 $911.87

$1615.18

$1468.25

$982.69

46+ INCH
22 Samsung UA46C6900VH (LCDs Screen with LED Edge Lights) 46 116cm Both Full HD (Resolution 1920 x 1080p) & Analogue Tuners inbuilt Hotel Logo Display with Time out Setting Hotel Lock Feature Tuning & Volume Level Maximum Swivel Stand Bathroom Speaker Output - Hotel Mode (Universal plug and play Interface for all major Pay-Per-View Systems) USB Cloning Fire Resistant Casing VESA mounts 200 x 200mm 3 Year Commercial Warranty Philips 46PFL5605H LED TV (LCD with LED Backlighting) 46 117cm Full HD 1920 x 1080p Pro TV 100 Hz with 2 milliseconds performance for superb motion sharpness Advanced hotel mode Welcome message on display Installation menu locking Cloning of TV settings via USB up to 40% more energy efficient than normal LCD TVs Flame retardant housing Table top swivel stand VESA 300 x 300mm Manufactured in Europe 3 Year Commercial Warranty PLEASE NOTE NO IR LINK Available on this model Can only be used in Stand Alone Mode or with External IR Sensor Philips 52PFL5605H LED TV (LCD with LED Backlighting) 52 132cm Full HD 1920 x 1080p Pro TV 100 Hz with 2 milliseconds performance for superb motion sharpness Advanced hotel mode Welcome message on display Installation menu locking Cloning of TV settings via USB up to 40% more energy efficient than normal LCD TVs Flame retardant housing Fixed table top stand VESA 300 x 300mm Manufactured in Europe - 3 Year Commercial Warranty PLEASE NOTE NO IR LINK Available on this model Can only be used in Stand Alone Mode or with External IR Sensor Samsung UA55C6900VH (LCDs Screen with LED Edge Lights) 55 140cm Both Full HD (Resolution 1920 x 1080p) & Analogue Tuners inbuilt Hotel Logo Display with Time out Setting Hotel Lock Feature Tuning & Volume Level Maximum Swivel stand Bathroom Speaker Output Hotel Mode (Universal plug and play Interface for all major Pay-Per-View Systems) USB Cloning Fire Resistant Casing VESA mounts 200 x 200mm 3 Year Commercial Warranty $1800.65 $1653.72 1

$1287.60

$1676.10

$2761.29

$2550.13
Philips SRP1001 Universal Remote Control Simple System Setup Easy replacement for lost or broken remotes Ergonomic design, natural fit for users hand Dedicated support service for your remote control whereby all codes for all brands are available via the Philips URC website - Requires 2 AAA batteries (not included) Please Note Hotel Specific LCDs must be pre-ordered 8 weeks in advance (minimum) $15.25* 6

LCDs & LED/DVD Combos

LCD/DVD Combos

15.5-19 INCH
1 Teco LCD15HNTD 15.5 39cm HD Digital with Built in DVD Player 1 Year Warranty Hotel Lock 1

19-24 INCH 26-32 INCH

Teac LCDV2656HD 26 66cm HD Digital with Built In Detachable DVD Player 1 Year Warranty Hotel Lock Teac LCDV3256HD 32 81cm HD Digital with Built In Detachable DVD Player 1 Year Warranty Hotel Lock 1 1

LED/DVD Combos

19-24 INCH
8 Teco LED19HNLD 19 48cm HD Digital (with Built in DVD Player 1 Year Warranty Hotel Lock Teac LED1982HD 19 48cm HD Tuner with Built In Detachable DVD Player 1 Year Warranty Hotel Lock Teac LED2282HD 22 56cm HD Tuner with Built In Detachable DVD Player 1 Year Warranty Hotel Lock Teco LED24FNLD 24 58cm Full HD 1080p with Built in DVD Player 1 Year Warranty Hotel Lock Teac LED2478HD 24 60cm HD Tuner with Built In Detachable DVD Player 1 Year Warranty Hotel Lock 1
LCD, LED & Plasma Support Brackets
Flat to the wall solutions
7 OmniMount OL50FT - Fits most: 13 - 32 flat panels - Supports up to: 22.7 kg - VESA Compliance: 75x75 to 100x200 Mounting Profile: 30mm Tilt: +5 Warranty: 5 years Physix by Vogels PHW100S Suits 19 - 26 Maximum Weight 20Kg VESA 75xx 200 Range Only 27 mm from the wall Lifetime Warranty OmniMount NC80F Fits most: 23 - 42 flat panels Supports up to: 36.3 kg Universal & VESA compliant: 100x200 to 300x400 Mounting Profile: 40 mm Warranty: 5 years Physix by Vogels PHW100M Suits 26 - 37 Maximum Weight 30Kg VESA 100xx 250 Range Only 27 mm from the wall Lifetime Warranty Physix by Vogels PHW100L Suits Maximum Weight 45Kg VESA 100xx 450 Range Only 27 mm from the wall Lifetime Warranty OmniMount NC200F - Fits most: 37 - 63 flat panels - Supports up to: 90.7 kg - VESA compliant: 100x200 to 400x600 Mounting Profile: 51 mm - Mounting: Double-stud Warranty: 5 years Physix by Vogels PHW100XL Suits Maximum Weight 70Kg VESA 100xx550 Range Only 27 mm from the wall Lifetime Warranty 1
Flat to the wall solutions with a Tilt Function
OmniMount OL50FT - Fits most: 13 - 32 flat panels - Supports up to: 22.7 kg - VESA Compliance: 75x75 to 100x200 Mounting Profile: 30mm - Tilt: +5 Warranty: 5 years Physix by Vogels PHW200S Suits Maximum Weight 20Kg VESA 75xx200 Range Only 52 mm from the wall Up to 15 degree tilt Lifetime Warranty OmniMount 17FMT Fits most 22 flat panels Supports up to: 18.1 kg VESA compliant 75x75 to 100x100 Tilt: -5 to +15 - Warranty: 5 Years Single Stud Mounting OmniMount NC80T - Fits most: 23 - 42 flat panels - Supports up to: 36.3 kg VESA compliant: 100x200 to 300x400 Mounting Profile: 61 mm Tilt: -5 to +15 Warranty: 5 years Physix by Vogels PHW200M Suits Maximum Weight 30Kg VESA 100xx350 Range Only 52 mm from the wall Up to 15 degree tilt Lifetime Warranty Physix by Vogels PHW200L Suits Maximum Weight 45Kg VESA 100xx450 Range Only 52 mm from the wall Up to 15 degree tilt Lifetime Warranty OmniMount NC200T - Fits most: 37 - 63 flat panels - Supports up to: 90.7 kg - VESA compliant: 100x200 to 400x600 Mounting Profile: 76 mm - Tilt: -5 to +15 Warranty: 5 years Physix by Vogels PHW200XL Suits Maximum Weight 70Kg VESA 100xx550 Range Only 52 mm from the wall Up to 15 degree tilt Lifetime Warranty 1 1

BARRELS

N ilfisk GDWatts 10 Litre Bag Sack Filter System 5.6Kg Nilfisk GD911 Battery 400 Watts 10 Litre Bag Sack Filter System 50 Minute Run Time 50 Dba 11Kg (incl Battery) Nilfisk HDSWatts 10 Litre Bag Dual Speed Hepa Filter Whisper Quiet at 46/44dB 9Kg Numatic Junior NVHWatts 8 Litres 2 Stage Tritex Filtration 5.2Kg Unique caddy top allowing storage of small tools, duster, polish, cord etc - Colour Blue Only Numatic PSP180A AutoSave Energy 600W Eco setting or equally at the 1200W high performance standard 8 Litre 2 Stage Tritex Filtration Weight 5.9Kg Numatic NSP180A 800 Watts - 8 Litre 2 Stage Tritex Filtration Weight 5.8Kg Less Energy, Lower Noise, Longer Life and User Convenience Numatic Henry HVR200 1200/600W Auto Save Control System Motor - 9 Litres 2 Stage Tritex Filtration Cord Rewind System 6.9Kg Colours Available Red, Blue, Green & Yellow Numatic PVT220A 1200/600W Auto Save Control System Motor 9 Litres 2 Stage Tritex Filtration Cord Rewind System 8.5Kg With Extendable Handle & Cleaning Caddy Numatic Hetty HET200P 1200 Watts - 9 Litres 2 Stage Tritex Filtration Cord Rewind System 6.9Kg Colour Pink Only Numatic Harry HHR200A 1200 Watts 9 Litres Microfresh Filtration Cord Rewind System 6.9Kg Turbo Brush Colour Green Only Numatic SSVWatts - 9 Litres 2 Stage Tritex Filtration 8.3Kg Made of stainless steel for those people who want a bit more than the average vacuum has to offer N ilfisk GM80B (Package) 1200 Watts 6 Litre Bag 5 Stage Filtration 3 in 1 Floor Tool 5Kg Numatic PSP370A - AutoSave Energy 600W Eco setting or equally at the 1200W high performance standard 15 Litre 2 Stage Tritex Filtration Weight 6.4Kg Numatic PVT390A 1200/600W Auto Save Control System Motor 15 Litres 2 Stage Tritex Filtration Cord Rewind System 8.6Kg With Extendable Handle & Cleaning Caddy 1 1

UPRIGHTS

22 Nilfisk GU355 Dual 1200 Watts 4 Litre Dust Bag 4 Stage Filtration Dual Motor 35cm Brush Width Weight 8.5Kg N ilfisk GU455 Dual 1200 Watts 4 Litre Dust Bag 4 Stage Filtration Dual Motor 45cm Brush Width Weight 8.5Kg Nilfisk GU700A 2250 Watts 35 Litre Dust Bag 3 Stage Filtration Dual Motor 64cm cleaning path 23 metre cord 1

WET/DRY MACHINES

Nilfisk GWD335 Wet/Dry Machine 1350 Watts 35 Litre Capacity Hepa or Cartridge Filters 8Kg Nilfisk GWD350-2 Wet/Dry Machine 2700 Watts 50 Litre Capacity Hepa or Cartridge Filters 21.5Kg Numatic Charles CVCWatts - 15 Litre Dry/9 Litre Wet Vacuum 2 Stage Tritex Filtration 7.1Kg Colour Blue Only Numatic George GVEWatts - 15 Litre Dry/9 Litre Wet Vacuum 6 Litre x 6 Litre Extraction 3 Stage Tritex Filtration 8.8Kg Colour Green Only 1 1

Domestic Vacuum Cleaners

Kambrook KBVWatts 1.8 Litres Bagless HEPA filtration Kambrook KBVWatts 2.0 Litres Bagless HEPA filtration Samsung SC65AWatts 1.4 Litres Bagless HEPA 12 Postmotor Filter Samsung SCWatts 2.0 Litres Bagless HEPA 12 Postmotor Filter Spare Parts and Additional Floor Tools are also available. Please contact us for current pricing. 1 1

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Nilfisk
25 Nilfisk Backuum Dustbags Part Number 22198000 (5 bags per packet) Nilfisk Backuum Cloth Dust Bag - Part Number 020 (1 bag per packet) Nilfisk BV1100 Cloth Filter Bag - Part Number 003 (1 bag per packet) Nilfisk BV1100 Dustbags - Part Number 190 (10 bags per packet) Nilfisk Back Pack GD5 Dustbags Standard Part Number 500 (5 bags per packet) Nilfisk Back Pack GD5 Standard Filter (Cloth Bag) Part Number 500 (1 bag per packet) Nilfisk Back Pack GD5 Hepa Filter (Cloth Bag) Part Number 500 (1 bag per packet) N ilfisk UZ964 Hip Vac Dustbags Part Number 020 (10 bags per packet) N ilfisk UZ964 Hip Vac Clothbag/Reuseable Part Number 000 (1 bag per packet) 1
N ilfisk GD910 & GD911 Dustbags Part Number 82367810 (5 bags per packet) Nilfisk GD910 & GD911 Dustbags Part Number 000 (10 bags per packet) Nilfisk GD910 Clothbag/Reuseable Part Number 22251800 (1 bag per packet) Nilfisk GD910, GD1010 & HDS2000 Quantity Dustbags Part Number 82367810 (Total of 175 bags) N ilfisk HDS2000 Dustbags Part Number 82367810 (5 bags per packet) N ilfisk HDS2000 Clothbag/Reuseable Part Number 22251800 (1 bag per packet) Nilfisk GM80B Dustbags Part Number 82095000 (5 bags per packet) N ilfisk GM80B Quantity Dustbags Part Number 82095000 (Total of 240 dustbags)

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N ilfisk GU350A Dustbags Part Number 56703868 (10 bags per packet) Nilfisk GU350A Clothbag/Reuseable Part Number 56703658 (1 bag per packet) Nilfisk GU355/GU455 Dustbags Standard Part Number 500 (10 bags per packet) Nilfisk GU355/GU455 Dustbags/Reuseable Part Number 500 (1 bag per packet) Nilfisk GWD350-2 Dustbags Part Number 010 (3 bags per packet) Nilfisk GWD335 Dustbags Part Number 010 (3 bags per packet) Nilfisk GU700A Dustbags Part Number 56330690 (6 bags per packet) Nilfisk GU700A Clothbag/Reuseable Part Number 56330589 (1 bag per packet)
Other Nilfisk Vacuum Bags for superseded machines
28 N ilfisk GD1010 & GD1005 Dustbags Part Number 82367810 (5 bags per packet) N ilfisk GD1010 & GD1005 Quantity Dustbags Part Number 82367810 (Total of 175 bags) Nilfisk GD110 (Viking) Dustbags Part Number 020 (10 bags per packet) 1
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29 Numatic 604015 (New code) or NVM1CH (Discontinued code) (10 Bags per packet) Suits Junior NVH180, James JVH180, Henry HVR200, Hetty HET200P, Harry HHR200A, NSP180A, PSP180A, PSP370A, PVT220A & PVT390A Numatic 604016 (New code) or NVM2CH (Discontinued code) (10 Bags per packet) Suits Charles CVC370 & George GVE1
Vacuum Cleaner Floor Tools

Obviously, if you divide a luminance expressed in foot-Lamberts by pi you then have the luminance expressed in
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candles /foot^2.

(Bfl/pi=B)
Other luminance units are: stilb = 1 candle/square centimeter apostilb = stilb/(pi X 10^4)=10^-4 L nit = 1 candle/ square meter Lambert = (1/pi) candle/square cm

sb asb nt L

Below is a table of photometric units with short definitions. Symbol Q Term light quantity Unit lumen-hour lumen-second Unit Definition radiant energy as corrected for eye's spectral response radiant energy flux as corrected for eye's spectral response one lumen per steradian one lumen per steradian one lumen per steradian lumen/foot^2 lumen/meter^2 lumen/centimeter^2 see unit def's. above (1/pi) candles/foot^2 (1/pi) candles/centimeter^candle/centimeter^candle/meter^2

luminous flux

luminous intensity
candle candela candlepower foot-candle lux phot candle/foot^2 foot-Lambert Lambert stilb nit

illumination

luminance

= = = =

Note: A lumen-second is sometimes known as a Talbot. To review: Quantity of light, Q, is akin to a quantity of photons except that here the number of photons is pro-rated according to how bright they appear to the eye. Luminous flux, F, is akin to the time rate of flow of photons except that the photons are pro-rated according to how bright they appear to the eye. Luminous intensity, I, is the solid-angular density of luminous flux. Applies primarily to point sources. Illumination, E, is the areal density of incident luminous flux. Luminance, B, is the areal intensity of an extended source.
Photometry with a Photographic Light Meter The first caveat to keep in mind is that the average unfiltered light meter doesn't have the same spectral sensitivity curve that the human eye does. Each type of sensor used has its own curve. Silicon blue cells aren't too bad. The overall sensitivity of a cell is usually measured with a 2856K or 2870K incandescent lamp. Less commonly it is measured with 6000K sunlight.
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The basis of using a light meter is the fact that a light meter uses the Additive Photographic Exposure System, the system which uses Exposure Values: Ev = Av + Tv = Sv + Bv where: Ev Av Tv Sv Bv = = = = = Exposure Value Aperture Value = lg2 N^2 Time Value = lg2 (1/t) Speed Value = lg2 (0.3 S) Brightness Value = lg2 Bfl

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I use Speed-E-Zels mostly, and I cut red construction paper masks that I slip in the easel over the paper. I have masks in both 8x10 and 11x14 size. I cut a rectangle in an 8x10 size sheet of red paper, then I trim off about 3/16 inch from each dimension of the "hole". (You want to make those borders as thin as possible.) I compose with the large red mask in the easel, leaving just a little more room than normal. Then I expose with the paper under the mask. I then position the rectangular insert so that there is an even distance on all four sides. I take the negative out of the carrier and expose the "border" for about 5 seconds. This produces a thin black border around the print with a large white border. With the combinations of mask and insert, you can have a large black border, a large white border, or the previously described large white with thin black border. I have masks of several different aspect ratios: 5 x 10", 7 x 10, 7 x 9, 7 x 7. This allows customizing the image to the frame. For some of the aspect ratios, I have two versions, one for a horizontal image, and the other for a vertical image. From: fohl@cbnews.cb.att.com (mark.e.fohl) Organization: AT&T ================================================================================ Note 22.04 -< Sound Synchronizer for ECM application >-------------------------------------------------------------------------------Here is a schematic for a Sound Synchronizer designed for use with an ECM (electret condenser microphone). +6v +6v ^ ^ + 10uf _ | |.-|(--. *----> flash (hot) | | | | | | | a |--| |-/ 6| |1 8| _|_ |_|.--*--*-----*-. \ / TIC106D | 20Kohm | | __V__ | 3| |5 100uf + g /| +-2V -->*----||--* LM386 *---*---)|--------/ | c + |.01uf | | | *----> flash (GND) |O ECM | | Z 100 ohm | - | mic. |__*___*___*__| | | | 2| 4| 7 ===.047uf | | | | | | |___________|___|__________|_______________|________> 0 v | --- GND
For the ECM to work, you'll need about +2v at the point shown in the schematic, this can obtained by trimming the +6v down with the 20k lin. pot. But this might vary with the type of ECM used. Observe polarity of the ECM. This circuit is fairly sensitive, but I'm working on some improvements. From: Jeroen Steenblik jeroens@stack.urc.tue.nl
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================================================================================ Note 22.05 -< Pinout Layout for Carousel Projector Receptacle >------------------------------------------------------------------------------->I was wondering if anyone knows the pinout for the dissolve/lamp control port >on Kodak carousel slide projectors? I'm referring to the rectangular >connector with one rounded end; the one you typically connect to an external >dissolve unit (NOT the remote control connector). This is described in a couple of pamphlets that were published by Kodak: Kodak Slide Projector Wiring and Operation, Cords, Plugs and Receptacles for Kodak AV Equipment, Reducing or Controlling Ligth Output of Kodak Ektagraphic Projectors. Kodak may still have these available through their Info Service reachable at 800-242-2424. In the last pamphlet there is an indication that placement of a switch, switch plus resistor (fixed or variable), or diode between the two sockets located directly below the 5 pins devoted to the "remote" control will allow you to control the light level. Proper consideration of power requirements must be taken. This is explained in detail in the pamphlets. I transcribed the illustration for you: __________ / \ Small Red (forward / \ and chassis ground)----/--> o o <--\---- Small Black (focus) | o <------|--- Yellow (common -- not ground) Small White (reverse)-|--> o o <--|--- Brown (focus lock) | | | | Large Red -----|--> o o <--|--- Blue (to lamp) (to power switch) | | |. | | : O O : | | :.: | |________/________| / /__ Not used with projectors having permanently attached power cords Andy ================================================================================ Note 22.06 -< Foot-candles - how to measure them? >------------------------------------------------------------------------------->My mother in law grows orchids and for some reason needs to measure the amount >of light falling on them in foot-candles. All the light meters she has are >graduated in ASA or somesuch. How can she measure in foot-candles with them? The illuminance at the surface of the earth due to the sun at zenith on a clear day is about 10,000 footcandles. These same conditions are associated with the "sunny sixteen" exposure rule of 1/ASA seconds at f/16. You can use this as the basis to compute other values of illuminance. For example:

Kodak, Schneider, Wollensak made lenses of approximately the same focal length. Thus there are equivalent choices in a given focal length between a Ektar, Xenar or Optar. Most Graflex Optars are made by Wollensak, but later (post 1965) Optars are manufactured by Rodenstock. These lenses are 3 group/4 element "Tessar" type lenses with a 55 degree circle. The Ektars were probably the best all around quality, with Xenars next, and Raptars and Acutars third. They are fairly close if in good repair and not mistreated. The Polaroid 110,110A and 110B roll-film cameras can often be found very inexpensively. They are fitted either with a Rodenstock Ysarex 127/4.5 or Wollensak Rapter 127/4.5. In discussing the various post WWII coated lenses mention should also be given to German suppliers. Due to manufacturing, supply, and legal problems, there were relatively few post-war Zeiss Tessars made. NON TESSAR TYPE GENERAL PURPOSE LENSES Non Tessar type - usually 3/5 type - post war lenses of superb quality include the Voigtlander Heliars and Apo-Lanthars, the Schneider Xenotar and the Zeiss Planar. However, they are extremely expensive for a lens with a 50-degree image circle. ------------------------------------------------------------------------2. Symmetrical (wide field) lenses - useful for closeup work and landscape
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General Purpose Lenses: 4-element/4-group, 6-element/2-group, etc. Manufacturer Lens Brand ------------ -----------Kodak W.F.Ektar Kodak Ektar Schneider Symmar Schneider Angulon Graflex Wollensak Goerz Goerz Optar W.A Raptar W.A. Dagor (f6.8) Super Dagor (f8) 90 3.5 Shutter -----------Typical Focal Lengths ---------------------
Supermatic 80, 100, 135 Supermatic 203 Syncho Compur 100, 135, 150, 180, 210 Synchro Compur 90, 120 Graphex Rapax 90 5",6",6.5",7",8.25",to 14" 3 5/8", 4 3/8", 6.5" 5.210 8.25 90
Focal Length (mm) Focal Length (inches) Notes : Schneider Symmar
Symmars (coated, post-WWII) come in 100, 135, 150, 180 and 210, all in Syncho Compurs. Even though these are "convertible", they are poor when used that way. Later 'Symmar S's from the 70s, more expensive, have even better coating and wider circle of illumination, but are much more expensive. However the Symmars are still excellent lenses. Notes : Kodak WF Ektars The two Kodak WF Ektars need to be stopped down considerably to equal in sharpness to the General Purpose Tessar lenses mentioned the the first section when used as wide-angle lenses. They are less even in illumination across the same field of view in comparision to a Symmar. Sharper at wide apertures than the 90mm Angulon, etc. The 135mm WF Ektar was reccomended for General Purpose use on 4x5 monorail view cameras. Notes : 90mm Wollensak W/A, Graflex The Graflex W/A Optar, really a Wollensak Raptar W/A is another older wide-angle lens. Acceptibly sharp when stopped down, f/6.8 is for focusing only. Use at f/11-32. Of similar design to WF Ektar. Notes : Kodak Ektar 203mm The Kodak Ektar, 203mm/f7.7, has a 50 degree angle of coverage. It is a very old 4-element air-spaced design and has remarkable sharpness from infinity to close up. Being slow, f/7.7, it is fairly small and light. Sharpest wide-open. Notes : Dagor/Angulon The Dagor and the Schneider Angulon are true symmetricals (f6.8) but can cover over 70 degrees at f22 and 80 degrees at f45. They are of six-element, two-group construction. With so few air-glass interfaces

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FILM SPEED: Exact speed recommendations are not possible because the ratio of infared to visible radiation is variable and because photoelectric meters are calibrated only for visible radiation. Use a hand-held meter rather than a through-the-lens type. It is recommended that trial exposures be made to determine proper exposure for the conditions under which photographs will be made. Under average conditions, the following speeds can be used as a basis for determining exposures when meters marked for ASA speeds or exposure indexes are used. SPEEDS FOR RECOMMENDED DEVELOPMENT IN KODAK DEVELOPER D-76: KODAK WRATTEN FILTERS DAYLIGHT TUNGSTEN No. 25, 29, 70, or 89B No. 87 or 88A No. 87C Without a Filter FOCUSING: For best definition, take all infared pictures at the smallest lens opening that conditions permit. If large apertures must be used and the lens has no auxiliary focusing mark, establish a focusing correction by photographic focusing tests. A basis for trial is the extension of the lens by 1/4 of 1 percent of the focal length of the lens. DAYLIGHT EXPOSURES: -for subjects in bright or hazy sunlight (distinct shadows): EXPOSED THROUGH KODAK WRATTEN FILTER NO. 25 Distant Scenes Nearby Scenes 1/125 sec at f/11 1/30 sec at f/11 NO FILTER Distant Scenes 1/125 sec at f/16
PHOTOLAMP EXPOSURE TABLE: For use with a KODAK WRATTEN Filter No. 25 over the camera lens. Use two 500-watt reflector-type photolamps or two No. 2 photolamps in 12-inch reflectors giving comparable light output. Place one lamp on each side of the camera at an angle of 45 degrees to the camera-subject axis. Lamp-to-Subject Diatance Lens Opening at 1/30 Sec. 3 feet f/1/2 ft f/1/2 ft f/5.6
FLASH EXPOSURE: To obtain the lens opening for electronic flash or flashbulbs, divide the guide number by the distance in feet from flash to subject. ELECTRONIC FLASH GUIDE NUMBERS: Use with a KODAK WRATTEN Filter No. 87 over the camera lens: Output of Unit (BCPS or ECPS) Guide Number for Distances in Feet 5600 8000
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from: andrew davidhazy, andpph@rit.edu ================================================================================ Note 29.2 -< 3D Processing and Finishing Laboratories >------------------------------------------------------------------------------->Where does one send film exposed in a Nishika or Nimslo camera for >processing? To have film developed and printed into 3D lenticular prints there are at least two labs that will do it. They also do "custom" work and may be
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willing to print stereo "pairs" into 3D prints. They make enlargemets also. Nishika makes prints that include 4 images while Image-Tech makes ones that rely only on three images. (If they print Nimslo material one of the images is left out). Nishika Laboratories 1 Nishika Drive Henderson, NV 89014 702-435-7000 or Image-Tech Laboratories 5172-G Brook Hollow Parkway Norcross, GA 30071 404-416-8848
from: andy davidhazy, andpph@rit.edu ================================================================================ Note 29.3 -< Star Trail Control with Exposure Time >------------------------------------------------------------------------------->I photographed the Orion stars last week and one of the pics had star trails >rather than star spot. What is the maximum time allowable to prevent the stars >from trailing? I used a 200mm lens pointing it about 30 degrees from zenith. This is an interesting question since while the angular speed of the stars is the same, roughly 15 degrees per hour, their effective speed on the film varies with elevation. I do not have the answer but am going to try figuring it out. Suppose the camera is aimed low to the horizon then the lens will record an angle in the sky equal to its angle of coverage. For a 50 mm lens horizontally this is about 40 degrees, a degrees and a degrees. The stars appear to move at 15 degrees per hour or 15/60 or.25 degrees per minute or.25/60 or.0042 degrees per second. So, using a 50mm lens, a star's image will move across the frame in 40 degrees /.0042 degrees per second = 9600 seconds So how many star images are there in 40 mm? at 100 stars per mm there would be roughly 4,000 so in one second you'd have to "cover" about 1/2 stars worth. If your criterion says that you have to restrict motion to a "blob" one star tall by four or five stars long then you'd have to have a maximum exposure time of 8 seconds. Exposure times longer than about 10 seconds will already show significant trailing. Ultimately it really depends on how much blur you can allow. If you can only allow motion equivalent to one star's image diameter on the film your exposure time requirements will be much more stringent than if you can allow the star's image to move two, three or more diameters before you consider it a trail instead of a spot. Now if you raise the angle of the camera towards the poles then the effective speed of the images will be less. or another way to say it is that you will cover more "degrees" of the sky with the same lens. Essentially with the camera pointed at the pole star you will cover 360 degrees around the pole star (with any lens!) and there will be very little motion at all in this region and much longer exposures can be tolerated. Anyway, this means that you can probably use longer and longer times as the elevation of the stars approaches the pole stars. If your stars are within 30 degrees of the pole star you can probably roughly double or maybe even quadruple the time you'd use at 90 degrees to the pole star. I'm going to assume a linear relationship between image velocity and focal

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A new 'user-friendly' iron-based silver printing process, related to the Kallitype, Argentotype, Sepia, Brownprint and Van Dyke processes of the 19th Century, but offering some advantages over them in the economy of materials and effort, and in the quality and permanence of the image. Sensitizer Chemicals needed: Sulphamic acid 7 g (spelt 'sulfamic' in the USA) Silver(I) Oxide 7 g Ammonium Iron(III) Citrate (green crystals) 22 g Tween 20 (wetting agent) about 0.2 cc Distilled water to make 100 cc Making up Sensitizer (under tungsten light) 1) Heat about 70 cc of distilled water to 50-60 C, and dissolve 7 g of Sulphamic Acid in it. 2) Add 7 g of powdered Silver(I) Oxide to the hot solution 1) in small amounts with vigorous stirring until all is dissolved. 3) Add 22 g of Ammonium Iron(III) Citrate (the green variety) to the warm solution in portions, with stirring, until it is all dissolved. Allow to cool. 4) Add 0.2 cc of Tween 20 and mix well. N.B.The appropriate quantity of this wetting agent is variable and will depend on the paper used. 5) Add distilled water (at room temperature) to make a final volume of 100 cc and filter the solution to remove any small amount of solid remaining. (The solution should be a clear deep olive-green colour.) 6) Store in a brown bottle in the dark at room temperature. (The solution should keep for a year, at least. If it throws down a small amount of black precipitate, it should be re-filtered.) 7) To make a more contrasty sensitizer, dissolve an extra 1 g of sulphamic acid in 100 cc of sensitizer. CAUTION The solution is toxic and will stain skin and fabrics: wash away spillages with plenty of cold water. Papers The purity of the paper is critical: of the UK papers tested so far, Whatman Watercolour, Saunders Somerset and Atlantis Silversafe Photostore are recommended, but the best is Ruscombe Mill's handmade Buxton paper. The wetting agent, Tween 20, is included in the sensitizer formulation to assist uptake of the sensitizer by the cellulose fibres, which minimises "bleeding" of the colloidal metal image during processing, but it may cause uneven penetration of some papers that contain a mixture of fibres. Discovering the best paper is a matter for personal experiment. Coating A 10"x8" coat requires about 1.6 cc, depending on the paper, if a glass rod spreader is used. Brush coating will consume more. Allow a few minutes for the sensitizer to soak in, until the paper surface appears non-reflective, then dry for about 10 minutes in a stream of warm (40 C) air. Alternatively, simply allow to dry at room temperature and humidity for about an hour. The sensitized paper should be used within a few hours, unless a desiccated box is used for longer term storage: 'shelf life' in a dry environment is at least a week.

THE RANGEFINDER 1312 Lincoln Boulevard Santa Monica, California 90406 (310) 451-8506 A monthly magazine devoted to the technical aspects of photography and
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includes equipment reviews and coverage of new products.
SHUTTERBUG Box 1209 Titusville, Florida 32781 A monthly magazine featuring perhaps the most extensive equipment and product advertising in the photo community, complimented by news, features, and reviews.
SHUTTERBUG'S OUTDOOR & NATURE PHOTOGRAPHY Box 1209 Titusville, Florida 32781 A new monthly photo magazine has just premiered (in the USA anyway). It is called _Shutterbug's Outdoor & Nature Photography_. Using the same size and format of _Shutterbug_ magazine, it concentrates on the same outdoor themes as Outdoor Photographer (though not as erudite in tone) and the review style is similar to Shutterbug. Premier issue covers tripod selection, new color films, backpacks, trip planning, filter usage, etc. -- John McCormack, John_McCormack@nbs.gov TAKING STOCK (was: STOCK PHOTO LETTER) by Jim Pickerell 110 Frederick Avenue Rockville, Maryland 20850 A quarterly newsletter for stock photographers. VIEW CAMERA 2774 Harkness St. Sacramento, CA 95818 (916) 441-2557 75511.2576@CompuServe.com A bi-monthly for View Camera enthusists. ZONE VI NEWSLETTER Published by Zone VI Studios/Fred Picker Newfane, VT 05345-0219 Concise and practicle information on photography, art and life. They make the most bitchen field camera ever. If you don't use their meters, you aren't getting good exposures. [I am not affiliated with them-just love their stuff.] -- Steven Lunetta, a063@amug.org
and some more from various sources. Exposure 3721 A Webster San Francisco, CA 94123
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Exposure is a new magazine for and about the unknown photographer trying to make names for themselves. We feature the work of the professionals of tomorrow. If you have a photo story, great stand alone, or even an idea for a story, let us know. We are interested in covering all the issues of the up and coming photographer.
Afterimage Visual Studies Workshop 31 Prince Street Rochester, NY 14507 (716) 442-8676
Fine art photography issues
Photo Techniques Preston Publications PO Box Merrimac Avenue Niles, Illinois 60714 or PO Box 779, Mt. Morris, IL 61054 SEE Membership The Friends of Photography 250 Fourth Street San Francisco, CA 94103 DoubleTake P.O. Box 1918 Marion, OH 43305-1918

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1000 pictures per second of a rotating fan. Assuming that the fan turns less than one revolution between pictures, at what rate was the fan turning in RPM?.------.------.------.------.------.------.------.------. | | || / || || || || || ||\ | | | || / || ---|| || || ||__ || \ | | || || || || \ || | || || | | || || || || \ || | || || | ------ ------ ------ ------ ------ ------ ------ -----18 Moving a sound synchronizer's microphone 1 foot further away from the source of sound will add about how much delay to the next photograph? 19 The slope of the edge of a shock wave is a function of the speed of sound in the gaseous medium in which a missile moves and the.
1 What is the exposure time necessary to limit blur in a subject moving at 10 feet per second to 1/100 of an inch at the film plane if you used a 50mm lens and the subject was 2000mm from the camera? The answer to this question is based on Image/Subject distance relationships. If the lens is a 500 mm lens and the subject was 2000 mm from the camera then the Subject is 2000/50 or 40 times bigger than the image made by the lens. If the blur can only be 1/000 inch in the camera, at the Subject this translates to 40/100 or.4 inch. So the Subject can only move.4 inch during the exposure. Since the amount of Blur one gets is determined by taking the Subject Speed or Velocity and multiplying by the Exposure Time this can be rearranged so that Exposure Time required is equal to Blur Allowed divided by Subject Speed. so, required ET =.4 inches divided by 120 inches per second or 1/300 second
2 Photographing a TV screen with a Focal Plane will produce a raster pattern that is similar to that produced by a Leaf Shutter shutter when what condition is established? A TV set delivers 15,750 lines of information on the screen per second. That is there is 1/15,750 second between lines. Theoretically one should only "see" 15.75 lines of the screen if one makes a picture at 1/1000 second. This is more or less so but due to afterglow of the phosphors in a practical situation it is a bit off. Anyway, the lines are laid down from top to bottom. If photographed with a leaf shutter one sees a horizontal "band" 16 or so lines wide. If photographed with a Focal Plane shutter lined up to travel horizontally with respect to the scanning direction will show a diagonal "band" still 16 lines wide at each end. If the FP shutter travels parallel to (either with or against) the direction of motion of the CRT scan the result will be a pattern very similar to the one produced by the leaf shutter but it will depict fewer or more lines than should be counted as a result of the exposure time given by the shutter. 3 What is the limiting or defining criterion that defines whether a photographic print appears sharp or not?

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the early 1900's to about 1940 or so. BTW, BTW, BTW you can expect to see a relationship between these cameras and something called, in electronic imaging terminology, Linear Arrays. A CCD array consisting of only one row of pixels. Also related to the word "scanning" that we have all become so familiar with. Scanning in photo terms was never very popular but everyone seems to appreciate the word in its "electronic" context. Interesting! To appreciate what these cameras do next time you are near a "moving light wand" type copier make yourself a copy of your hand both while you keep it satitonary and also while you move it along with, against or sideways as the copy is being made. Scanningly educational activity, this! regards, Andy, andpph@rit.edu ================================================================================ Note 32.09 -< How to determine the aperture and f# of a lens? >------------------------------------------------------------------------------->Is there any simple way to figure out the *true* aperture of a lens? I know >that focal length/diameter of front element is an approximation, but how good >an approximation. Size of the front element has nothing to do with the aperture (well it does have some relation to aperture, but no direct relationship). Filter threads are often standardized by manufacturers to simplify things like filters, lens caps and probably other manufactured parts used in the construction of the lens. The aperture is the focal length divided by the diameter of the physical aperature (as seen from the back so it may be affected by the optics to be something different from the physical aperture, particularly in something with a telephoto design). One way of determining the actual aperture is to place a pinhole at the film plane with a very bright light shining through the pinhole. With the lens focused at infinity, a card held in front of the lens will produce a spot on the card the size of the aperture as seen by the film. You can then sort of measure this spot and calculate the actual aperture from the focal length and your measurement. If you do try this, be very careful because the bright light can easily melt or burn something in the back of your camera.

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correction to apply since they didn't see the original show! Ideally, you'd shoot a gray card under the stage lights to give them a reference point; if you can't do that, try to get some close-up shots of the actors showing skin tones. Then, be sure to tell the lab that you shot the film under tungsten light. It may take a couple of tries to get color balance that corresponds to your memory of what the scene actually looked like. (This is why I prefer to shoot slide film or b&w!) As to general technique: Use a spot- or center-weighted meter if your camera has one; otherwise the dark areas around the main subjects will cause the meter to give too much exposure. (The difference in brightness between the subject and background is greater than it looks to the eye; lighting designers cleverly set it up this way to subtly focus attention on the performers!) With a center-weighted meter, you may have to give a bit less exposure than the meter suggests -- for negative film, I'd try about -1/3 or -2/3 stops of exposure compensation. (If your camera doesn't have a spot meter, and you plan to do much stage photography, eventually you'll probably want to break down and buy a separate 1-degree spotmeter.) You'll probably be sorry that your fastest lens maxes out at f/3.5. If you happened to buy a 50mm normal lens with your camera -- an f/1.8 or f/1.4 or something -- take it along, too; it doesn't take up much space in the bag, and can really save your bacon if you want a nice overall shot of a dimly lighted scene. (Since I photograph a lot of ballet productions, I've had to invest in a lot of fast lenses so I can get action-stopping shutter speeds: the ones I use most often are an 85mm f/1.4, a 100mm f/2, a 200mm f/2.8, and for smaller theaters a 50mm f/1.4 or 50mm f/0.95 -- yes, the latter is a fairly exotic item! If you keep doing a lot of stage stuff you may want to invest in at least a fast medium tele such as an 85~100mm f/2 or so; this also makes a nice portrait lens.) The tripod is a good idea, although banging it around as you climb up on catwalks etc. may get annoying. I've tried various other strategies for steadying the camera while allowing mobility. Sometimes I use a monopod, especially for shows where I have to stand up to get a good view of the stage. Often, though, the best solution is to brace either my arms or the camera itself on the back of a theater seat (obviously this only works if you're shooting a rehearsal; at a performance, the person occupying the seat may object!) Backstage or on the catwalks, look around for things against which you can brace the camera (walls, railings etc.) -- this can often help steadiness a lot. Just don't lean on stage or lighting equipment that might move, vibrate, burn you, fall over, etc.! If in doubt, ask the stage manager what's safe and what isn't. Hope some of these ideas help. Good luck and have fun! From: jlw@gonix.com (Jim Williams) ============================================================================== 33.08 -< Photographing Soccer Recommendations >----------------------------------------------------------------------------->I am having a hard time shooting Soccer games. Where would be the best place >on the field to get players in action and what lens would be best? In my opinion the best place generally is at either end of the field, somewhere

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Jock Sturges there are more, but I am drawing a blank. From: KOUKLIS_KERIK@aphub.aerojetpd.com (Kerik Kouklis), Placerville, CA... > > > > > I find it easier to like someone's work if I like the person as well. (I know this is purely subjective, but I'd be interested hear what others think about this.) I came away from that show liking Avedon as a person and having much more admiration for his accomplishments. Kerik Kouklis
I can agree that liking the artist helps. Many of the photographers I consider influences are people I admire personaly, not just technically. The effect is that you also learn the person's work habits, ethics, views and goals, and that tells you alot about your own feelings toward your art and work. I was reading an interview in View Camera (I wish I remembered the photographer's name) and it came up that most of his influences are literature, plays, etc., as well as photographers. There is a value to learning ideas about the art as well as technique and view point. This photographer was saying that this helps him keep a style of his own and not imitate others (and the photos they printed cirtainly had that.) As for living photographers, Cartier-Bresson is still with us, no? From: Alex Polkovsky <POLKOVSKYA@YEATS.GMCC.Ab.Ca>... I'll add some of my own. Apologies for those I've repeated. Rather than go into, long descriptions, I'll break them down into general classifications. I'm assuming that we're talking about living *and* active; otherwise, I'd be obliged to add Ruth Bernhard (is she still an active photographer?) Landscape: Joel Meyerowitz Richard Misrach Galen Rowell Robert Adams Social/Political: Richard Misrach Robert Del Tredici Portraiture: Richard Misrach Sally Mann Bill Owens Specialized: Richard Barnes (Architecture) Lois Greenfield (Dance) Photomontage/Alternative Techniques: Jerry Uelsmann Jan Saudek From: Nick Cuccia <cuccia@Talamasca.COM>
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============================================================================= 41.05 -< Mary Ellen Mark - brief history >----------------------------------------------------------------------------Ok, I think that Mary Ellen Mark is one of the best photographers around: Mary Ellen Mark was born in 1940. She grew up in suburban Philadelphia. Mark lives and works in New York with her husband, film director Martin Bell. During her high school years Mark painted and was into drawing, she got into it again during college. She stated that she wasn't "passionate or involved enough in the idea of being a painter." Photography really turn her on, it engaged her emotions, and intellect. It was 1962 when Mary embraced photography. This happen during her Graduate studies at the Annenberg School for Communication at the University of Pennsylvania. She had studied painting and art history for her bachelor's degree from the same university. After she graduated, she worked at drafting for a city planner. She hated it. She decided to return to school. She looked into the Annenberg scholarship program. She won a scholarship and chose photography. She started using her camera for the school yearbook and alumni magazine. In the Pennsylvania Gazette her photos were published in one issue in 1964 two stories showing old-timers and school celebrations. She knew immediately that photography was her calling. Mary felt that she had a chance to be good at it. The next day she went out on the street to experiment with the camera that was given to her by her instructor. Using that camera gave her a feeling that through photography she know she had a way to contact with people. After Mary graduated, she received a Fullbright scholarship to photograph Turkey. This was a government sponsored program named after Senator J. William Fulbright. It was setup in 1946 to encourage understanding between the Untied States and other nations. When she completed her Fulbright project in 1966 she returned to New York in 1966. The photographs she captured gave her recognition and gave here an excellent portfolio, from this she was able to start looking for work as a professional photographer when she went back to New York. Some of her work from Turkey, Greece, Germany, Spain was published in her first book Passport in 1974. Passport cuts across the cultures of Asia, Europe, and America, beginning images of Turkish immigrants in Istanbul it ended with images of the Woman's Army Corps training in Alabama. There were many photos worth looking at but the individual images were very strong, conveying a range of emotion. During this time Mark's early work were photograph's of children. In street children. In the image titled "Street Child Trabozon, Turkey" the little girl had on a wrinkled dress, cheap shoes. She stands in front of a white wall with her hip out. I guess the little girl picked that up from watching movies of old movie stars. She carried a camera with her everywhere, shooting anything that interested

============================================================================= 44.02 -< Removing Dye Layers from Color Film One at a Time >----------------------------------------------------------------------------> Is it possible to remove specific dye layer densities from color transparency > materials without affecting the others? How about removing all three > simultaneously? These are the formulae for selective bleaches for Kodak dyes as shown in the 1975 Almanac of the British Journal of Photography.. Ektacolor materials. with testing, others mfgrs and sys will likely work. Cyan Dye Bleach SR14
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water.. 800 ml sodium hypochlorite (5%). 10 ml water to 1 litre domestic bleach is the cheapest and most convenient source -----------------------------------------------------------------Magenta Dye Bleach SR15 water. 200 ml perchloric acid (20%). 500 ml water to 1 litre CAUTION: do not mix in a metal container. Avoid contact with combustible material and if spilled, flush with LARGE quantities of water. -----------------------------------------------------------------Yellow Dye Bleach SR17 water.. sulphuric acid (conc.). water to 1 litre 800 ml 120 ml
CAUTION: add acid to water, slowly. will put hole in clothing unless washed immediately with an alkaline bath. -----------------------------------------------------------------Non Selective Dye Bleach R19
Stock Solution A: Water @ 120F.. 800 ml potassium permanganate. 60 gm water to 1 litre Stock Solution B water.. sulphuric acid (conc.). water to 1 litre WORKING SOLUTION: Mix 5 parts of stock A with 1 part of stock B only immediately before using. It is sensible to make 5 times as much of stock A as of B.. do not use a metal cap for stock A or B. -------------------------------------------------------------CLEARING BATH CB5 water.. sodium bisuphite..
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800 ml 100 ml

800 ml 50 gm
water to 1 litre "Metabisulphite" is easier to obtain generally , and can replace bisulphite equally. --------------------------------------------------------------These formulae are apparently sourced from Kodak. so there must be so me E.K. pamphlets/books/etc available from them for further explanations and p erhaps updates to contemporary dye chemistries. SOMEBODY in Rochester will know !!! FROM: ----------------------fwmscanlonryersonpolytechnicaluniversity torontoontariocanadaM5b2k3 (home)905.939.2089 ============================================================================= 44.03 -< What is the actual f stop when f stops are given by lightmeters? >----------------------------------------------------------------------------> Most digital hand held exposure meters give F-stop readings to one > tenth of a stop. How can I determine what the actual f-stop is? For > example, if the meter reads f2.8 + 4/10ths, is the f-stop f3.2? Any > formulas and/or tables would be appreciated. Hmmmm. interesting question. Let's see. I would approach this from the belief that a 1 stop change is equal to a log exposure change of.3 so a 1/10 stop change is equal to a log exposure change of.03 Now how to translate this into actual apertures. let's see. Suppose I started with f/4. let's set up a "table" based on the fact that 1 stop less than f/4 is 5.6 and 1 stop more is f/2.8 and then knowing that a 1 stop change is.3 and 1/10 is.03 then something like this "appears". aperture aperture squared log aperture squared 1.5 1.37 1.44 1.41 1.38 1.35 1.32 1.29 1.26 1.23 1.20 1.17 1.14 1.11 1.08 1.05 1.02 \ | | | | > difference is.3 (one stop) | | | | / \ | | | | > also a log diff of.3 |

None of this may apply to you. but I hope it helps. From: Steve Hodges <shodges@wantree.com.au> ============================================================================= 45.07 -< Some chit chat on Fundamental Principles in Polarization >----------------------------------------------------------------------------From: JimThyer <jimth@tpgi.com.au> Steve Hodges wrote: > Bob Blakely wrote: > > > > For an example experimental verification of the predictions of both the > > particle nature of light and the Hinesburg Uncertainty Principle using > > common photographic paraphernalia, Obtain three linear (*not* circular) > > polarization filters. Set up two filters in a row with space for the third > > filter between them. Darken room save for a single light source in line with > > the two filters. Observe a light source viewed through both filters and > > rotate one so that minimum (nearly no) light is transmitted through both > > filters. This occurs when the filter polarizations are orthogonal > > (polarization axis 90 deg different) from each other. (Perfect filters > > aligned in this manner would pass no light, but there are no perfect > > filters.) Now take the third filter and without disturbing the alignment of > > the first two, place it between them. Rotate the third (middle) filter until > > the light is clearly seen as significantly brighter than with the first two > > filters alone. This occurs when the polarization axis of the third (middle) > > filter is 45 degrees offset from the other two filters. Light! Somehow a > > polarization component of light that did not previously exist has > > materialized! How?!! I will leave it to any physicists in the group to > > explain what happened. > > This might be complete and utter rubbish, but here goes. > > <WAG> > When light passes through a polarising filter, conventional wisdom tells > us that the "correctly" polarised light goes straight through, and light > whose polarisation differs is attenuated in proportion to to some > function of the difference between its polarisation and the "correct" > polarisation. > > However this process is (in quantum terms) an act of measuring the > polarisation of the light. Now quantum mechanics tells us that > measuring things changes them. And at a quantum level it can change > them quite dramatically. > > Thus, it seems likely to me, the polarising filter randomises the > polarisation of the light, with the resulting "mix" of polarisation > matching what we would "expect". > > Thus (big jump, because I'm off to work) the three polarising filters in > a row would act to effectively rotate the polarisation of the light. > </WAG> > > Steve This is perfectly correct. The first polarizer sets the plane of polarization of the beam after it passes through. A second polarizer will allow a