caseyhause

As long as the easel blades cover some of the paper you will get a white border. The paper only gets an image (or any mark) if it sees the light. the problem when making full frame prints from 35mm on 8X10 paper is that the aspect ratio is different 4:5 (8:10) rather than 3:2 (36:24). That's why you have one thick and one thin border. Of course, what most people do is cut the paper after the print has dried so that it is easy to make the border even on all sides.

Reasons to consider the Sigma 35mm f/1.4 DG HSM Art Canon-ef Much wider aperture f/1.4 vs f/4. At its widest, the 35mm f/1.4 DG HSM Art Canon-ef captures much more light (3 f-stops) Is a prime lens Yes vs No. Prime lenses have a single focal length, they are typically sharper and have wider apertures Reasons to consider the Canon EF 17-40mm f/4L USM Narrower aperture f/22 vs f/16. At its narrowest, the EF 17-40mm f/4L USM goes 0.9 f-stops narrower More zoom 2.4x vs 1x. Around 2.5x more zoom, giving you more flexibility for photos Slightly better wide angle 17 mm vs 35 mm. 2.1x better wide angle Slightly lighter 475 g vs 0.7 kg . Around 30% lighter

I love dodging and burning. I love shaping the light a little more to my liking. There are many ways to dodge and burn. To be the least destructive, I will use one curve adjustment layer set to a brighter exposure and one set to a darker exposure. Then using the layer mask and brushes I will dodge and burn where I see fit. Sometimes I will also use the actual dodge and burn tools in Photoshop. I like these because I can set them to affect the shadows, midtones, or highlights. When dodging and burning there are several things I like to keep in mind. I try to make my subject pop, I try to even out skin tones or other parts of the image, and I often will darken or lighten one side of the image. I try to create a sense of depth by having a transition from dark to light in some of my images. I also dodge my shadows a bit in preparation for the contrast that I will add later.

If you have an issue with autofocus look into settings. Are both your lens and camera set to "autofocus" instead of "manual focus"? That camera/lens combo should auto focus without any problems. Most likely, it is a settings issue. Also, make sure the lens is fully locked in place. Remove the lens and re mount it making sure it clicks into place.

This brand Sirui, though not well known, is making in roads into the tripod market; made in China, reasonably priced and well built. I got one not to long ago in their carbon fiber iteration which is also waterproof which is important to me. The more expensive tripods by Gitzo et. al. aren't waterproof and can have problems in a short time if exposed to sand and water. I bought mine from B&H even though I lived in Canada than. Given the choice between excellent equipment and great skill, I'll go for the skill every time.

I know that the camera’s shutter controls the amount of time light is allowed to reach the CCD (in simple terms, the CCD is where the digital image pixels are created). Shutter speeds are shown as multiples of one second. The shutter speed setting is a very creative setting for controlling the movement in a picture. With aerial photography, depth of field isn’t an issue, so set your camera on shutter priority. Select between 1/500th to 1/1000th of a second (1/750th of a second freezes most blur with lenses up to 100 mm in length on a full-frame camera). Faster shutter speeds (1/500) tend to freeze subject movement while slower speeds (1/30) allow subject movement to be recorded as a blur in the picture.

The Olympus-35 EC/EC2/ECR series cameras are larger than the super-tiny Olympus XA series cameras, and larger (correction - SMALLER) than the small Olympus 35 RC cameras. They are tiny, but solid - they feel heavy in the hand, and having had the tops off several of these now, I can say that they are well-constructed. The body of the camera resembles the Olympus 35 RC. It is smaller and much thinner. The ECR is a tiny bit (very tiny bit) thicker than the EC/EC2 in order to accommodate the rangefinder mechanism. Both cameras are matte silver with black leatherette covering, they have an interesting rewind lever on the bottom of the camera, and they wind film backwards from most 35's - the roll is on the right and winds to the left. Since the rewind is on the bottom, that also means that the frames are 'upside down' for scanning purposes when you load them with the frame numbers right-side up (assuming you scan your nags). The top of the cameras are bit different. Both sport a hotshoe and a PC socket on the left side of the top, but the EC/EC2 has a thumbwheel for adjusting the ASA (now known as ISO). It goes from 25 to 800. The ECR sets the ASA via a wheel on the front of the lens itself, just like the Olympus 35 RC. Both cameras sport the Olympus E. Zuiko 42mm f2.8 lens - a real firecracker, as we shall see. Both cameras have a standard shutter release and a thumbwheel wind-on for the film winding. However, in all cases, the winding wheel does not cock the shutter - this is done by the up-and-down action of the shutter release itself. In other words, when you fire the shutter, you are cocking the shutter for the next shot. This makes wind-on very easy and very quiet. This could be a stealthy camera if used that way. Both cameras sport a lever that resembles a self-timer, but it is a trigger lock. Up to fire, down to lock the shutter release. Both cameras have a light on top to indicate exposure, which is the same light seen in the viewfinder. Sorry, but I'm color blind and have no idea what colors show or what they mean. I ignore them. The EC and EC2 are zone-focus cameras; the ECR is a true rangefinder. They do not offer any manual controls - shutter speed and aperture are set automatically. This means, of course, that the batteries must be installed and the meter must be functioning - no meter, no photos. With the EC, if the meter is not powered or not functioning, you lose a frame - the shutter clicks but does not open and must be wound on to the next frame. With the ECR, the shutter is locked, so at least you do not lose a frame if you try to take a photo when the meter is kaput. The EC has a VERY big bright viewfinder - one of the best I've seen, on any zone-focus camera, aside from perhaps the Zeiss Ikon series. Super bright line framing, which does not change to adjust for parallax, but an indicator across the bottom which shows icons of a mountain, people, a person, and a tight head-n-shoulders shot to indicated which distance you've selected. Strange, since the zone focus controls are in feet on the lens itself. Click stops at 3.5 feet, 5 feet, 10 feet, and infinity. There is a 'closer than 3.5 feet' click stop, but that shows up to the right of the head-n-shoulders icon in the viewfinder - odd. The ECR has a less than perfect viewfinder, even when nice and clean. Oh, it's ok, nothing horrible, but after looking through the EC (I don't have an EC2 to compare), you're spoiled. The framelines are not as brightly lit, they are also non-moving for parallax, but they have crop marks to mentally crop. Both viewfinders have lights in the top to indicate when the shutter speed is ok and when flash is recommended. Both cameras offer the type of 'flashmatic' setting seen on many compact 35's of that era - you set the GN of the flash you're using on a ring on the lens barrel - it takes care of the shutter speed/f-stop for that output. I haven't tested it on these cameras, but on similar cameras it has worked well - I would suspect it would here as well. Both cameras have a double-battery well at the bottom of the camera, which was meant to hold two of those awful mercury PX640 batteries. What I did was to make two small tubes of cardboard, like a mini toilet paper roll. I stuff these in the holes, then fill up one bay with crumpled aluminum foil. The other bay gets two zinc-air hearing aid batteries, size 675. That gets me the voltage I want, but I notice that the lights just flicker - they were probably meant to light more brightly and for longer. However, my test shots with both cameras indicate to me that the shutters are working properly. I have to say that I am well pleased with both cameras. I prefer the viewfinder of the zone-focus EC, and for your typical outdoor shots, I cannot see why I would want to bother with the rangefinder version. However, one cannot do DOF effects well on close-in subjects with zone focus - not like you can with a well-adjusted rangefinder, so I prefer the ECR for that. Both are quite handy.

Another interesting factor that comes into play in all of this is how software has been developing and improving over the years. I firmly believe that we need to not only look at a camera body and related lenses as a ‘system’, but also the software that we use with it. Advances in software are enabling higher levels of imaging performance that we ever thought possible, regardless of the gear a photographer chooses to use.

Any way you slice it an infrared camera is gonna cost you a bit. If you have an android and are on a budget the I would get the small "seek compact thermal images for android." I would get something made by FLIR like the "FLIR E60" if money wasn't an issue.

I have completed my move to full frame, but tried many of the above lenses on my Rebel bodies in the past. The Tokina 11-16 f/2.8 is great on APS-C in terms of price and image quality, and your note about the EF 400mm f5.6L is a good one to include. It's a tough lens to learn, but gives great shots if you can live without IS and use a sturdy tripod and good technique in lower light levels. The EF 24mm f/1.4L II USM is an amazing lens and close to a 35mm on APS-C. I loved it on the crop and love it on my full frame alike.