luisarguelles

<p>Thanks David. Made the cleaning, problem solved!</p>

 

<p>The LCD in the back of my R8 doesn't show anything. Any advise?<br>

Batteries are ok, and it seems to lightmeter correctly at 100 ISO (unloaded camera). Do you think it will be able to detect other films (film speeds via DX code)? Thanks!</p>

 

<p>I would directly go for an M9.</p>

<p>Apurva, my radar screen for the market says that all the major manufacturers of DSLRs will move to full frame 35mm format. Moving to a D700 is a wise step, although I forecast the existence of 1,000$ full frame bodies for 2012.</p>

 

<p>Ken, that L&S watch is just going to stop my sleeping today! ;-)</p>

<p>Museum of Science, city of Valladolid, Spain</p><div></div>

<p>This is a sculpture by Fernando Botero placed in the City of Oviedo, Spain. "La Gorda" ("the fat woman"), as it's usually known, is one of the iconic points in the city.</p><div></div>

<p>Sean, what happens if you use RAW images?</p>

 

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<p >Well, although every Wednesday the pictures are better and better, the following ones have catched my eyes this week:</p>

<p > </p>

<p >Aguinaldo de Paula & again the fusion processes in the sky (I can't help, I just love Astronomy)</p>

<p >Ian Rance & the well bokehed mushroom</p>

<p >Kevin Cassar & the well illuminated (and posed) Halloween</p>

<p >Alex foto & the ghost</p>

<p >Eric Christensen & the Borneo colors</p>

<p >Isaac Sam & ... well, my stomach votes here :)</p>

<p >Phil Burt & the popcorn</p>

<p >James Kazan & the slow waters</p>

<p >Robert Davis & the bw reflections</p>

<p >Jeff Lipsman & the Italy speed</p>

<p >John DiLeo & the lovely 3D way</p>

<p > </p>

<p >My favourite this week is the one from Jeff Lipsman, taken in Italy. The picture gathers at the same time a colorful country full of art, the freedom of textures and the behavior of people in their “vespas” (motorcycles). Everything is arranged in a “street-photo” style that, I must confess, I’m devoted to. </p>

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<p >Last saturday, walking down the streets in the small Spanish village of Colunga, I saw a car that was showing an interesting reflection. Light falling on the church was gorgeous and the blue sky complemented the composition on the bright black paint of the car. You can see it at a bigger size here: <a href="http://www.photo.net/photo/10117294&size=lg">http://www.photo.net/photo/10117294&size=lg</a></p>

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<p>I'm thinking about upgrading from an E-510 to the E-620. Is there a difference of two stops in noise between these cameras? That is, the E620 at ISO 1600 shows more or less the same noise than the E-510 at ISO 400?</p>

<p>BTW, about noise, I'm thinking about upgrading from an E-510 to the E-620. Is there a difference of two stops in noise between these cameras? That is, the E620 at ISO 1600 shows more or less the same noise than the E-510 at ISO 400?</p>

 

<p>My preferred ones this week:</p>

<p>

<p>Francesco Pessolano & the perfectly distributed windows<br>

MS Keil & the place of thermodyamic equilibrium<br>

Aguinaldo de Paula & the well rendered atomic fussion processes<br>

Kemal Riza & the Eurasia boat<br>

Richard Karash & the well tunned trumpet<br>

Epp B & the autumm fence<br>

L Roth & the rusted colors<br>

James Kazan & the delicate geometry<br>

Isaac Sams & the greens</p>

<p>My overall favourite is "the rusted colors" by L Roth. The wonderful tonal range of browns suggests me images ranging from the surface of an undiscovered exoplanet to a Tapies painting.</p>

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<p>Cheers!</p>

 

<p>After a month with my D700 I still haven't stretched it more than 6400 ASA. For me, 6400 is more than enough and I'm pretty sure I don't need 100K, despite I'm primarely an available-light shooter. I see the high sensibility of the D3s as another marketing trick to help users to "update" the camera. Maybe some sport photographs can find an advantage using it, but for the rest I think it's irrelevant. The only thing where I could suspect a point of real interest is if it has at least 2 EV or more of dinamic range with respect to the D3/D700.</p>

<p>Bret, great picture. BTW, it's Jupiter. Venus is never far from the Sun, both in space and observed from Earth. That is, you'll never see Venus, at, let's say, midnight.</p>

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<p >I took the following one in a traditional restaurant in the Spanish city of Valladolid (circa 350,000 ha). The restaurant is built underground, so it’s fresh in summer and only requires a bit of energy in the cold winters of central Spain. By the way, this restaurant cooks one of the best based lamb dishes in the country.</p>

<p ><br /></p>

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<p>Dieter, do you really went to Paris with such a load of equipment? This summer it has been my fifth trip to Paris and the equipment has been the same everytime: A rangefinder film camera, a 50mm f/2 and a 21mm f/4. Weight in Paris is the last think you need.</p>

<p>About the OP, if he really whants a D700, I would suggest a Nikkor 50mm f/1,4 AF-D and a 24mm f/2.8 AF-D. It can be all the equipment needed for taking great pictures, but look out: two prime lenses forces you to think a lot about composition.</p>

<p>Ken, you have a point about safety and thefts, but if you travel to countries in the European Union, is difficult to experience problems. I have travelled across Portugal, Spain, France, Belgium, Germany, Austria, Italy and Switzerland (well, this last one not in the EU) and never had a problem. Once time ago a friend of mine asked me if it would be safe to travel to Spain with his Leica M6 and a pair of Summiluxes. My answer: Absolutely no; everybody is waiting for you and your Leica equipment. They have spent all their lives waiting for you and your photo equipment :)</p>

 

<p> Taken with Tri-x. Not Leica this time.</p><div></div>

<p>I would hate that.</p>

<p>Aside a bit more extra quality, you'll get less weight, a ticket to available light photography and a new approach to compose your pictures, since you'll have to move your feet instead the zoom ring. A whole world of advantages. Go for it!</p>

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<p>The pictures are bcoming better and better, and choosing favourites is becoming harder and harder. Anyway, here are the ones that have catched my eye today:</p>

<p>Bernard Mills and the knots<br>

Zoltran Varro and the 180 degrees movement in SF<br>

Louis Meluso and the white composition<br>

Kevin Cassar and the peaciful nap<br>

Uzay Kisi and the strong b&w landscape<br>

Shane Srogi and the Velvia rocky landscape<br>

James Kazan and the falling water<br>

Cees Maas and the bokehed nets<br>

Bryan Meadows and the never-stopping dog<br>

Raden Munim and the chinese calligrapher</p>

<p>This last one is my overall favourite.<br>

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<p >Good morning everybody!</p>

<p > </p>

<p >This is a street picture I took two weeks ago. The young girls seem to be discussing something. I’ve tittled it “Exaggeration”</p>

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<p>I have never used Live View. Neither with my D700, nor with my Olympus E510. I'm from the old school and think that a reflex camera has a glorious viewinder to compose images with. Also, you're right, too many shutter presses for enjoying it.</p>

 

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<p>I use UV filters for protection, but in my experience, removing the filter gives you <strong>a bit</strong> better image quality. I've tested this with my Nikon, Leica and Zeiss lenses. In every case, a "naked" lens provides better images.</p>

<p>However it's always a question of balance. If I'm doing street photo or taking pictures in agressive environments then the UVs are always threaded on the lenses and although IQ lowers a bit the quality of the results is still excellent. If I work under controlled environments I remove the filter. By the way, one of the most exigent optical systems in the world (refractor telescopes) never use filters for protection. The frontal element gathers dust but cleaning is only limited to the use of a gentle blower. Although hard to believe, if you buy a second hand fluorite refractor, it's a good sign if you see dust over the glass: That means that the previous owner has taken care of the optics.</p>

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<p>Well, no doubt there is a D700s no far in the radar screen.</p>