scott_blair1

I bought my well-worn sb24 second-hand about three years ago. It made that sound then, and I kinda wondered about it. I've now moved on from film Nikons to Olympus digitals, and am still using the sb24 regularly. I had forgotten about the sound till you mentioned it.

1920x1020 is only about a 4MP camera image, and recorded as a low compression (hi-res or fine)jpg would be about 2MP file size. Be advised that the output file size when converting an existing file to jpg is somewhat variable. Still, even the lowest compression of a 1920x1920 image should be no more than 3-4 MP. That's the whole point of the jpg file format. For future reference, take a look at www.bermangraphics.com, which has a lot of information regarding preparation and printing of images for shows and sales.

Sharpness only becomes a critical issue in cases of a high magnification ratio of the lens, or a high reproduction ratio of the final print. In both cases skill and technique are more important than equipment, and in the latter case, format size is key. Practically any lens has its "sweet spot"; if simply making a sharp image is all you require, practically any lens can be used.

<I>"Can someone give me a simple answer to my question, please?"</I><P>No, Robert, nobody here can. The blunt truth is that you are going to have to solve this on your own. There have always been combinations of camera, lens, film, and now digital body, that can give unique results for different users and shooting styles. You will simply have to evaluate equipment first hand. Even then, you may uncover quirks of that equipment in the future as you encounter different situations. It was not a stupid question; to your consternation, and ultimate benefit, only you can answer it. And you don't need to know jack about the science of it to know your gear and how to get the best results from it. But somebody, somewhere, will try to lead you astray by discounting the value of experience.

<I>"You should try designing sensor arrays yourself -- it's fun."</I><P>I prefer photography. But to each his own.

Grepmat, it's fun to nitpick and debate, but it's tedious and unproductive. Maybe when you finally get a digital camera and use it extensively, you will understand what I am talking about. That is my reference; not some website. You should try photography yourself--it's fun.

Optical chromatic aberration is red and green, is most apparent at the edges of the frame, is worse at wide angle and can disappear at longer focal lengths, and is not limited to dark/light interfaces. It is particularly noticeable along slightly out-of-focus edges.<P> The single purple or blue around strong highlights is "blooming", and is a digital phenomenon. It can occur anywhere in the frame at any focal length. It is not necessarily related to a sharply <I>focused</I> edge, since extreme contrast can create its own "edge" in the image. <P>Chromatic aberration is quite apparent, when it exists, when viewing a slide on a lightbox, with even a high quality (color corrected) 4x loupe. So it's not something that has fallen through the cracks, so to speak, up until the so-called digital age.

<I>"Anyone have experience with this?"</I><P><I>"If all else fails, and you can't find the answer you are looking for, try it. That's the only way that anyone who knows for sure would know for sure."</I><P>I have the N80, and have used AIS lenses in TTL flash mode. Since the N80 supports flash compensation, (and, unlike more expensive bodies, has onboard controls,) flash compensation is not disabled. I have limited experience with this setup. I strongly recommend that anyone asking a question like this verify any information they receive, whether based first hand experience or not; that goes double for any information that is mere conjecture. Oh, and BTW, there is no matrix metering, TTL flash or otherwise, on the N80 with non-CPU lenses <I>as far as I know.</I> Again, verify.

Yes, the flash compensation will work with AIS lenses. If all else fails, and you can't find the answer you are looking for, try it. That's the only way that anyone who knows for sure would know for sure.

Anything AFTER N6001, N8001, N90, and F4. There have been many reports that it does NOT damage the image area, and NONE that it DOES. In fact, once or twice, someone has even uploaded an example (God forbid!) demonstrating that the minimal fogging is restricted to the sprocket holes. The IR issue surfaced when digital was an expensive oddity, and is still popping up now that digital is mainstream. Now, is there anyone left that still doesn't know?

Yeah, those old lenses last forever. Problem is, after awhile, nobody wants them anyway.

Never ask if it's OK to do something, if you already have the materials to do it. You will just get replies like those above. TRY IT. It doesn't have to make sense.

I don't suppose you actually exposed any film (preferably slide film) while doing this test.

http://www.osha.gov/SLTC/etools/computerworkstations/wkstation_enviro.html

David H., I think this is a natural process by which the Nikon lens connoisseur is separated from the Nikon photographer. <P>Anyway, I have about 8 Nikkors and third party. Some I use often (such as the dreaded 28mm AFD) and some rarely (such as the Sigma 100-300 AIS). If I lost all but one, <I>any</I> one, that would become my favorite lens. That, after all, is really what this thread is all about. There is no such thing as the "best". They each have a specific purpose.

Or you can get a PC cord and use auto and manual flash---not to difficult to begin with, nothing at all with digital.

<I>"This is just like ridiculing someone for buy a 35/1.4, 50/1.2 or any number fast lenses claiming they only do it because of ego problems or ridiculing someone for buy a 500mm f/4.0 or 300/2.8 saying they have a problem with size."</I><P>I disagree. Raymond's first five sentences were unnecessary. The rest constituted a sufficient rant. In fact, it's even more ridiculous to complain about a thirty dollar part. That's three rolls of Provia. BFD.

I guess you should not have lost that cap in the first place. This is the most creative way yet to boast about the expense of your toy collection. Take better care of it. If they charge that much for a piece of plastic, think how much they are going to charge to repair a lens, especially one of yours.

Jack, it doesn't cost anything to join Nikonians. If you see questionable advice being handed out, please intervene. But if you tell someone their personal experience does not match your preconceived misconception, do not expect a standing ovation.

Bob, what's your source for this detailed info?

Andy, Pierre, please tell us your source. Oh, and if you have the N80.

Lately I see questions like this a lot. I wonder why. There is too much obsession with the minutia of Nikon TTL flash. To the point, the type of TTL is determined by the metering pattern---spot, CW, or Matrix---not whether you or the camera selects the shutterspeed and/or aperture. Most of the info that circulates around the Net is second hand, untested, and based on the gross misconception that the newer the technology or fancier the name, the better the result. Yes, you should test it yourself. If the lab might override the test, than it doesn't matter anyway. If you had a manual, you would know about slow synch, which allows the shutterspeed to float when using aperture priority.

<I>"I do have a 50 mm 1.8 lens, which I can use if I want to take available light pictures under difficult circumstances."</I><P>Good. You had a need and filled it. That's how you do things in photography; otherwise you will be eternally broke and frustrated. There is NO SUCH THING as "better" without context.

If you want the smallest, lightest, cheapest, the Sunpak 355 is acceptable. $50 and enough power for basic flash needs. It's TTL, too. The SB22s is a great unit for the power, size, and price. TTL, 4 auto modes, and tilt head. $150 new, 1/2 to 2/3 that used. SB-24 is powerful, flexible, and a used one costs what a new SB22s does. It's a handful, admittedly. Not familiar with the SB20, but it is surely suitable. You have to decide what you want to spend first.

"...spot meter on someone's face in AV mode to set the ambient exposure..."<P>

 

Umit, to clarify about spot metering.....it sounds as if John P. wants to have a basically ambient light exposure of the subject, without concern for the background. That is why my recommendation for aperture priority autoexposure and spotmetering. That is also why I recommend NO flash compensation. The flash is already barely noticeable in a correct ambient light exposure. With -1.7, you will be lucky to even get a catchlight (which is all some people want, granted). If the background lighting is important, then it is indeed necessary to manually meter and set the ambient light exposure, using spot or centerweighted, then return to spot (or centerweight if the subject fills the center of the frame) for the final flash exposure, as you suggest. In that case, a flash compensation may be required, depending on the effect desired, but bracketing the first few times would be superior to using an arbitrary value.