Ed_Ingold

If you stand in the same spot, you will get the same perspective. If your field of view is as large or larger than the original, the perspective will be unchanged if you crop to match.

<p>Leica lenses are relatively simple compared to lenses for an SLR. SLR lenses often have a retrofocus design to provide sufficient clearance for the mirror, which requires additional elements. Zoom lenses take that another step toward complexity.</p> <p>I cannot have a bright light source anywhere in the image for my Nikon zoom lenses, or they will flare. Sunlight striking the lens even outside the field of view will cause flare and ghosting., and even a bright sky will reduce contrast. On the other hand, a 50 year old 55/2.8 Macro lens is almost immune to flare. It makes a good desert and landscape lens.</p> <p>It takes an extraordinary amount of light to cause flare in Leica lenses. If sunlight strikes the front element, you mostly notice a reduction in contrast, and rarely a bright spot in the image. I have 35, 50 and 90 Summicron f/2 lenses from the 60's.</p>

<p>I doubt if it is worthwhile to buy a card to customize the meter to the dynamic range of your camera. There are other issues more pressing in learning to use an incident/spot meter. I have an older Sekonic meter, a 458, which has a zoom spot meter. The 758 has a 1 deg spot, which is all I ever use with the 458.</p> <p>The Sekonic measures light with the assumption that the subject has 13% reflectivity across all wavelengths. The sensitivity of film is nominally set to produce a certain density of a subject with 18% reflectivity. In other words, the reading of the meter will give you about 1/2 stop underexposure for the area being measured.</p> <p>Techy stuff aside, if you use the incident dome, place it near the subject, pointed toward the camera, and use the reading to set the camera (manual mode). I find this very useful for portraits and closeups in nature.</p> <p>The 758 can also be used to measure electronic flash intensity, generally in the incident mode. You can use a cable, radio trigger or automatic trigger for flash measurement.</p> <p>For landscapes, the subject may be in different lighting than at the camera. You need to have a general idea of the reflectivity of different surfaces, and correct the reading to the equivalent of 18% reflectivity. Green grass, a red barn and north blue sky are all approximately neutral, or 18%. You can use this reading directly. Dark foliage (shrubs, trees) are about -1 stop, so open up from that reading. Concrete and bare rocks are +1, so close down one stop. Learn as you go and check the histogram in your camera for over/under exposure. (You can use the histogram without a meter, on a trial and error basis.)</p> <p>Digital doesn't tolerate over exposure, and is limited to between 2 and 4 stops above "average". If the brightest part of your subject is more than two stops brighter than what you deem "neutral" or average, reduce your exposure appropriately. With digital, shadows take care of themselves.</p> <p>If the subject is stationary, you can use exposure bracketing, then pick the best shot, or combine them (e.g., using Photomatix or Photoshop) to produce an HDR (32 bit) image, or ultimately a 16 bit fused or split tone image. This has the effect of compressing an enormous (>12 stop) dynamic range to fit an output device (image or print) with an 8-12 stop range.</p>

<p>I'm going through the same search, in my case a Leica kit. I like ThinkTank products, and there are several worth consideration. I don't intend to carry a laptop with the camera, except in a separate case. The idea is to travel light.</p> <p>I ordered a Sub-Urban Disguise 20, which is the right size for the kit you describe (and mine). It is very light weight and reasonably sturdy. The lid opens away from your body, so it's easy to use without setting it down. However it uses entirely too much Velcro, which is noisy and fairly short-lived. I'm sending it back.</p> <p>The one I intend to get is a is the smallest Speed bag, the Demon V2. It is much heavier construction than the Sub-Urban Disguise, has zipper closures on all pockets, and like the Disguise, opens outward. It has a wide belt, which tucks away when not used. That helps a lot when going up and down stairs or inclines. It also works as a shoulder bag (or in combination). The weight is 2 pounds plus your gear. It is half the weight of my LowePro Pro Mag 1, with nearly the same capacity. I want something with more padding (and the security of zippers) for travel.</p> <p>For run and gun, the Hubba Hubba Hiney (HHH) is a very slick design. The construction is very sturdy, but it is a true minimalist bag for a spare lens or two or a mirrorless kit. I may get one of those too, for areas where you can't take a bag (museums, etc). It too is a belt pack, shoulder bag or both. The HHH is a favorite among ThinkTank employees, for all the right reasons.</p> <p>The Retrospecive, mention above by Ellis, has it's appeal too. It's not for me because I prefer a zipper top instead of a full length flap. The Retrospective is made like a digital Domke - soft and casual. It doesn't look like a camera bag (nor does the HHH).</p>

<p>Leicas aren't cheap, but they're not necessarily an investment either. A few rare models appreciate rapidly, but mostly you won't lose money if you buy used and change your mind later.</p> <p>Film is available, probably for the long term like vacuum tubes (made in China) and vinyl records. However it's getting expensive and processing is hard to find too. Budget for about $20 with processing, prints are extra. Scanning is $2 to $15 a frame, depending on quality. I couldn't meet deadlines with film because it took every evening for a week to scan and edit 10 rolls of film. The last time I tried was 2003, the year I bought a Nikon D1x and retired from full time work. I continued with medium format film for another four years, then bought a digital back for my Hasselblad.</p> <p>You can buy an used M9 FF digital body for under $4K, or an M8 1.3x cropping body for under $2K. They will accept any Leica lens except for an enumerated handful. Unfortunately the DR Summicron 50MM is one of those proscribed. You can pay for that body in lieu of 200 rolls of film (1 to 2 years of reasonably active photography).</p> <p>Lenses! Now that's the challenge. New lenses are expensive beyond comprehension. However there are a lot of perfectly serviceable lenses from the 60's and 70's for under $1200. If that's too expensive, and you're set on "rangefinders", get a Fuji X-Pro or Sony Nex or A7R. You don't need a bag full of lenses. You are well equipped if you have a 35, 50 and 90. It's a different kind of photography and a different mindset.</p>

<p>Tim,</p> <p>Printer profiles are independent of the color space of the source. The same is true of monitor profiles. In a color managed system, the color space defines which color (set of R, G and B) should be applied to a set of numbers which represents a given pixel. The print profile adds a correction factor so that those pixels will be printed correctly.</p> <p>Think of color management as a wheel. The hub of the wheel is the image, defined by the camera calibration (if any) and color space. At the rim of the wheel are the devices which display, project or print the hub image. The spokes of the wheel are the display (monitor) profile, projector profile or print profile. A color space has the same structure as a profile, except it is defined by industry convention rather than by a particular device.</p> <p>If you "assign" a color space in Photoshop, the actual color space is ignored, and the numbers (records) in the image file are unchanged. The new color space defines which colors should be assigned to that set of numbers. Since the numbers aren't changed, assignment is a completely reversible process, without losses. "Numbers" outside the gamut of that color space may be seen as artifacts, since they are not defined. However they aren't changed either.</p> <p>If you "convert" a color space in Photoshop, the numbers are changed so that the colors in the image remain the same when viewed in the new color space. The viewer (or device) must be color managed. That is, it must interpret colors according to the embedded color space. There will be subtle differences due mainly to different gamut of colors for each space. Conversion is irreversible once the file is saved, except by re-conversion to the original space with losses.</p>

<p>You would need 12K fps to capture telephone quality sound. Say what you gotta say, and be quick about it.</p>

<p>Video in most digital SLRs is limited to 1080p, roughly 2 MP per image at 24-30p or 60i. That might look great on a TV set, but it's barely adequate for a 4x6 print. At 60fps, you have to combine two interleaved frames, which tends to cause jaggies. The color profile for video is different than for conventional still images. Finally, the manner in which video is collected from a high resolution sensor is proprietary, and not simply the product of downsampling. This can lead to interesting artifacts in frame capture.</p> <p>Other than the Canon C300/C500, I'm not aware of any low-end cameras that capture 4K video. That said, I have a hard time matching socks, much less keeping up with rapidly changing technology. 12 bit, or "full color" (4,4,4) video is as good as it gets starting at $50K. I think I'm doing good with 10 bit (4,4,2) at 1080p. 14-16 bit is typical for high end DSLRs.</p> <p>I use frame captures regularly for CD/DVD cover photos. Fortunately the addition of text and graphics helps mask the low quality, even in a 4x4" or 5x7" cover.</p>

<p>There are third party sources for Rollei screens which are much brighter than the originals. There are several options for focusing, including a plain center, split-prism, microprism, or combination thereof. Fresnel lenses are needed to brighten the edges of the screen, even if they interfere with critical focusing.</p> <p>Most small cameras put the Fresnel lens on the back side of the screen. View cameras, including Graphlex, put it on the viewing side where it does not affect the image plane. You can buy plastic Fresnel lenses from various sources and cut them to size.</p>

<p>MacBook Pro, no; iPad, yes. An iPad is subject to abuse in normal use, whereas the MacBook sleeps completely protected.</p>

<p>Somehow the thread got diverted to cameras. There's nothing in a scanner likely to be affected by a magnetic field. Any digital device can cause interference with consumer electronics, although I've not seen it on my television or computer. If interference occurs, it can travel through household wiring or space. However, a scanner may be particularly sensitive to vibration, considering the slow, line-by-line scan. If the speaker is off, I see no problem using it to support the scanner, besides aesthetics.</p>

<p>The magnetic field is inversely proportional to the 4th power of separation. The effect on electrons in a CRT is a lot lot more pronounced than aligning domains in a steel spring or conduction in a semiconductor. That said, the magnets in floor speakers (e.g., subwoofers) are pretty large and powerful. I wouldn't store a mechanical camera or lens on top of a speaker for that reason or the vibrations. A pair of 3" speakers easily affected the color of an old CRT set at a distance of over 8". There's no effect on LCD screens.</p>

<p>http://www.amazon.com/Passport-portable-integrated-Thunderbolt-WDBRNB0040DBK-NESN/dp/B00ITI0514/ref=sr_1_1/175-7180349-2888341?s=electronics&ie=UTF8&qid=1406822454&sr=1-1&keywords=raid+external+hard+drive<br> <br />233 Mb/s is bits not bytes, and probably refers to the RAID 0 configuration. That translates to 29 MB/s, which is slower than my single WD Passport drive in USB3 (55 MB/s).</p> <p>I have a couple of 2T WD Passport USB3 drives in Case Logic semi-rigid containers. That's more than enough to collect many day's photos in the field. I take the added precaution of burning dailies on Blu-Ray discs, also in a Case Logic holder.</p> <p>I think your money is better spent transferring photos from a simple portable drive to a RAID 1/2 or DROBO 5D (or N) drive at home, which holds up to 5 3T drives with a dual Thunderbolt/USB3 interface. The DROBO is not quite a RAID, but in many ways more useful, since you can add or hot swap drives at will.</p>

<p>There is no prescribed "mountain" lens. It depends on the total effect you desire in the composition. On the whole, I tend to use a medium telephoto for mountain landscapes, in the 90-105 range (35mm equivalent), but there are many exceptions. In general, you want the mountain to fill the frame, but the foreground determines the focal length. I have groveled on my elbows to capture an alpine flower with a 20 mm lens, with Mt. Evans (CO) filling the frame. More often than not, a longer lens will establish a better balance and sense of enormity. A wide angle lens is best used to emphasize a small object in foreground, not to get it all in one frame. A lonely yellow flower a thousand feet above the treeline deserved emphasis, at least to my sensibility at the time.</p>

<p>I don't use "sneakernet" (exchange portable drives) any more than necessary. I'm more of a network person for sharing files at home, although between work stations rather than users.<br> Set up a wireless router and</p> <ul> <li>connect a network drive to one of the router ports.</li> <li>connect an external drive to one of the computers and "share" it over the network</li> </ul> <p>The wireless router connected to a modem also gives each user access to the internet.<br> Network drives come in all sizes to fit your pocketbook. I use a Drobo drive, which provides RAID security but with better scalability. My photos are also backed up to DVDs or BDs.</p>

<p>I have pretty much standardized on backpacks. I can configure a ThinkTank Airport bag to carry a D3 with a 300/4 attached, but I prefer to carry the body attached to the lens I use most - a 28-70/2.8. The 300/4 and 70-200/2.8 go on either side. The bag could be configured for a 300/2.8, if I had one. I don't routinely carry a spare body, but there's room for one with a body cap.</p> <p>A body cap is just one more thing to move around to attach a lens. There's one tucked away in the bag, but seldom used.</p> <p>My kit weighs just under 35 pounds, which is way to much for a shoulder bag. I can carry the backpack by one strap for a short distance, or by both straps all day. With a backpack, the trick is to keep it completely open or zipped shut. It's too easy to pick up an unzipped bag and dump the contents.</p> <p> </p>

<p>Howard Baker Jr. was a unique politician, who put principle over ideology. RIP. He apparently favored a Leica for snapshots around the Capitol and elsewhere.</p>

<p>The G-Loc bushing fits very loosely around the leg until tightened. The tapered plastic bushing is keyed to the collar, jams into place when tightened, and stays locked until forcibly withdrawn by the collar, even if the collar is loosened slightly. Earlier fiber bushings were split and fit fairly tightly around the leg. Aluminum legs would extend by gravity on occasions, but generally the bushings were stiff enough to keep lightweight CF legs in place.</p>

<p>Nuclear fission releases neutrons, which render practically every element they contact radioactive, including crates of camera parts used as shielding.</p> <p>Nearly 90% of the energy released from nuclear fusion, on the other hand, is in the form of fast neutrons. While you might not have to bury (or reprocess) fusion fuel elements, you eventually have to bury the entire reactor.</p> <p>Free lunch, anyone?</p>