chuck

i think it's only the shift that counts in architecture photography. It seems to me the 14-24mm lens, some cropping, and maybe little perspective and distortion correction in PS, will do for you everything a 24mm T/s lens will do in architectural photography, plus a lot more.

<p>I think it depends on the image quality he expects from his travel photos. Is picture taking a primary, or secondary, purpose of the trip. <br> I know taking photography too seriously on a trip has great potential to ruin the trip for everyone else going along.</p> <p> </p>

<p>What kind of photography would you do on your trip?</p>

<p>I believe in the US the responsibility of fulfilling any manufacturer offered warranty is with the manufacturer. Because in the past Nikon products commanded premium price in the US market as compared to other markets, Nikon has sought to discouraged the US resale of Nikon products purchased in other markets (ie gray market items) by explicitly declining to offer any warranty, or indeed promise to provide any paid service, for Nikon products meant for sale elsewhere, but purchased in the US.<br> Since the price differential between gray market and US warranty product have in general become very small compare to where they were 10 years ago, I don't know if Nikon intends to continue this policy.</p>

<p>Yes, but 35-70 also functions as a 1:2 macro on the 70mm end.</p>

No bonus points for guessing my situation after my earlier post about a certain VR lens not working and needing replacement. :p

I don't think so. These are advertised as new, being part of a manufacturer packaged camera-lens kit that the retailer broke up and sold separately. The retailer advertise the lens at a price approximately equal to the advertised price of the camera-lens kit, minus the list price of the camera. The resulting lens price is substantially lower than the normal list price of the lens.

As I understand it, "white box" lenses are lenses have been removed from a camera-lens package and sold separately at much below us discount list price of the lens itself. Would Nikon honor warranty on so called "white box" lenses?

Is there a way to determine the shutter count on a recent Nikon DSLR like the D610 or D800?

Film advance is a function of the camera, so film advance will line up the film properly with whatever format the camera is designed for. The problem is when you are printing with some automatic printer. Most of them will scan the film to line up the frame. But some may not.

<p>I don't know about the newer DSLRs, but with F100, the AF minimum aperture limit was more of a suggestion than a hard constraint. I remember it focused 300mmf/4 with TC-20E just fine. </p>

<p>I heard something about TC-14E not having the contact pins to drive E and AF.</p>

<p>I have an first generation variable aperture 24-120 VR. The VR is clearly malfunctioning. When shutter is half pressed, it audibly engages, but instead of stabilizing the image in the view finder, it causes the image to undergo a continuous little jerks. This does not happen with my other two VR lenses. In addition, my tests shows on this lens, the VR functionality is actually hurting, not helping, in hand held shots.<br> So I am deciding if it is worth repairing the VR functionality of this lens, the alternatives are replace it with the same lens bought second hand on ebay, or replace it with the constant aperture 24-120 VR.<br> Has anyone tried to have VR repaired? How much does it cost?</p> <p> </p>

I have a F100 and a N80 that have been stored and not been used since 2004. Recently I took them out, and found the rubbery textured surfaces on both cameras have become sticky. Wiping them with moist tissue or cleaning pads does nothing to get rid of the stickiness. I assume it has to do with the natural aging of the material. Is there any thing that can be done to cure the surface and remove the stickiness?

How could default be just anywhere? Is there no place it defaults to? Where is the picture library located on a iMac with OSX Yosemite?

I imported them from the CF card in the D810. I've since deleted them from the CF card using the D810's format function.. Do you mean LR does not keep any copy of the original files when it "imports"? What good is any photo management system that does not maintain a copy of the original file downloaded from a camera? Are we to keep the photo permanently on the CF card? I also pointed LR to a directory on an external hard drive when I ran LR for the first time, intending for that to be where all files, original and edited, would be kept. As I recall, that was during the only instance when LR Deigned to allow me to set a path to anywhere at any time during the installation and subsequent usage process. When I export files from LR, it puts a JPEG copy of the file in that directory. I can see the JPEG there, but not the original RAW. But I want the original RAW. Is it unrecoverable?

I thought I set the default directory to be on an external drive. But all I see there are the JPEG files I asked LR to export, not any of the RAW files it had imported.

My brand new imac has a bad graphic card. Apple support wants me to exchange it. It won't fully boot now. I want the recover the files light room imported from my camera. Where does light room keep the original files, as oppose to the JPEG files it exports?

Does the old Nikon su-4 optical slave flash trigger work with D810 and SB-800 in TTL mode?

<blockquote> <p>I should point out that when you mount a TC onto a zoom, typically the <a id="itxthook1" href="/nikon-camera-forum/00dQEB?start=100" rel="nofollow">quality<img id="itxthook1icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a>will improve a lot if you stop down, even by just one stop. However, we are starting from 200mm, f2.8. A 2x TC makes it a 400mm, f5.6. Stopping down will give me a usable 400mm f8. That is just way too slow for a long tele, not to mention that those two components combined will cost you close to $3000. The economics simply makes no sense.<br> Chuck, see all the good stuff you missed in the last decade? :-)</p> </blockquote> <p>70-200 VR II + TC-20E III cost about twice as much as a single 200-500. But in return you get a very high quality 70-200 lens in addition to lesser quality option to reach 2/3 of the range covered by 200-500.<br> So I guess whether it make sense depends on whether 70-200 range or the 200-500 is more important to the style of photography in question. If one shoots primarily long telephoto wild life shots, then it probably does not make sense. But if one envision 70-200 to be more useful overall, and would still like to occasionally reach out to 400, then it seems to me whether the teleconverter option makes sense depends on just how bad the image quality is with the lens + TC combo.<br> </p>

Thank you Ilkka. So I take it the flash exposure compensation for remote flashes really does adjust the actual flash illumination value, not just the flash output level.

<p>Say I have two SB-800s in remote groups A and B, placed on either side of the subject. I set flash compensation to 0 for both groups on the command flash. Does this mean both SB-800s will put out light at the same rate, so that I can adjust how much illumination falls on the subject from either side by moving one flash closer to the subject and another further away? Or does this mean regardless of how far each flash is from the subject, the I-TTL system will try to make the illumination falling on the subject from either flash group be equal?<br /> in other words, in Nikon's remote flash control system, does adjusting each group's flash compensation value on the command flash adjust the output of each remote flash group? or does it adjust the resulting illumination from each remote flash group?</p>

Regarding getting something which might be broadly comparable to this 500mm lens, has anyone used TC-20E III with 70-200 VR II?