nico_.

Without having seen your posted pictures I suggest you think about your metering technique. Spot metering or even centre weighted metering with a tight spot (custom function 11 set to 6) the right parts of your image often yields far better results than matrix metering in low light/high contrast situations. Proper spot metering does take a bit of practise though.

J Wong: As much as Bill Maxwell will like your advertisement for him, he will hate you for posting his email addresses in clear type. Websites like this are being harvested by spammers for addresses. Writing them out in full is like saying "please spam this account".

There will be no difference between 1/125 and 1/250 under the given circumstances since your exposure is not influenced by the shutter speed at all. Its the short flash duration that freezes motion. If there is some ambient light, the shutter speed only controls the *ratio* of flash and ambient exposure. The latter might cause motion blur.

You can upload only one curve at a time. Ask Nikon why. I suppose it would be no problem for them to allow multiple curves. The easiest check whether the curve is active is to shoot a RAW frame, download it to your Mac, open it in Nikon Capture and look what the tone compensation in palette 2 says (should be User Defined). If you notice a difference to say the "Normal" setting everything is fine.

 

For further postings: if you keep your questions short and clear, more people are likely to read (and answer!) them.

I suppose you are looking for this thread: http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00Bhkd

 

You can find all the threads you participated under My Workspace->Your Questions. Click the last point which is labelled "more".

Not sure what kind of suggestions you would like to have except the usual "have it serviced by Mamiya". My only suggestion would be to also send along your M6 so that they can match its rangefinder with the lens. This is said to improve the ability to focus the 150mm precisely. It made things a bit better for me. Now, if I only were to get new glasses I could hopefully focus reliably at close range and full aperture...

Thanks for the joke Dan. What a laugh. Protectan is a aerosol by Tetenal that prevents chemicals from oxydizing.

I have half a bottle DDX here that has been standing around for about

half a year since I last used it. The bottle was opened roughly 10

months ago and I always used Protectan. Can I expect the developer to

be still fine or would it be better to get a new bottle? Thanks in

advance for your opinions, Nico

It's no locking but if what you want to do is store a complete profile of the camera including all settings (apart from mechanical settings like the mode knob) this is possible with Nikon Capture. I lent my D70 to a few close friends recently and this is the best (and only?) way to ensure that the camera behaves identically afterwards. I wish this was possible in camera but I don't know of any way to do it.

It's no locking but if what you want to do is store and restore complete profiles of the camera including all settings (apart from mechanical settings like the mode knob) this is possible with Nikon Capture. I lent my D70 to a few close friends recently and this is the best (and only?) way to ensure that the camera behaves identically afterwards. I wish this was possible in camera but I don't know of any way to do it.

Maybe you have been fiddling with custom tone curves lately? I lent my D70 to a friend a while ago. He played with it extensively and after he returned it, my exposures looked really wierd. Since I knew he'd experimented with the custom tone curves it was easy to fix. My advice: first try to use the normal setting for the tone curve and if it doesn't help reset the camera to factory defaults and see what happens. Good luck.

Apparently, Bibble is another option in cases like this. Have a look at http://www.outbackphoto.com/reviews/equipment/nikon_d70/Nikon_d70.html. Scroll down to the middle of the page to "3/31/2004 Moire and Artifacts".

These are artefacts from your RAW converter that are introduced during so called demosaicing of the RAW data. I found that the free dcraw by David Coffin does a much better job at this. Unfortunately, it's a C-program without GUI. Breezebrowser is said to have a RAW converter based on dcraw and I found the results to be similar. Give it a try, there's a free trial period. You can find it at http://www.breezesys.com/BreezeBrowser/.

Funny Ronald, in other threads you write you have done this for decades.

Neopan 1600 is known for its soot and chalk look, so shadows will be completely void of any detail as it is already the case when one exposes at 1600. The typical advice would be learn to process BW film on your own and you will get a good feel for whats possible and what isn't. I found Ilford DD-X to be a good match for the Neopan films. At 3200 I'd recommend Ilford Delta 3200 though.

I got good results by metering for the background and dialing in the desired exposure compensation to darken the background (in A mode). Flash mode was set to "slow" and using flash exposure compensation in the opposite direction gave the desired effect with minimal effort.

Yes you can. Convert with Capture to 16bit TIFF in AdobeRGB and open with PSCS. You don't lose anything since TIFF is a lossless file format.

<i>keep reading on the internet that I should have to make very little or no editing on the RAW files.</i>

<p> The other way around: JPG is lossy (compression takes place each time you're saving the file) and only 8bit so it doesn't lend itself for heavy repeated manipulations. RAW files converted to 16bit TIFFs will allow heavy repeated editing with little loss.</p>

 

<p><i> would it do any good to use a 1/3 exposure compensation on the camera?</i></p>

You can do that but it's more likely that you loose some highlights. Plus your JPG and RAW file will still not look identical since the first is processed by the camera and the second by some other software which has its own idea of interpreting RAW data.

 

<p>If you want your JPG and RAW file to look identical you have to use Nikon Capture for RAW conversion.</p>

Right. Why would you want to erase it?

Dust?

I don't know if it's much of a help but the rubber eyecup DK-16 is was first used on the F65.

My solution to this problem was to reprogram the shutter release such that exposure is locked once you press it halfway AND reprogram the AFL/AFL button to act as AF-ON button. This way exposure is done only by the shutter release while AF is activated by the AF-ON button. It requires a bit of training but once you get used to it works very well especially in combination with continuous AF. You AF once and shoot as often as you wish without having to refocus each time.

See http://www.kenrockwell.com/tech/mf.htm but take ken's reviews with a grain of salt.

If you use a custom tone curve in your D100, PSCS will ignore it.

The tone curve is stored in your camera not on CF card so it should still be there. AFAIK Capture is the only programm that is able to upload tone curves to the D70 AND it's the only RAW converter that actually uses these curves. All other converters simply ignore this information. So if you shoot RAW you need Capture to take advantage of the tone curves.