robert_reiss

I think the potential viewers of your photos might also be a consideration. I am an amateur but have taken people photos with my Tamron 28-75 sp xr di lens with a backdrop and studio type lighting (speedotron brownline)or outdoors. People say the photos look professional and wonder when I am going to start my own business.

 

OTOH, if I was taking photos for a discriminating photo editor for publication, I might select L lenses. I have two L lenses (16-35mm and 200mm prime) but I'm not sure the image quality at my enlargment size or computer monitoring can be distinguished from the Tamron.

 

See my photo sharing site:

<a href="http://rrphoto.smugmug.com">http://rrphoto.smugmug.com</a>

Thank you for this information. I think that I'd still like to know the print size I can achieve with this medium/fine setting, since I have a number of captures already done with this file size. Additionally, I might want to be able to capture a larger number of images on my memory cards.

If I capture images at the medium quality/fine setting on my Canon 20D what is

the largest size print that can be made with this file size? I like this file

size since it is easier to email or upload files. The files might be printed

by the recipient at their home, a local photo finisher, or Smugmug.

 

My lenses are decent (16-35mm L, 50mm, 85mm, 200mm L primes) but the most

often used one is the 28-75mm tamron sp xr di. I use a tripod, ISO 400 or

less.

In San Diego California, where I live, the repair shop I used already had the correct part in stock. The total cost, including labor, was about $25.00. My camera is the Elan II. This back door latch problem seems to be common with eos bodies. I would think that a professional repair shop in London would be able to handle this repair easily.

Something similar happened to me also although no bad weather was involved. It just stopped working.

Thank you. I am trying to avoid cutting into the backrop in another area. On my black one the problem is near the edge and I can fold it under to hide it.

I have a couple of velour Photek backgrounds where the velour has been torn off,

leaving irregular defects where the net/mesh backing layer is exposed. One

background is pure black in color, the other is the "Pearl."

 

I would like to know how others have dealt with this problem.

 

Other than just trying to find material to patch it like a pair of pants, I

wonder if there is some sort of spray product that can fill in the defects?

 

Thank you.

One important safety item: MAKE SURE THE UNIT IS SWITCHED OFF WHEN CONNECTING OR DISCONNECTING THE CABLES FROM THE POWERPACK. You will electrocute yourself otherwise. Also BEFORE DISCONNECTING the cables, AFTER TURNING THE POWERPACK OFF, HIT THE FLASH TRIGGER BUTTON on the powerpack a couple of times to make sure the capacitors are completely discharged.

I am an amateur photographer, father of two children, and buyer of portraits (school, sports). I think your photos are definitely of a quality high enough to make your clients happy.

 

I do photos of people with whom I work. They are happy with the quality and say it looks "professional." A have sold a few of these to the subjects. To me as the photographer, who looks at real, working pros' work, I think they are wrong. But, that isn't what matters. It's what the client thinks.

 

If you can get predictable results and travel to your clients instead of making them come to a studio, I think you should try it.

 

I even got asked to shoot a wedding recently (for real $$) based on the work I did at certain work related parties where I donated my services.

 

See my web page: http://rrphoto.smugmug.com The wedding photos aren't posted but the other stuff is there. Your photos are better.

I am interested in the purchase of a continuous lighting system that can double

for photography and video (small amateur projects for school, work, and fun).

Fluorescents seem a bit weak for video work. My photo.net reading has always

mentioned that quartz-halogen lighting is an example of "hot lights" which are

dangerously hot, use a lot of current, etc.

 

I saw a demo of a Photoflex Starlite QL 500W light in a softbox and didn't find

it that hot at all. The salesman was able to touch the housing without any

discomfort. I am impressed enough to seriously consider purchasing a Starlite

QL kit.

 

Does anyone recommend an alternative?

 

As far as using them at home, a 15 amp circuit should be able to handle three of

the 500W or a 1000W + 500W, correct (15 amp x 120V = 1800W)?

I am a non-pro. I bought an rz67 which is great but kind of heavy for handheld use. If you think you might be hand holding a lot, you might want to think about a bronica sqa or sqai, which is a 6x6cm (square format) camera. It is a system with interchangeable lenses and backs plus other accessories like the mamiya rb67.

 

I have also tried the tlr route (mamiya c330) but the bronica would be much more analagous to 35mm use.

This photo.net thread mentions buying refurbished manual lenses from Minolta:

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00B0lS

 

Are items such as these still available now that Minolta has been acquired by Sony?

Balboa Park. Gaslamp district.

As an amateur who tries the same sort of thing from time to time, I think it's great. I wonder if the background could have been changed to show less of the metal roof of the shed on the right and more barn. Or, maybe just crop the whole thing tighter or use a different part of the farm. As far as the subjects, I think everyone looks great.

Sunpak 383. There may be other Sunpak flashes too.

You could try www.tucows.com which has many free and shareware programs. I saw a few candidate programs by searching "duplicate" as a search term.

I'm an amateur also. I recently photgraphed a second marriage wedding with 80 guests. I had a 20D my own, and rented a 24-70 f2.8, 35mm 1.4, 70-200mm f2.8IS. I rented a 5D for the second body but if you can borrow the friends 30D I think you'll be fine. Your friend with the 30D etc had a good setup. You need a second body for the second lens. I'd have a tripod and maybe a flash bracket. I also used a monopod for the 70-200 lens. My rental costs were much less (Calumet in Escondido, CA.) The 5D was only $125 and the lenses were in the range of 30-50$ each for 24 hrs. I think renting the 24-70mm is a good idea because it's fast if you need a zoom of that focal length. I find that ISO 800 or 1600 isn't that fast when you are talking f stops of 4 or slower especially if you want to keep the shutter speed up a bit during the reception.

 

I used the 35mm 1.4 at the reception quite a bit. The 24-70mm on a tripod was for the formals and for the ceremony I used the 70-200mm.

 

I had two 2GB memory cards and a 580EX flash.

Does anyone know a likely vendor for an s-18 extension tube for my bronica sqai?

I have checked KEH and ebay many times over the past 6 weeks as well as other

internet sites.

I started with the following: Speedotron brownline 1600 watt strobe system with two strobes, backdrop and stand, Sekonic L-358 light meter. I found I had more power than I needed for small groups, so you might save some money with a lower wattage system.

 

For outdoors, consider a reflector of some sort but picking the right time of day and setting is probably more important (early a.m. or just before sunset).

I started with a raw image which was quite underexposed. I open it in Adobe

Elements 4.0 and changed the exposure compensation and color temp to my liking.

I fiddled with the luminance and color noise sliders but didn't see any

improvement in the image so I left them at the default settings.

 

I opened the file in the editor and added a duplicate layer to which I applied a

moderate amt of gaussian blur to help with skin imperfections. I then erased

from this layer areas around the eyes, nose and mouth so that they could be

sharper. I have cropped an area of this file to show the noisiness in the areas

that I erased away (where the background layer shows through).

 

What can I do to improve this situation. Do I go back to the raw conversion

process and apply changes using the abover mentioned sliders or do I use noise

reduction software, or something else?<div></div>

Never mind. The above mentioned set up seems to work fine, first time out.

If I have an st-e2 mounted on the hotshoe of my 20D and 580EX in slave mode,

will the 580EX act as an optical trigger to a DIGITAL Wein hotshoe slave (Wein

HSD)? The Wein hotshoe will only fire if there is a preflash. Does the 580EX

give a preflash in slave mode?

 

I want to see if this is workable in theory before I start experimenting.

Does anyone routinely underexpose slightly or moderately (1 stop or less)with

their dslr knowing (especially when shooting raw mode)that software can better

recover information from an underexposed shot than an overexposed one?

 

This practice would be analogous, I would think, to intentionally over exposing

color print film, e.g. shooting asa 400 film at asa 320.

 

I am using a canon 20d.

Check these websites. You can view by camera or lens.

 

www.photosig.com

 

www.pbase.com

I should have been more specific: What PuppyFace says for the 5D is the case for my 20D. The upper most and lower most focus points of the diamond do not cause the st-e2 to project its pattern. The other focus points do. Unfortunately, it is the upper focus point that I wanted to use as in taking a picture of a person and focusing on the or eyes.