chris_ladoulis

Yes, the 308 measures both. You will have both indicators on the analog display - one solid and one flashing - and the flash reading shows in the digital display. You'll notice that the ambient f-stop reading will move (as it should) along the analog indicator when you rotate the shutter speed dial, while the flash reading stays constant.

 

The PC connector is a standard female port. You can find an adapter for your flash connectors, trigger them manually in simple flash mode, or install a Pocket Wizard transmitter and trigger your flash with receivers.

<i>"Firewire cable or Nikon's wireless transmitter for $500"</i>

<p>This is not correct. Only the D1 series used Firewire cables; D2X, D100/D200, D70 now use USB cables for connection to computer. The wireless transmitter is an option for the D2 series, but not the D70.

<p>You will only need to purchase Nikon Capture to shoot tethered with your D70. With NC you can use the "Nikon Capture Control" module, and connect your D70 with the USB cable that came in your kit. Once connected, you can choose in settings what to do when images are captured (view in Nikon Browser, for example). I suggest you get the trial version of NC and test it, to see if you like the speed of transfer.

Which gamut? The Fuji Crystal Archive gamut? Get a profile for that colorspace and run the Edit / Convert to Profile... command. (or View a Soft Proof in that profile). If you like the blues after that, you'll like the print.

I'm not sure I agree with the assumption that this is a simple colorspace problem. Sure, Adobe RGB images will luck dull and less saturated if not tagged and viewed in a non-aware browser. But a difference in gamma from 1.4 to 2.2?

 

My guess is that the photos are underexposed. And/or the Adobe Gamma was run improperly. Is this an LCD monitor? If so, Adobe Gamma is not recommended anyway. I'd address the two issues separately: (1) D70 underexposure. Are all the images prone to this problem? Or just the flash photos that are going onto eBay? (2) monitor calibration. if Adobe Gamma is that far off (browser viewing should be close, even if not perfect, but not as far off as you suggest) get a calibration tool. The new consumer Spyder is only $100. Get one.

Layer masks are the best way to approach this, I think. Duplicate your layer, then add a Layer Mask and start with all black (Hide All). Paint with a rough/soft brush at varying opacity and size for virtually infinite feathering. This is how I do it. You should also experiment with Radial Gradients on the layer mask, as an alternative.

Bill, the wavy lines you describe sound like an image being displayed with a smaller color depth (16-bit). Any chance your 'Save for Web' dialog box ended up with a .GIF option in the Settings? or perhaps the graphics card/display settings on the machine you're using for the browsers is set to 16-bit?

I use both the Luster and Semi-Gloss papers on my 2200, and I actually prefer the Semi-gloss. The Luster is a textured glossy - like what you'd receive at a photo lab (similar to the Fuji Crystal Archive Luster). The semi-gloss has a duller shine, and tighter texture -- more like a frosted glass. I think you should try both; the Semi-gloss is much more expensive than Luster, so you might try the Luster first.

Your inclinations are correct, there's no reason to capture TIFFs. The option was probably designed by the hardware engineers 'just in case' the software engineers didn't develop RAW converters/utilites. If you don't want to capture in JPG, there's only one thing to do: shoot RAW.

Jason, you can also handle the sequencing in Nikon View/Transfer. It allows you to set a larger number of numerical digits and define the prefix (change from the silly "DSCN"). This is the best option if you have 2 bodies or upgrade in the future.

You can write a script with many of the web gallery / image database programs that will support the Paypal shopping cart. Basically you'd load the template HTML text and replace the image name as a variable on each page created. I've seen this done with AlbumCreator and heard others have done it with iMatch and iView. This could be a solution if you don't want to use a 3rd party solution like Pictage or Printroom.

As LCT mentioned, the plugin is free. It is a library included in Nikon View version 6.2.2 only. Just download from <a href="http://www.nikonusa.com">Nikon's web site</a> and enter your serial number at time of download.

I assume the things you did wrong were: not using your histogram to determine that you were underexposing your images; and relied on your under-powered fill flash and auto metering too much.

 

Fill flash is difficult on the D100 when outdoors, since the sync shutter speed is limited to 1/180 sec. That forces you to such a small aperture that your flash has to be pretty powerful. If you were getting underexposed images, and not just unsightly shadows, then your images were poorly exposed - regardless of fill flash. I'd make sure you use your histogram and preview in the LCD frequently to verify exposure. Since you're shooting digital, there's no excuse waiting for the shoot to be over and find out that they 'all came back' anything but spot on.

 

If you were using program/auto exposure, then the backlighting probably tricked the metering and got the classic "D100 underexposure", a common new user issue. You're better off in these tricky situations doing some test exposures, and verify your subject/foreground and background exposure readings with test frames or spot metering.

 

Can you post any examples? Did the EXIF shooting data show exposures that surprised you? On dreary days with flat light, I often use an exposure correction of +0.7 to +1.3 when using the Auto metering modes on my D100. Learn to preview your histogram and you'll instantly determine what that EV adjustment needs to be.

 

Forget the tone curves for now -- they're great tools for fine tuning, but not for dialing in basic exposure. Use that histogram.

I use a workflow similar to Marc's above and the one posted on <a href="http://www.planetneil.com">PlanetNeil.com</a>. I shoot primarily raw NEFs (some JPGs), on no less than 6 CF cards. After a shoot I upload them via Nikon Browser, which renames with a unique, sequential number. I then copy the uploaded files to a 2nd hard drive. Then I burn a set of CDs (soon to be DVDs) of untouched images on the backup HD files. <p>When I start editing, I do it in 3 waves: first, cull through the entire set and mark my "Selects" with a tag in Nikon View. These are then moved to a new folder, rotated, and prepared for editing. Then I edit: I try to edit all files in batches, using Nikon Capture and the Tools/Batch mode, to work faster and preserve layers for lossless re-edits. After this batch edit of the rotated Selects, I then copy the "Selects" folder to the backup HD. I then burn another set of CDs of the edited Select files. None of these have been into PS yet... <p>It is from these edited Select NEFs that I create JPGs for proofs. I run a batch conversion with Nikon View that converts all to sRGB, in original resolution. THese files are then used to prepare web gallery proofs and/or print 11x14 contact sheets (5x5 rows with Nikon View). <p>Once an image is selected for an enlargement or album, I'll make additional edits in PS if necessary, saving as PSDs to store with the NEFs, and converting to JPGs for proofs or TIFs for proofs/archiving.

Rory, there's a tutorial on <a href="http://www.luminous-landscape.com/tutorials/blended_exposures.shtml">Luminous Landscape</a> that explains this process. With the new PS CS, the "Shadows/Highlights" feature takes a step in this direction, also.

Sage, the ambient light and the modeling lights of your strobe may be affecting the color of your light. The AlienBees are about 5600k, slightly higher than most "Daylight" WB Settings. Check the manual for which setting approximates 5600k and start there. Then turn off the ambient lights and modeling lamps and try again. This should get you closer.

 

I assume you're using a hotshoe mounted PC adapter to fire the AB's?

Kyle, I use the 700 DX legs, but usually prefer a Bogen 3030 head or my pistol grip. The Slik QR plate (round) is not stable for vertical position if the weight of your camera/lens combo is not centered on the head. I also found it nearly impossible to find in-stock spare/replacement QR plates when I was looking for spares. I now use all Bogen heads so the plates are interchangeable between them. But, the 700DX legs are great: nice and light, and flip locks on the leg segments. I haven't tried the short center column.

I regularly print contact sheets on 11x14" Heavyweight Matte Epson paper on my 2200. Epson part number S041468. You can get most sizes of paper, although not all from Epson. When I don't have the 'perfect' sheet for what I want, I pull out the trimmer.

Marius, interesting portraits don't require attractive subjects. But if you prefer to shoot 'goodlooking' people, consider contacting a local modeling agency. Bring samples of your work and ask them if they have models seeking portfolio images. A common arrangement is "TFP" where you trade your Time for Prints with a model.

Your print driver may allow you to create a custom paper size. If not, you could position your image at the top of a 13x19 page (positioned only in the top 1/2) and print it twice - flipping the sheet after the first print. If there's no data below the 9-inch mid-way point, you can use full sheets (and flip them) or half-sheets after cutting. Only important thing is to define the width. The cut half-sheets are probably 'safer' so you don't have a fresh print going through the rollers twice.

 

Also try out the demo version of Qimage, since that will give you more flexibility for picture packages on different sheet sizes.

Robert, three options: <br> 1. Free - Nikon View. It will import your NEF file and 'flatten' it so you can use a version of it in PS and then save as a TIF or JPG. <br> 2. US$99 - Nikon Capture. It will let you edit NEF files in their original 12-bit version - with layers - for maximum flexibility. I use NC for simple WB, sharpening and tone adjustments. <br> 3. US$169 - Adobe Photoshop CS (Upgrade). Adobe PS/CS will work with Nikon NEF files, with all the flexibility of Nikon Capture. <p>Other low-end browsers are now supporting NEF files, so you should take a look at these if you want to explore the sub-$99 range.

ISO 3200 might be a better choice, since the ceremony will be very dark. Take some test light measurements in a similar setting before you shoot, and you'll see what speeds will be necessary. Unless you want a very warm/reddish image, consider black & white film. The tripod approach may be good for the middle of the ceremony with no movement, and you can stop 'action' with 1/8 to 1/15 sec shutter speeds. If there is a processional / recessional, consider panning - even handheld - to get a sharper image. You'll probably have to manually focus, since AF may have difficulty in the dim light; if you can't override AF, be sure to turn OFF your AF illumination/assist lamp. Have fun,

Colt, what you've discovered is probably not a problem, but the 'normal' sound of the N8008 focusing. The N8008 design is now 15 years old, and the motor which turns the AF screw is as you've noticed 'extremely noisy'. Every time I use my 8008 I feel a little self-conscious and don't like to use it in quiet surroundings. The screeching sound, although pretty cool in 1990, is a bit of a nuisance these days. You might want to consider having a shop lubricate the AF motor, if you're concerned that this body is even louder than average; at least the shop can tell you if it sounds okay or not.

Kevin, I think your flash was under-powered for balanced fill. Your Stofen, and the 45-degree tilt, are both only useful if you are bouncing off a ceiling or extremely close to a subject with a wide angle. These two settings probably stole 3 stops from your available power, and without forcing your camera to a wide aperture (with an A-priority mode instead of P) you probably were forcing the SB-28 to flash at full power. I'm guessing that you had a combination of underexposure from settings, and some recycle time issues.

 

On your next outing, consider (1) removing the Stofen; (2) use 0-degree / no tilt; (3) set to Aperture priority to a wide aperture, and (4) consider turning OFF the matrix fill (TTL only) if there is no ambient light to capture.

I disagree with the suggestion to get a MO drive: with disks at US $25 each, the cost at US$10 per gigabyte is excessive. It would be better to make DVD copies (US$0.25/gigabyte) and keep a duplicate copy on another hard drive: (US$1.00-2.00 per gigabyte). You can then make a replacement set of DVDs every 5 years, and move the HD data to a newer, larger HD, if you're paranoid. In 5 yrs new blue light DVD technology will probably expand our capacity to 20GB per disc, at a cost of less than US$0.20 per gigabyte. Memory always gets cheaper, and you can always make copies...

Kurt, here's a thought, if you haven't figured out the issue yet. In my Nikon software I have an upload/transfer option that allows me to select for import only "Protected", un-Protected, or ALL images. Perhaps you have marked some of the images while in-camera, but the software is not uploading ALL?

 

Also, how do you know the camera/card had 72 images before uploading? Does the 10D re-number images if you've deleted some along the way (i.e., will the number of the last image taken always be the count of images on camera)?