jim mucklin

Different tools. With the CLS system you have TTL and it works except in bright sunlight but its an optical system(see the light). I have a couple of SB800's and the system works, I don't own a su yet but you can mount an SB800 in the hot shoe and control all the flashes from there, I understand with the su you don't have the preflash, but I may be wrong there. You have to make the call as to mounting as su or sb on the camera, I went with the SB this way I have another flash. I own two old pocket wizards, it is a radio signal( doesn't have to see the light) similar to your garage door opener. I mount the tranmitter on the camera and the receiver is hooked to any light(that has a jack). Now they have a transeiver where it will do both jobs but you will need one for the camera and one for each light. It works around and thru walls and at distances. As others have said you could mount a receiverver or transceiver to a speed light and stap it in the tree by the feeder and sit in the house and shoot thru the window. The only downside is that you loose TTL. Many companies are starting to make products like the pocket wizards. I can't comment on them, but from what I hear the flea-bay ones aren't very reliable. If your worried about misfires, I have never had the PW's miss.

Hope this helps

Linda go to the top of this page and click on learning. Learning with a 35 can be rewarding. It comes down to you set the aperature, which is the opening of the lens, kind of like the pupil in your eye. More open, more light in. Then you set the shutter speeds, the combination of these two equal your exposure and you build from there. If there isn't enough info on the learning bar, run a search for shooting manual. It's old school, but carry a pen and paper and record your setting for each frame, after a couple of rolls you will see the results and look back on your note to compare. It is like learning math, you got to learn base 10 before trig.

 

Good Luck

Gentlemen, thanks for your help.

After reading all the old searches I'm still confussed. I'm looking for a pack and

head system that I can use in an action setting, say martial arts for example. I'll be

using a Nikon D2x and want to freeze motion with no motion blur. After reading

Ellis's and Brooke's definitions my question are:

1. Am I correct in assuming that I want a fast(short time) duration?

In this case shorter is better?<p/>

2. If the camera can sync above 1/500's in the FP mode as it does with

speedlights, can I use the combination of fast shutter/fast flash duration to stop

action? Or am I restricted to the x-250? This is where the confussion comes in, I

understand the relationship with a speedlight, aperature and shutter speed, what I

don't understand is all the posts about shutter speed not affecting anything but

ambient. As stated above if I have my exposure figured out to say f/8 @ 1,000 in

a sunfilled room and then we make the room dark and we add the light system,

won't I need a flash duration at least that fast to freeze the same action?<p/>

3. I see in many explainations where people are trying to open the aperature or

slow the shutter to match whatever light they have,here I would like to match the

light, am I on the right track?<p/>

4. I don't want to stop a bullet, or make another sun, or light the whole east coast,

but I would like to start with something that would do the above and be able to add

on to.I understand you get what you pay for but does this animal exist with out

spending $5,000?<p/>

Thanks in advance for saving me money and time.

One drop of dawn dish soap to two cups of warm water applied with a damp cloth and a old tooth brush, then dried with a cotton cloth. Then I use Q-tips that I dip in the water and squeeze out for all the tiny cracks, followed by dry Q-tips or I would be the only guy with brown Nikons. Lex, mount the camera on a tripod and get out the old buffer, wax on wax off and don't foget the chrome polish.

http://strobist.blogspot.com/2006/06/free-custom-backdrops-delivered-daily.html

It's under on assignment.

I loved both of my D70s, but I will never part with my d2h and in some cases I prefer it over my D2x. Don't let the 4mp fool you, most of the stuff I shot is with the D2h and many of my customers have large posters to prove it. Camera shake and poor exposure are usually blamed after the camera. Granted it's not a large format camera but the viewfinder and the blazing speed and the 4 custom menus and 4 shooting menu make it a great deal.

Check out the Morris company if you want to go portable, they come in a bag with two stands and two center sections that snap together and extend, I have used it with the longer rolls and extended up to around 8ft high, would recomend sand bagging or weighting any stand.

Don't forget the search box in Photonet

I am not sure what you mean by on the front. IMHO the 800 is what you want. As stated the 800 can work as a commander to command other flashes and you can control the output from the back of the 800 in all modes from TTL to manual. If you are going to be doing weddings it's best to have as much power as possible. You can also use the above setup at receptions with other 800 and 600's placed thru out the room. Check out Nikons site and do a search on CLS. Available light isn't always there.

Hi Bert, the cable won't do TTL. Why don't you mount one on the camera as a master and set the other to remote and see what you get, or you could set them to Su-4 and trigger with onboard. Your wireless with what you have. There is lots of info on the net and at Nikon.

I use to have that scanner and still have the D2h. I use to shoot a lot of Kodak Porta. At 11x14 I couldn't tell the difference. If it was on a tripod it was hard at 20x30. Only you can make the call. It depends on how much and what you shoot.

Options: If you want to shoot manual and flash manual go with the pocket wizards, they are radio

If you would like to retain TTL

1. you can do it with the cord, there use to be a tutorial where you could lenghten the cord a couple of feet.

2. Your could mount a 800 on camera to control one or many groups of 800 or 600's ( you'll need more than one flash.

3. You could purchase the SU-800 to do the same as #2.

I went for #2 I ended up with two flashes, wish I had four.

Katherine, you didn't mention if your shooting raw,jpeg,etc with your camera. Any lab worth it's weight will reproduce you images from what you give them. If I could suggest, load 3 and read the help section. I'm not trying to be smart but if you are printing you shouldn' have to resample. If you want you can go to image> image size> and put in the document size if you are trying to match and image to a certain size paper. Set you dpi to 240-300(depending on the pro you talk to) and >File> save as> either a jpeg or tiff and they should be able to print it. The more data the better.

1. It depends how much, take for example my camera 2464x1632 pixels at 8.213x5.44 inches ( a 4.1MP) I give it to my lab in the form of a jpeg or tiff and they print any size I want up to 20x30 inches. Don't confuse print size with image size, or document size. The problem most people run into it when they give an image to a lab and want a 8x10 print, you are going to loose some off the long end (a book in itself).

2. I suggest to read about actions and to set up an action to duplicate the image. Convert the image to jpeg or tiff or whatever you and your printer agree to, set those specs as a custom size in ps. Sharpen as you last step. Save the orginal to a folder, save the duplicate to another folder, you can even make another folder to store a small jpeg for the web or email. This will save you hours. This way you have the orginal untouched and make sure you save it to another hard drive and burn a cd/dvd just incase of hard drive failure. There are many sites/books that go into detail, hope this helps a little. I went from ps7 to cs2, you'll be impressed with cs3, feel free to contact me I'll look for the work flow I set up, I have it somewhere.

Jim

Window> workspace> set or reset commands? Is this what your looking for? Some keys boards have locks like th F.lock.

Let me know if this helped.

Copper Hill is the way to go, get the kit with the brush, charge it and if it's just dust it will pull the dust off. The pec pads and Eclipse fluid work. I was terrified the first time. Lock the camera in a tripod if you have one, that way you have two free hands. One drop means one drop, you can always swipe it again. Like it says practice on a cd case, get the angle right and your on your way.

Art told me it's the rods

<a href=http://www.ixwebhosting.com/index.php/v2/pages.dspmain/>IX Web hosting</a> real support 24/7. They know what they are doing.

There was something on the front page in the faq section about 500 pixels on the long side, that way people don't have to hook it to a big,wide screen tv to view it.

Lee, 100 prints X $10 is $1000-$250 print cost= $750 gross profit minus expeneses, only you can tell if it's profatable for you. I have run into this twice, the 100 turns into 75 of which 50 wants photos taken, not only the portrait but also 6 hours of coverage and the host has the nerve to ask for a 20% donation.

If you are going to print on site or have someone get them to the lab and back, organize them, collect the money, etc you will probably have to pay them something, you might talk your spouse or a friend into it but after the first time they will go the way of the other photographer.Combine this with all the other expenses, insurance, your time, travel that $750 gets smaller so you have to either charge more or tweak the services. Good luck

Nicole I was shown an easy way to mount a photo onto a back board, then hinge the mat, it's so easy I can do it. I'm going to take some photos of it this weekend and if someone here has some tech knowlege on how to put it together for the benifit of all, I would like to post it as a sample tutorial. If you going with just foam core, Williams way is the way to go. I have some old ones in the garage for a couple of years and still no bubbles.

Hope this heled

Not to be smart, but I don't know your system or you. But your not confussing <a href=http://en.wikipedia.org/wiki/Bokeh/>Bokeh</a> or shooting wide open with sharpness, are we talking the whole image being soft or just the outside? There's a whole list more, high ISO, slow shutter,subject movement, etc. For your question, I would never use in camera sharpening to compensate for softness, maybe a little shapening in post processing.

Most sharp problem come from cameara shake, I know as I got older my lenses got softer, I can't hand hold like I use to. As Joe said, lock it in a tripod or if you don't have one put it on a solid surface, with a bean bag, what ever it takes, use the timer if you have to. Just like hunting, don't jerk the trigger. I would recomend the test above, or tape a newspaper to a wall and shoot it. Take the files to your lab and tell them you want just a straight print, which means just print it, don't color correct it, just print it. Let your decision be based on the final print, not a fuzzy screen. Then in good light, check it out and let us know. You can post a sample.

Hope this helped.

What Scott said, I don't have WL, but a splitter cord for $4 was cheaper than another pw.

B&H,photo.net. The good stuff goes fast and a lot of old good stuff is still in service. Sometimes it's better to go with new. In the US Paul Buff/white lighting/Alien Bees Is rated high with real customer service. I not sure on how remote and how big you want to light, but there are sites dedicated to the portable "strobist". You can get some great shots from a couple of portables with NIMH batteries. Al Jacobs and others make black boxes to power them. Lumedyne makes some top shelf equiptment. You can also try light painting with large spotlights and long exposure. You can always bring in a big generator. I guess it depends on what you want to light, how big and how much money you want to spend. I personally use a couple of Nikon SB-800's. Check out Dave Blacks site.

How this helps