jack_lyric

<p>Thank you very much.</p>

<p>What comes in the plastic envelopes in a new D800 box? One is marked U-A. One is marked U-B.<br>

I think the two manuals and quick start come in U-B. How about the U-A envelope?<br>

Thanks.</p>

<p>Thank you very much, Brooks. In the interim, I actually spent more time and rewrote the whole action to include a flatten and close part which works very well. I do want to modify the action a bit so I will take your advice.</p>

<p>I just spent a few hours learning how to write a copyright action to fit verts and horizontal.<br>

Did not close the image before I stopped writing the action and now any image I use this action with asks me to save as or close and it comes up as a PSD and requires manual closing. I want to close image and save as a JPEG and want to include this in my action.<br>

So, my question is, can I add this final step to the action I have written or must I write a whole new action to include this step?<br>

Thanks for your help.</p>

<p>I want to add a copyright mark to about 125 photos at a time. The photos all differ in size as they have been cropped for best composition. Will writing an action in photoshops cs3 for copyright notice in corner of photo work for different sizes? Or, how do I write an action that will work for many different sizes?<br>

Thank you.</p>

<p>Thanks, Harry. Just glanced at the "spill" section of your link and it strikes me I should try just one head aimed at paper (due to distance restraints: paper to subject) and blow off the second head from the same bank so i will effectively be shooting background at 62.5 ws. Maybe this will do the trick.</p>

<p>Thanks, Chas. I know that and tried that but still got the blue color in hair fringes. Had my lights set as low as they could be with a dyna-lite pack. Couldn't go further than 8 feet as my studio is not long enough to go more than 8' or so.<br>

Any other ideas?</p><div></div>

<p>I'm shooting portraits and want to achieve a light blue background as they do in the mall studios. I seem to be getting a blowback of color on the fringes of subjects hair and cannot correct this. Any suggestions?<br /> Here is my set-up: light blue seamless paper. 2 heads set at 125ws each standing at 30-45 (tried a variety of angles) degrees from paper about 4 feet from paper off to the side by about 1 foot. subject standing approximately 7 feet from paper. main light at 125ws at about 45 degrees and up to give a touch of Rembrandt lighting. Camera set at 160th at f10-13. F 8 lightens paper but still does not eliminate the blue shade on fringe of hair.<br /> Any suggestions?<br /> Thank you.</p>

<p>I am traveling quite a bit and often shoot interiors of fairly small size (hotel rooms) and have found that one nikon sb800 often doesn't give me enough power especially when I need to balance the ambient, capturing the outside view, with the interior space. Last time I had a job with this situation I popped my strobe numerous times from different locations on multi exposure to get enough light in the needed areas but I do feel life would be much easier on the road with two if not three nikon strobes meaning the purchase now of sb900 or sb600. Is anyone using this setup for interior work? If so, is the sb600 giving enough output of power or would the sb900 be far superior?<br /> In addition, I have a job this week in a very large house with large rooms so I am quite positive 3 Nikon strobes would not fit the bill especially as the ceiling must be at least 20 feet or higher in one of the rooms. Would you agree on nikon strobes not being nearly enough power? My plan is to use my dyna lite 1000ws pack with four heads and, if need be, do multi exposures althought there is quite a bit of window light from huge almost floor to ceiling windows. Any suggestions?<br /> Furthermore, the one rooms have chandeliers but I don't want to run into the problem of mixed light sources. Do you think my strobes would overpower the halogen interior lights or should I not turn on the interior lights?<br>

Using a nikon d300 with variety of lenses.</p>

<p>Garrison K., Thanks so much. Seems to be working fine to convert so many large files to jpeg.<br>

Your kind advice is much appreciated!</p>

<p>I need to convert over 100 raw files to jpeg and am having trouble writing the action. I want to open the raw files and then convert to jpeg and then save in a file named jpeg. It seems that when my action opens, it goes no further than the camera raw 4.6 page. <br>

The original raw files are in nef from a nikon d300. Any help in how to write this complete action is much appreciated.</p>

<p>I have to send a disc to client. Images are saved as a psd. (photoshop document). Can these be viewed by a client that does not have photoshop?<br>

I have a copyright on all the pix and don't want to merge down as I want to be able to open the photos and remove the copyright if they want to buy the photos. Don't want to take the time to save all the images without a copyright in jpg at a low resolution so I wanted to send them the psd with copyright.</p>

<p>What experiences has any pro shooter had with listing on a few of the referral companies such as respond.com or eventective or any other online company that you pay for a referral to a potential client looking for a photog?<br>

Does the money spent for the referral and subscription fee return positive leads that pan out?<br>

What companies seem to have the best results per dollar spent? Any suggestions other than the two I listed?<br>

Thanks for responses.</p>

Hey Jonathan,

I believe it is not me but a different poster you have a beef with.

I hardly every check this email address so i just got your note now. Also, i believe my original question goes back 3 years.

In any case, very nice portraits done with a beautiful creativity.

Good work.

How do I set body of d300 so focus point moves by pressing the selector wheel

after taking an exposure? It stays locked on the prior selected focus point and

does not move unless I turn body off and then on again. I want to be able to move

focus point when necessary without having to turn body off and on.

i believe tha battery for the d300 is the same as used in the d200.

i have a gig coming up which i have shot with d200 in the past and the battery

barely makes it to the end of the gig which can encompass 600 pix at raw and an

iso of about 1000-1200 in the course of 3 hours. seeing as the d300 (which i am

now using) should use more "juice" than the d200, shouldn't i expect to run down

the battery before i finish the job as i believe that 12 mp should consume more

power than the 10mp d200 body.

am i correct in my assumptions and pick up a spare battery or should the one

battery make it through with a ten minute period for recharging after about one

hour of shooting and maybe 45 minutes till the end?

thank you all for your input.

first of all, i think i will go with my 28-70 2.8 set at 2.8. this is NOT a vr lens but i do have experience with same it my results have been quite good even with much action on stage.

now for individual responses:

T: yes, with the four stop advantage of a vr i would be shooting at the equivalent of a bit faster than 2.8 when i am shooting at 5.6 and even faster at f4 so i will take that to heart and perhaps try a few captures at that setting. i rarely, if ever shoot, at p so i will disagree with that point and shoot at a priority. thank you for your input.

 

Michael: thanks for the advice. i just bought the body so i was unaware of a 21 point setting but i will research it in the manual and heed your advice as the 51 point seems a bit of overkill for this job.

 

jdm: no. no vignetting without a filter on lens.

 

kent: thanks. the 28-70 is my best friend in this type of gig and i do use the 70-200 if the scene is further away.

 

pujo: thanks. as stated above, at the distance i have, the 28-70 is my best friend.

 

DAVID (ace): thanks for the words of wisdom but with a gig as fast moving as this is, no time to cross my fingers!

using a new nikon d-300, theater lights, musical with plenty of action. I have been

using mainly nikkor 28-70 f2.8 and sigma 10-20 variable shooting wide open.

Seeing as I just purchased the d300 with the 18-200 VR lens, I was wondering

what anyone thought of using the VR lens for this job. If so, what setting should

be set on the lens barrel? Also, I have setting body at single focus setting focus

area manually mostly to top of frame as I shoot mostly verticals. What does

anyone think of shooting at one of the settings such as closest focusing, focus

tracking, etc.?

Thanks Dieter, I guess Ken was stumped as well and his search for the answer was quite humorous. But still, I must ask is there a difference between a VR and a VR II lens as the one on the B&H site is termed? I do want to make sure I am getting the latest version if, in fact, there has been an update although Eric says there has not been.

I just bought an 18-200 and was told by the salesman this was the upgraded

version. Does anyone know how to tell the newest version? The salesman

pointed out a number 10 on the lens by the side that attaches to body. Is this

the indicator or was that on the original version? The package with d300

purchased from Adorama was less than at B&H so I as somehwat skeptical.

photoshop cs3. it seems the default background color is gray on my windows

vista. is there a way to turn the background to black for the slide show? if

i run a windows slide show, the background is black but i prefer the cs3 slide

show for the options i have.

sb 800 is acting cranky and fires sometimes and othertimes, a no show for the

party. using on commander mode with the softener over head and the five

battery option. any ideas as to why it is not popping all the

time. also, unrelated but something that has been an annoyance for

quite some time. why do i have to turn body off after a pic inorder to move

the focus area. oh, shooting through an d200.

VEry funny David! thanks for the answer. That is what I thought it was just expressed as a ev setting with HO 1 being one stop faster. Why didn't they just list the additional iso setting as the speed?

Cannot find it in the manual. When pressing the iso button after 1600 it shows

"ho .3, ho.7 and ho 1.0". I assume this is some sort of compensation factor but

I am not sure. What does that mean? Is iso 1600 the fastest available on the d200?

thanks dave. I did consider the red eye factor and perhaps I will only use flash for a few shots just to see what it does for the future. I also lost the gels that came with flash but I could use similar color (blue or orange?) from my sample roscoe gels.

I usually shoot product or corpo in which case I always shoot at iso100 but in this case i will have to pump it up to at least 800 or higher as you suggest. my fastest lenses are 2.8 but not wanting to lose the actors other than the one focused on, don't you think I should shoot at f4 or f5.6?