nino

um... its you, try a wider lens.

Often when i open lightroom in grid view it begins in the oldest photos (as my photos are sorted by capture date)

and so i have to scroll all the way down to the latest photos. This is quite annoying.

Is there any way to go to the latest photo every time i open LR. Even pressing one button would be handy.

no its up the to now, when your in grid mode press backslash \ or pull down View/show filter bar and it will pop open

Brian pretty much nailed it. But what you might find interesting is that a standard 35mm movie frame is a bout the same size as a DX size CCD, so the lenses on these new SLR's have the same FOV as a standard movie frame. .

 

But there are may variations and formats that exist in motion picture. 65mm Horizontal (imax), 65mm vertical, Anamorphic, standard 35mm, Super 35mm, 16mm, super 16mm, and a few more

 

A typical film in the 60's

http://www.imdb.com/title/tt0056217/technical

would have been shot spherical standard 35 with a 1:85 aspect ratio.

Yeah ive had this lens on my d200 for a couple of years it honestly does 90% of all my work. Wonderful for people shots. I have a couple of prime in the range but they only come out when i need the speed. Worth every cent and a shame to see it go when i go FX, i hope the 24-70 can cut it.....

The answer is, what are they expecting to pay for it?

Are they a large firm or a small business? Have they purchased photography before or do they commission a photographer? Will the campaign run for a long time or not? How much exposure will the Ad have? What if the campaign is successful and they decide to run the photo in other forms of advertising?

In photography, as with a lot of things, the true value of something is determined by the purchaser. There is no black and white answer unfortunately. Best thing is to talk to them and get their thoughts.

I cant go past Wim Wenders 'Photos from the surface of the Earth' - Colour, Composition and Presentation are perfection.

 

Henri Cartier-Bresson 'The man the Image and the World' is a wonderful collection of all the masters finest reportage work.

 

Babel: A Film by Alejandro Gonzalez Inarritu. is a photo compilation of the film of the same name. Not a behing the scenes at all, but the film told in reportage. Featuring the work of 4 wonderful photographers over 3 countries, including work by Mary Ellen Mark, and Miguel Rio Branco

Some of these are great, some merely snapshots... But the most interesting thing about the ones that work, are how the qualities of the film, lens and processing all add to the soul of the images. They all have a unique fingerprint which you just dont get out of digital camera these days, which at best can be consistent, but at worst just plain homogeneous.

I reckon the noise of the shutter is way more obvious than the AF motor, which is virtually silent in comparison. (did i miss the point?) If its an issue, the guys who shoot stills on movies have their cameras in blimps so they are totally silenced, and they cans shoot during a take, they are a bit of a bugger to use though..

The meter is no longer on the left side of your Nikons viewfinder, it is now on the bottom of the viewfinder.

This meter is right 100% of the time. It is an electronic device which gives a perfect middle grey reading all of the time. Unfortunately your subject is almost never middle grey, so its important to make educated adjustments.

Richard has pretty much covered the other technical answers, Rene i suppose if you dont want to learn about exposure, and utilising it effectively, then you probably are wasting your time shooting in Manual mode. There are so many ways to adjust exposure( fnumber,shutter.iso.exposure compensation, exposure lock etc..) in a modern camera there is almost no excuse to just leave the camera to work everything out for you. (there are exceptions of course)

To all those people who say they cant evaluate at this posted res, and 6400 is less than impressive etc.., id say you are all truly spoiled. Shooting ANYTHING on film at 3200asa was pactically impossible, and i can tell you that the 6400asa shot looks like 400asa on my D200.. And all this has happened in only four or five camera ,odel developments, after a hundred years of pretty much static tech. advances in film camera image quality. Imagine what we'll be seeing in 20 years...

I Think that this aspect alternative will happen eventually.

 

Just as film cameras matured over time, so will digital acquisition. Long term, when sensor production is cheap enough to experiment with, we may see companies like Nikon or Canon producing more specialist cameras, perhaps a consumer priced medium format, or panorama, the skys the limit really. And who knows what other ideas might come to fruition? As the photographic industry is relying more and more on software based image making, perhaps there will be some new system like consumer medium format (specifically for 6x6 or 645) that uses the new generation slr lenses and software interpolates the image onto a larger sensor? who knows

If you live in the US you can order this amazing stuff called PANCRO in a white spray bottle. It cleans well and residue evaporates by itself.

try CML

http://www.cinematography.net/

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"Babel"

I am writing this post as a recommendation for all those who love inspiring

coffee table books.

The book is a collection of images from 4 main photographers, M.E Mark, Patrick

Bard, Graciela Iturbide & Miguel Rio Branco.

The images are broken up into 3 main sections "Morocco" "Mexico" & "Japan"

And then have a couple of other small sections, a photographic prologue, and a

few pages of 'on-set' snapshots.

 

It is a really amazingly executed book of images. All the images are affecting,

artistically bold and quite unique. But what makes this book really special, is

that all the images are linked, by virtue of the fact that they are based around

a script.

 

The Director of the film Alejandro Gonzales Inarritu chose the layout of the

photographs, and by doing so, he has created a truly inspiring environment for

the photographers to work. The results show up in the film, and the book.

Even though you have set the lens to 22, the coupling on the body and lens always keeps the lens in the 'wide open' position, so you can look through it. When your fire the shutter, the coupling releases and the lens stops down to whatever f-stop you have selected using the wheel on the back of the camera. When the exposure is complete, the lens returns to the wide open position. The reason for this 22 position is that it is a constant f stop that every lens has, unlike the 'wide open'aperture which varies from lens to lens.

Its not a stupid question at all. When you select 'backup' in lightroom, your actually only backing up a file called LRCAT, which is the Lightroom Catalogue file. It is a file which is the key to your whole Lightroom library. It tells lightroom where your files are stored, what edits have been placed on what photos, and keyword info. It does not actually back up your photos. To do that you need to export the photos, with or without your edits. But the beauty of lightroom is that it will source and pull together all your photos no matter if they are spread over may different sources. This is why there is no back-up facility. Further to this, when you introduce new images to LR, you are given several import options, including "leave in current location" or "import into a lightroom folder" Have a peek at this http://www.jkost.com/lightroom.html

you post shockingly ordinary pictures in the forum, with no indication of why you did so. What was the point of your post anyway? To stimulate opinions from fellow community members, which then take the time to begin a dialogue about your post, THEN you find it appropriate to abuse them {as you did to brian} Your own abusive reactions indicate you are the type of insecure person that cannot handle criticisms, no matter how constructive they may be. What exactly do you want? To be praised for every picture you post, without any other opinion? If you cant handle it without abusing people, then dont post.

Im not sure what you think this function is for, but all it does is changes the focus patterns of the camera from being biased to the centre of the frame, to being spread across the whole width of the frame.

It is particularly useful if your doing photography when your subject is on the extreme edges of the frame.

If your photographing a portrait of a family, it will be of no use to you. The regular focus pattern is perfect for what your doing. I have had the d200 since day 1 release and have never used this function.

my mac has a mini DVI port. My Sony LCD has a VGA connector on the back. I bought a $10 apple DVI-VGA connector. My mac auto detects the Sony TV and selects the right resolution. I now have a 40" monitor for my laptop for $10.

Whatever Fab..go have a lie-down..

I would also like to add, im very familiar with the characteristics of this lens, and there is usually a very apparent plane of focus. Could it be a bit of camera shake perhaps?

Sorry to say but they all look soft to me, even at web resolution. The coffee cup especially.

Large soft sources (could be anyhting from chimeras to a couple of white umbrellas and something to blow out the backdrop. My guess is that those pics of the kids are shot on a cyc (curved wall) which assists with the shadowless wrap. You would also note that the other photos are heavily post-processed. Notice how they are all a bit diffused and they all have a heavy vignette?