RaymondC

<p>For a D70 user .. maybe a used/new D7000 on fleabay I think I saw some overseas (new) for like $500US. I still have my D70 but I see the biggest difference as in the exposure and the overall color it gives. My D70 tended to give dull colors unless I was outside in good light. Ie - indoors and outside in a overcast day with/without flash.</p>

<p>I just found something. On my D600 menu. If I set the pop up flash commander to TTL -3.0 as I am only triggering it. All my images go dark. </p> <p>But if I set the pop up flash to - - they are fine. </p> <p>Is this normal? I mean the pop up flash is TTL -3.0. But the (A) flash is set to TTL 0.0. Shouldn't the (A) flash give a proper flash exposure?</p>

<p>@Rodeo - yep the side of the SB800 with the receiver is facing the photograper's camera. </p> <p>I tried out AA mode and yep I can see where you are coming from. TTL needed about 0.7 underexposing the flash to get it where AA was but I like my portrait a bit more high key :-) </p> <p>When I did this yesterday, I tried it again today at the other side of the room without the mirror behind the subject. So a mugshot behind a brown color wardrobe door. Same thing. The flash underexposes. That was set to flash-sync speed. Power of the flash wasn't an issue b/c if I set it to manual at full power it wipes out the picture. </p> <p>The only way I got TTL flash to work off camera was if the scene was quite bright with the sunlight. </p>

<p>I took out my equipment and played around with the flash out of curiosity. D600 with 1x SB800 with a white/black reflective brolly. Commander mode, I was generally at flash compensation +1.3 afternoon (brolly 1m from subject), other times if I pulled the brolly further back I needed +2.0. Is this normal?</p> <p>So I thought if it needs compensation why not shoot manual flash with the cheap chinese speedlights? As a comparison are the Profoto B1's since they are a more of a studio light for outdoors do their TTL system work or do they need adjustments also? Not for perfection but as a basic well lit starting image.</p> <p>Setting. Since we are the southern hemisphere it is winter. So visible light outside but the light inside is dullish. </p> <p>Many thanks.</p>

<p>Hi all - I had a look online with DoF calculators but they ask for a distance to your subject. </p> <p>With 35mm people use F8 or F11. I tend to use the latter more. Is F8 ok for landscapes? When we move to 6x6 or 4x5 what is generally the equivalent f stop? </p>

<p>I am just a hobbyist here. I have seen some very nice images I was able to find one of his website which he shows the EXIF. He shoots many sunrise/sets at lakes with ND filters - most/much of the shutter speeds were 10s or 30s long.</p> <p>This is a common technique? </p>

<p>In the past I got scratches, checked the pressure plate and found similar marks, gave it a clean and it is gone then. Then on my other camera got scratches and looked at it and maybe something on the pressure plate again. Looked at the film and I could be wrong, it is hard to see, but the scratches looks like on the base side (the non dull side). I've gave that a clean for now and a wipe down on the pressure plate with a microfibre cloth. </p> <p><br />How common are these things in general ... and do film scratch over time say from some film sleeves and how slides are stored? </p> <p>Does scratches show up with slide projectors?</p>

<p>I am not in the USA but I can say .. the very local mall for us, the (2) film labs have vacated premises used to be a chain Fuji place and a Kodak place. Around us, kiosks might be available at the odd bookshop or the Kmart etc Chemists might do digital prints too. As for the CBD, there is just (1) place that does E6 now and maybe 2 places that does C41 (under the same brand) maybe 2 other smaller place that might do C41. But at $36US for a roll of 35mm slides and then $18US for a roll of slides developed unmounted I suspect few people use them. So for me, it is cheaper to import film from the USA and export them to the USA for development. I don't know anyone that still shoots film other than a few old timers who shoots B/W and develops them in their own darkroom. i went to a semi pro place that sells equipment (and film) too but does C41 only, when I said my older camera (Nikon D2H) he kidded around and thought I had a film camera. Given that I have to import and export - I use film sparingly fortunately, I am a plan and wait photographer so I really just shoot 6 rolls of b/w and 6 rolls of slides each 6 months so the expense isn't that high. I don't do sports, or walkabout much or social and if I did social it's just on digital when no people have asked for prints. If family have visited people overseas they might want a few 6x4s that's about it. </p>

Chris thought u also shot film and had a coolscan? Gone?

<p>I just been taking my dSLR out now, before it was in the box.</p> <p>Eg. I have been caught out occasionally. I do my photography with film, I just like that way but then I found out the Police station was having a open day, went inside and found the light was too dark, it was at the indoor carpark area, failed to get the armed police guy with my film camera. Then that same day I walked inside a art gallery again too dark for film.</p> <p>With travel eg. I can stamp my tripod and bulldoze Velvia 50 with the cable release sure, but then again I am unable to walk the streets and capture night neons handheld to capture that color. With b/w I might be able to access fast film and photograph but not color. Also film makes me very careful and deliberate, digital allows me to take general stuff more like vending machines in Japan, merchandise inside shops and shopping malls and of course inside dark churches / dark castles etc. which are actually less artsy photographs but more casual photographs that document your travels and for your family and friends to see what the place is like. </p>

<p>Are these 2 stops loss of light? Just asking as I seen the B+W and it is a 2 stop I think. That means it is used at bright light or on a tripod? </p>

<p>Yeah, you have people that say don't go too high. I was communicating to a local pro here outside the USA, and he says he shoots wedding at ISO 3200 with a D700. I scan my film in small sizes and the odd frame at a higher resolution with my Coolscan which is now kapuf. From my lot, D600's Hi2 is tighter grain than Ilford HP5+ (rated at 400) developed in ID-11 but film has more appealing grain character to me at least. The D600 Hi2 was also tighter than Fuji NPH400 rated at 400 (prior to ProH).</p> <p>The Coolscan pulls out thr grain or film base whatever it is. I gave a Velvia 50 or 100, cannot remember scanned file to a lab to print, I did use NR in LR but you could still see the noise whatever the lab did there was no noise. </p>

<p>Yep, I develop my own b/w. Find it cheaper and cleaner than labs here where I am anyway in New Zealand. Just the other day got some un-uniform light scratches on a roll of C41. Paid $6US equiv for a develop only uncut roll. At least I wont' be doing much C41 in future. </p> <p>With my dSLR I have been shooting at F3.5 at ISO 3200 down to maybe 1/30 or something. That was just indoor in a airport. I'll have a trial over the different film types, I think before I try it out myself I won't be convince. I have some HP5+ and TriX. Delta 3200 is just a bit expensive. </p>

<p>Ah .. meaning day to day. Trip to trip. </p> <p>Night time skyscraper city digital owns it. But not in so dark times, b/w film has character. On a tripod Velvia has its beauty. But by the same token, digital I can employ stacking filters easier with landscapes esp wit that 4 or 6 stop ND. </p>

<p>Have any of you that struggled with which format to shoot? I enjoy shooting film and I enjoy the versatility of digital, the LCD feedback, able to take more without being too costly able to stack ND filters without the color cast issues one gets with film and the earlier dSLRs. </p> <p>I have film in my freezer that I enjoy. Common sense tells me to just go digital. But I cannot. Much of the time I take 2 out with me and maybe a 3rd at times for b/w film also. </p>

<p>Hi, I've been shooting film with my digital back home recently and not until very recently I've taken both out with me. </p> <p>If you picture walking thru Tokyo alleyways at night time, handheld. With digital I guess one might be at ISO 3200. How would one do that with b/w film? </p> <p>Many thanks. </p>

<p>I am wondering what you guys think are some applications for very high ISO? I was just playing around with ISOs of Hi1 and Hi2 ie - 12800 and 25600. </p> <p>I usually shoot ISO on a tripod etc. but what kind of uses would you find for Hi1 and Hi2 and for a print how large would that be? Concerts, walkabout night time alleyways of Tokyo, inside train stations? Speaking of a Nikon D600 which is what I have.</p>

<p>CC - I can see where you are coming from. :) </p> <p>A camera club guy I know with a well paid job I think he has, I mean he has a Mac Pro that cylindrical system with PCI Express SSD Hard drive as the boot with a Promise RAID unit (4x HDDs running RAID 10) attached by 2x Thunderbolt - haha. He had a 5D II with 3x pro zooms got sick of it that he got a Mirrorless system when he returned back from Myanmar - and it was a photography focussed trip. </p> <p>For me I don't have my own family yet. I do carry a digital or film SLR a light tripod like a Gitzo Traveler, and 2 or 3 lenses. Looking at carrying a Hassie 500CM in the future. But let's see how that pans out. I cannot lose money on a used Hassie anyway. But I have felt that carrying a dSLR to the group picnic or to the group meal at the restaurant totally out of place. Something like a Sony RX100 would be much better. I don't even want to swap lenses on the Mirrorless. </p>

<p>or unless it's like NZ where I gather renting such a lens might cost $200US a day equivalent with the weekend for free if you hire for 5 days and for us we still have to organise our own insurance cos the rentee is liable.</p>

<p>I attended a seminar re: travel photography with this well known guy who have done trips with the CEO of Adobe etc .. Antarctica, Bhutan, Namibia, China, Alaska the list goes on ... including people and scapes etc. Also a few people at my camera club. The most streamlined setup would be 3 zooms - UWA F4, 24-70 F2.8, 70-200 F2.8 then maybe a TC but for you probably not needed. </p> <p>Wedding work, I say the 70-200 F2.8. I did a friend's wedding over here when they had another event just for friends here as the wife is from a different city than the husband. For a free friends service you could get away from the 70-200 F2.8. If a not so dark church maybe F4, maybe you could just use primes too and just be selective about your style. I don't have a tele zoom so I couldn't get shots when they made speeches etc. </p> <p>OTOH for personal stuff and travel just what suits you. One might just want a single 50mm or a 35mm, others might be ok with 2 primes or 2 or 3 or 4 zooms. </p>

<p>Myself and a few others had some issues with the 80-200 F2.8 with close focussing issues at all apertures. <br /> <br />I agree with the above - for paid for wedding work get a tele zoom F2.8. Flexibility and quality. For travel and personal use, I would get a 70-200 F4 I know it is expensive but that is what most people go for. Or else pick a prime like for myself personally I find that a 85 1.8 is long enough paired with maybe a WA prime - I don't use zooms that much on travel they are heavy and big and you stand out like a sore thumb. I've been using a 18-35 and a 85 1.8 with my travels. Thou I think a 28mm might be a good walk about since it's a lot smaller. </p>

<p>Since no one answered. I still have a D70 that I use. AF-C for action and put on continous firing mode. I think for the AF area - you can select dynamic and I think on the arrow pad you can select which area you want. Take it off the L if need be. D70 AF isn't that quick by the way ....</p>

<p>I have a FX Nikon but seldom use it. I use it for social events that is about it. I use my DX D70 which is 10yr old for auction stuff. I am kinda thinking that a high end point and shoot might be better for social given the small size. <br /> For my main - landscapes and cityscapes at golden light and twilight Velvia it is. I have a pro-pack of 35mm on order arriving and I have 3x 120 format pro-packs in my freezer and 2 pro-pack of E100G Kodak as well when they canned them. Don't have a medium format camera yet.</p> <p>I like the process the the perfectly exposed slide. I enjoy the slow steps, waiting for the result, going to the store or order film online etc. Where I am in NZ a roll of 35mm Velvia can cost $32US a roll so I import them from the USA and export for development at Dwaynnes but I can of course get them processed in Japan in person which I read they offer a 2hr turnaround service.</p> <p>Edit<br> I don't use C41, unless I want a deliberate look. With a slide what you shot is what you get. My end point is the slide. I am not into post processing a digital file or that scanned C41. You shoot color RAW, there is so much you can do, when does it end. I am more into you arrive to the area waited for the light or you returned when teh light is better and you capture it on the camera. I have gone into B/W self developing but I scanned them. I am still a really a color person. So slides for my own stuff. </p> <p> </p>

<p>Thanks all - I have used that software before but not for a while now.</p> <p>I'm not travelling to the US - was just curious but I am probably not the first or the last given US and other countries have such large areas of land.</p> <p>In New Zealand. During a sunset, around where I live or most places, it's like in a shade but at the distance you see areas like in the west as the sun is setting or sometimes at east the clouds are brighter than where we are. We just get the grey looking skies maybe some light blue colour. For this I've always thought, if I wanted it more bright and more sun in it ... I head to where the sun is but over here I can go east or west with some driving. So I don't get obstrcuted by closeby suburbian hills etc .. or gorges etc.</p> <p>We don't have lakes here where I am in. So it's just the Cook Strait or the Tasman Sea etc. We're a skinny country like Japan so the access to oceans is not hard.</p>

<p>Here in New Zealand, I am able to go tot he waterfront facing east or west with a bit of driving. I find that there might be a hill obscuring the view, for the view that I want. But sure you can get different shots with it. I find that over here, esp at sunset it is not as powerful as a sunrise, we might be a shadow where it is a bit dark but right at the waterfront it is better. </p> <p>If one is at NYC and they got up early for a sunrise. They also don't want buildings or hills blocking their view. Are they able to get a shot of the sun when it is near water level? Would there be a large enough river or lake to allow that?</p> <p>Oops - sorry I meant a sunrise for the east side of the US. </p>