vikram_bose_mullick

It would be wonderful if there was a 'critique-only' option on

photo.net. Using this option only comments can be received and the

numeric score based evaluation is no longer possible. This might

allow emerging photographers to experiment a bit more freely and

ward off the problem of nuisance rating. Thank you all for reading

my post.

Hi Everyone.. My friend Tara Lewis is an athelete and she has an

opportunity to send one of her pics into a national competition.

Unfortunately I live in WV and she lives in Arizona.. don't remember

the city but her email is

 

TLewis@johnsonbank.com

Phoenix. zip code is 85024

 

She cannot pay you bcos she's a college student but it's a good op

to grab some experience.. and help out an athelete. if are in or

near phoenix the send her an email and work something out. Thanks

every one.

It is very unlikely that Leica made a 500 f1 lens.. because the front element of that lens would have to be 50cm in diameter (almost 1.7 ft or half meter). At that size the the glass would not be able to retain it's shape over time and the lens would be too heavy to handle.

I read this in Ansel Adams - The Camera. DOF has linear relationship with Apperture meaning that if the apperture opened by 1 stop the DOF becomes half. Most books leave out the other two factors that affect DOF, the focal-length is one of them, it has a inverse square relationship with DOF. Double the FL and DOF becomes 1/4. And lastly the subject distance, Also an inverse square relationship where if u half the subject distance the DOF becomes 1/4. Using this idea the other two lenses should have a smaller DOF than the 50/f.1 lens however the 50 with gather slightly more light than both. I hope this helped.

Hi Jose.. I used the apr 6 hack.. ok full details..

 

1. I went to the Custom Function (CF) menu and selected AE/AF lock.

2. Then I set my dial to Programmed Shooting.

3. I autofocused on the center point.

4. I pressed the * button while keeping the shutter release half pressed. Perhaps that's why it didn't work for you. You have to keep the shutter release 1/2 pressed. AI servo works grt in any mode using this way.

Thank you all for you answers.. to get AI-Servo to work you have to do the following.. no need for the plugs..

 

1. Select the focusing point you want and when box turns red do step 2.

2. Press the * button for AE lock. This will lock AI SERVO as well.

Hello everyone.. couldn't resist had to try it. The latest version

of the hack lets me do full time AI servo and FEC .. Both work great.

In the secret CF menu I turned on the MLU (Mirror Lock up) feature

but I don't know if it actually works. My understanding of MLU after

reading among other other stuff B.Atkn's article is that MLU really

just an extended shutterlag to accomodate the settling of the reflex

mirror. I recoded the sound of the mirror on a PC and noticed a 60ms

lag between the mirror going up and the shutter going down. This

time did not change after turning MLU on in the hidden menu. Does

this mean the MLU is not working?<div></div>

The barrel distortion can be easily corrected in PS or PSP.

sure just make an appropriate spacer. rolling out the film, unless it's in a dark room, will loose you about 4 shots.. but the rest should work fine.

Hi Mark.. that's an excellent Idea.. A beam break or sound trigger!! I'll add both to my design.. thanks!

Got lucky!! (I think) Picked up 10 Brownies for 10$ + 30mi drive.

Some use the 620 film and some use the 120 film. I tried all the

local film places and they don't carry. www.bhphotovideo.com has

some 120 film. I wonder if anyone knows if this is the film I'm

looking for? And I have no darkroom experience so I will probably

need an lab to get it developed.. any help? Thanks eveyone.

Thanks everyone for your help.. The information was invaluabe, I used the Ti cable and a PIC chip(MOD chips) to make my release. It works great and you can dial in exposures in bulb mode from 1/4000sec - Till the battery dies. The version I build needs a battery (Because it uses an MCU however it's got inexpensive parts that uses an LCD).. I'll post the design and firmware once I test it out a bit (for those interested).

Hi! I want to build a shutter release cable for my Cannon EOS

digital Rebel camera. I already have the RC1 but I want one where I

can make proper use of the BULB setting.. I've got lots of MCU and

general Electronics experience but I need to know what signals are

sent by the Shutter release cable. If someone has experience of

specific knowledge please help me out. If I am successfull I will

make available the tech diagrams and firmware gratis. Thanks.

Ok I did some more reading.. I guess I'll sign up.. Glad to do it.

Dear Moderators.. I realise there is a problem with resubmissions..

but why should it be that deleting our pictures is the only option

for remving it from the critique forum? Is this due to a technical

limitation or lack of sufficient programming knowledge among the

moderators (no disrespect intended)?? There many PN users are

computer saavy and would be more than glad to offer their services

and time gratis. There must be a better way: one that prevents

resubmission but allows us to keep the pictures in our gallery.

Thanks for your answers everyone. Sorry it's the 550EX not a 540EX.. thanks for that correction. I'm surprised at the price difference.. I got mine for 299$ and the sigma is available for 169$.

Hello I just got the cannon 540EX flash.. it's really nice but it's

a bit pricy. I want 2 more and I was thinking about going with the

420EX's as slaves but then I learned about the sigma EF500 super

DT.. Does anyone know it I will have any trouble setting them up as

wireless slaves for my 540EX? I shoot Digital Rebel. Thanks.

I spent about a month debaiting whether to get a F828 or a 70-300IS+540EX, I ended up getting the latter. I feel cheated because I tend to buy things and do the research afterwards.. Fortunately I had a chance to play with the F828 at the local superior photo who were nice enough to let me take it out of the store and shoot it around. I had read about the CA and I know it only happens in certain high contrast situations thanks to cobalt coating in the central focusing lens (which is fixed in the newer versions). However I was expecting a nice shallow DOF due to the 200mm f2.0 but I didn't get it obviously.. then I realised that's it's a 50mm lens.. If not for my visit to superior I would have ordered it and be either stuck with it or return it for a 15% restocking fee. I didn't want anyone else to be taken by sony marketing as I was. Thanks for responding :)

Before you buy this camera you should ask yourself one question. Is compositional freedom important to me? if the answer is no then get this camera. If it's yes then don't because of the following reasons.

First of all if you look past sony advertising.. the only thing F828 lens shares with a true 200mm is the angle of view. It does NOT have the same DOF as a true 200mm lens..(you think just because u got an apperture of 2.0 that u will make portraits with beautiful bokeh?? think again.. you will not! A 50mm lens gives u good background blurr only at very close focus at which the features of ur subject will be distorted.

 

It does NOT compress perspective like a true 200mm lens. Which mean u cannot stack those hills.. You cannot push ur subject closer to those gorgeous mountains. You cannot compress a crowded traffic filled scene and make it seem dramatic. At best it will do normal perspective where nothing is dramatic.

 

It does NOT have the same magnification as a true 200mm lens! And if those good marketing folks were replaced by engineers there would no such thing as 'digital zoom'. Advice: if a salesman tells you "this has a 5X digital Zoom" .. please please please prove you are not stupid by laughing in his face!

 

Additionally at the wide end.. it's a 7mm lens.. come on?? you don't expect distortion? go to www.dpreview.com and see for yourself!

 

Normal people call it 'Rule of thumb', engineers call it the 'The Bayer Imperitive'. Smaller the pixel size higher the noise. Pixels don't get any smaller than in the SONY. Nevermind that magic fourth color, the sensor produces unacceptable noise at all ISO's above 200. source: www.dpreview.com

 

What about the purple fringing?? I hope Carl Ziess bought sony dinner first! Don't belive me? go see www.dpreview.com. Before u commit to settling for the chromatic aberations resulting in the purple fringes, keep in mind that there is no filter in the world that will cure this completely because filters can only mask problems they can't alter lense geometry.

 

If you are serious about photography and money is tight.. get an entry level DSLR from canon or Nikon.

 

Conclusion:

 

If I were to make a sony F828 out of my EOS 300D I would have to do the following: perminently superglue a fast 50 lens to the camera. (then slow it down because they are usually f1.8). Take a shot and crop the edges away in photoshop till I get about a 200mm field of view.(offcourse the sony does the exact same thing except the crop is much higher res because it is done by the senor that is way smaller than the image made but the lens). If my explaination is unclear then consier this.. take a 35mm film plate, take a pair of sissors and clip away the edges and make the film area about 25% of it's original size. Then make the film 4 times more dense. Then give the film a name like 'miracle film' that makes any lens 4 times more powerful. Then ask your self one question.. Will I buy this film if it were sold to me?

 

Sony lens is 7-51mm.. sony marketing says 35-200mm (35mm equallent) Please see past the marketing.. demand to know the facts. Ask then to define equallent.

 

Lastly, it uses an EVF: let's try an experiment.. I'll come to ur house and replace all the mirrors with tiny TV screens. It's a great idea becaue u can then see urself even in the dark. If you think you will like that.. they you will like the EVF idea too.. come on damnit! it's a 1000$ camera..

 

If you are an SLR user and are thinking about buying a sony F828.. your decision is simple.. don't. If u are a newbee and this is ur first camera.. then buy it.. it's got killer features and u will make beautiful pictures never knowing what ur missing.

got more question? don't agree? vik_wvu@hotmail.com

I was thinking of adding this camera to my ever growing equipment

list until I did some research and came up with the following

conclusions.. I would appricate feedback from F727, F828 owners who

might be offended or surprised by my humble review.

 

Before you buy this camera you should ask yourself one question. Is

compositional freedom important to me? if the answer is no then get

this camera. If it's yes then don't because of the following

reasons.

 

First of all if you look past sony advertising.. the only thing F828

lens shares with a true 200mm is the angle of view. It does NOT have

the same DOF as a true 200mm lens..(you think just because u got an

apperture of 2.0 that u will make portraits with beautiful bokeh??

think again.. you will not! A 50mm lens gives u good background

blurr only at very close focus at which the features of ur subject

will be distorted.

 

It does NOT compress perspective like a true 200mm lens. Which mean

u cannot stack those hills.. You cannot push ur subject closer to

those gorgeous mountains. You cannot compress a crowded traffic

filled scene and make it seem dramatic. At best it will do normal

perspective where nothing is dramatic.

 

It does NOT have the same magnification as a true 200mm lens! And if

those good marketing folks were replaced by engineers there would no

such thing as 'digital zoom'. Advice: if a salesman tells you "this

has a 5X digital Zoom" .. please please please prove you are not

stupid by laughing in his face!

 

Additionally at the wide end.. it's a 7mm lens.. come on?? you don't

expect distortion? go to www.dpreview.com and see for yourself!

 

Normal people call it 'Rule of thumb', engineers call it the 'The

Bayer Imperitive'. Smaller the pixel size higher the noise. Pixels

don't get any smaller than in the SONY. Nevermind that magic fourth

color, the sensor produces unacceptable noise at all ISO's above

200. source: www.dpreview.com

 

What about the purple fringing?? I hope Carl Ziess bought sony

dinner first! Don't belive me? go see www.dpreview.com. Before u

commit to settling for the chromatic aberations resulting in the

purple fringes, keep in mind that there is no filter in the world

that will cure this completely because filters can only mask

problems they can't alter lense geometry.

 

If you are serious about photography and money is tight.. get an

entry level DSLR from canon or Nikon.

 

Conclusion:

 

If I were to make a sony F828 out of my EOS 300D I would have to do

the following: perminently superglue a fast 50 lens to the camera.

(then slow it down because they are usually f1.8). Take a shot and

crop the edges away in photoshop till I get about a 200mm field of

view.(offcourse the sony does the exact same thing except the crop

is much higher res because it is done by the senor that is way

smaller than the image made but the lens). If my explaination is

unclear then consier this.. take a 35mm film plate, take a pair of

sissors and clip away the edges and make the film area about 25% of

it's original size. Then make the film 4 times more dense. Then give

the film a name like 'miracle film' that makes any lens 4 times more

powerful. Then ask your self one question.. Will I buy this film if

it were sold to me?

 

Sony lens is 7-51mm.. sony marketing says 35-200mm (35mm equallent)

Please see past the marketing.. demand to know the facts. Ask then

to define equallent.

 

Lastly, it uses an EVF: let's try an experiment.. I'll come to ur

house and replace all the mirrors with tiny TV screens. It's a great

idea becaue u can then see urself even in the dark. If you think you

will like that.. they you will like the EVF idea too.. come on

damnit! it's a 1000$ camera..

 

If you are an SLR user and are thinking about buying a sony F828..

your decision is simple.. don't. If u are a newbee and this is ur

first camera.. then buy it.. it's got killer features and u will

make beautiful pictures never knowing what ur missing.

got more question? don't agree? vik_wvu@hotmail.com

 

Hey Patty,

I know this is a touchy subject� I don�t qualified to comment upon the difference between a �real-photographer� and a �professional-photographer�. If there is one it certainly has nothing to do with film vs digital issue.. most pros rave their 1Ds over any other camera. However what I meant earlier was that by going digital the joy of film development is lost. And my impression of that experience was like I don�t know.. reading �Moby Dick� vs watching the pbs special. The tactile connection with film development process is a unique one. Most people think that Digital is trouble free! That�s really not the case.. Digital is a pain in the ass if you want those really big prints.. and I�ve experience are two horrible problems with DSLRs that apparently are non-issues with film. Firstly, DSLR sensors (even in the top end models) are completely exposed.. (some have that IR fixed cover) however they are charged plates and attract dust and lint.. You can be out in the perfect setting and right after u stick in the perfect lens and shoot away just to find that there is a horrible blob in every frame. A rare occurrence! HARDLY! And intuitively you would think that the little LCD in the back will show it.. but usually it�s not even close to large enough and during the day, you can�t even tell if the image was in focus (due to the algorithm they use to fit the 6megapixel image into a 200x300 screen.. In you read the popphoto with that article with the two bald eagles in mid tussle captured by 1Ds (Cannons Top DSLR) there is a hugh sharp impression of the photographer�s fingerprint on the frame. And its clearly visible! These sensors are very difficult to keep clean and are far to susceptible to getting dirty in-between lens changes. While debating the convenience of digital shooting just consider the constant worry �is my sensor clean�! The other problem is White balance.. this is a problem that can (to some extent be adjusted) during post processing but to get it right requires intuition.. specially if you are using colored gels etc! I�m not sure how this translates into the film world.. I know there are tungsten balanced films etc.. Then off-course the scourge most dSLR�s that cost less than a human kidney.. the focal length crop from the sensor a lot (upto 40-60%) smaller in area than a plate of 35mm film! Try to get wide angles!! And finally getting those super huge prints.. My friend Brain slips his 35 mm film into a film scanner and end�s up with a 40 Million pixel matrix! That he can blow up to poster size! My digital Rebel ? forget it! 13-19�� if all went well! (Even with a great lens). And man! Has anyone seen a nicely exposed medium format slide! Or peaked through that hugh viewfinder of a medium format camera! Digital SLR? Haha! Like a prison window naturally because the sensor is smaller than film so the mirror�s and prisms need to be proportionally smaller too (to maintain brightness). From what I�ve seen if the focal length crop is 1.6 the view finder is 40% smaller.. how would you feel about that film shooter.. we take ur big bright inviting view finder and replace it with an APS sized viewfinder??? Sure you�ll live with it and even get used to it but u know it�s not the same. My FM10!! The view finder is big bright and inviting and just makes the whole world more photogenic!!

I think if there is a difference between digital photography and film it is that an exclusively digital photographer will never know the joy of developing film.. getting into that darkroom and smelling that horrible developeing solution. I started on digital SLR but it wasn't until I developed my first tri-x roll from my Nikon FM10 that I felt like a photographer.. It's a rare joy and feeling of connection that is just not there in the bourgeois digital world. I have to admit in all fairness that in the hands of an ammeture the digital format is superior to film.

This to Elliot and everyone else. Since it has come to this I�ll admit it�s time for apologies and explanations.

 

First of, to Elliot, for my sarcastic comments: I will remove them if he insists. I am however surprised my sarcasm didn�t escape him. (or maybe it did)

 

As to why? Well here it is. We grew up in India and we weren�t rich. My father told me it's unfair that I spent his money learning photography. I was caught stealing from him and I expected him to hit the roof. To see only disappointment in the eyes of my towering idol because he could not support my hobby made me feel horrible. I didn't touch a camera till I got older and my own income became a little more disposable. After over 300 books on art, painting and photography I hope I have earned the right to deposit a few perfectly honest musings into Elliot�s corner for so poorly rating my pictures without leaving a single comment.

 

I not as sensitive about a poor rating as I used to be however I feel it degrades the community when it�s members begin to tolerate abuse. I emailed Elliot and asked him for an explanation but he gave no reply. I went into his site and placed just one comment in order to get his attention. And I did.. the very next day I found Elliot droppings all over my site. In fact �subtlety� is even more an offset of his nature than �wit�, �sarcasm� and off-course �the ability to take constructive criticism�. Read the comments he has left others! They are positively offensive! And I join Anil Kumar (wonderful photographer) in asking him to stop! Elliot photography has rules and paradigms and it requires and great deal of discipline. You must hit the library and learn everything you can! Subscribe to journals, drool over the classics: Adams, Karsh, Lebowitz� before you start breaking those rules of composition you must first master them! For instance in the very first book you read you will learn about things like �the basic operation of an SLR system�, you will learn about �the rule of thirds�, you will learn how different lenses render perspective differently and how to properly select a lenses for a desired effect. You will learn that if you shoot a close up portrait of your subject with a 35mm lens, they will probably beat u with your own camera. You will learn about how factors like film speed, shutter speed, aperture, and lighting affects composition. By not getting this information you are denying yourself a real treat!

 

I know you are not young and my words must offend but photography is no easier than painting or sculpture! And forums such as these are invaluable! Use it man! Look at portfolios of Ani Knes, John Peri, Amar Khoday (just to name a few).

 

Stop using words like �psycho� and �moronic�! they make you sound six. Grow up and learn to take criticism. How can you learn without feedback? In your website you claim to be a pro photographer (I find that offensive).. the very first photograph you have on display as (god forbid) your best work representing �event photography� is a woman with her tonsils on display! It�s not the fact that you take bad pictures, everyone takes bad pictures sometimes, but you don�t have the faintest idea about what makes a good photograph good! For got sakes READ!! And stop bringing silly snapshots into this forum. As for the comments, I apologies for those and I will remove them once you remove urs from mine.

 

 

Thank you all,

 

Vikram