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kipling

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Posts posted by kipling

    {W/NW}: Dance

    in Leica and Rangefinders

    Posted

    i agree with ray, but he's being too nice. besides the fact that your angles and framing really need work, i'd like to add that your white balance is all over the place, the lighting is horrible and the huge black frame is just annoying. hope this helps.

    Nikon 200D with "old lenses"

    in Nikon

    Posted

    you'll have to check your d-200 for front or back focus, but if it's okay then you can focus pretty quickly with it using manual focus lenses. i have the 18-70 and can recommend the lens. it's sharp and shows only a little c.a. <p>

    i've never used the sigma so i can't comment on it.

    Correct focal length of 18-70 ED-IF DX Nikkor?

    in Nikon

    Posted

    an 18-70mm zoom is exactly that, 18mm-70mm. it's a dx lens which means it has a smaller image circle and is optimized for an aps sensor. the smaller chip in the camera gives you a different angle of view than a 35mm film format. that means you see less because your format is smaller, so it's like taking a print from a 35mm film camera made with an 18mm lens and cutting off the edges of the print to reduce it to about half of its original size - now you see what the aps sensor sees. this "cropped view" is equivalent to what you would see if you were using a 27mm lens on a 35mm film camera. but only the view is the same. the magnification, dof, etc of the 18m lens is NOT that of a 27mm lens, only the view is the same.

    more fun with the DMR

    in Leica and Rangefinders

    Posted

    <i>Yes, but these are costs traditionally added to the invoice - i.e. the client pays. It's often difficult to get the client to cough up for the digital investment and for the time involved in post processing.</i>

    <p>

    it's a tough business, no one says it's a breeze to become a highly payed, profitable photographer. but the hurdle getting there isn't the cost of a digital camera. becoming a good businessman and a good salesman along side of being a talented photographer is the hurdle you have to overcome. <p>

    if you're a low profit wedding shooter or photo journalist then a d200 or 5d will do the job as well. i think alex majoli did pretty well with a couple of 7 mp olympus consumer cams - at least i didn't hear anyone complaining about the quality of his work.<p>

    if you're a fashion or commercial photographer then the cost of digital gear is steep but the equipment available already matches the quaily of 4x5 sheet film and all the mf back companies i know of allow for upgrades. why would this be an issue of the gear becomming obsolete in the next year or two?

    <p>

    true. if you aren't making money then i guess it's not a good idea to calculate the write off as a way of shifting the cost of your gear. but then again if your not making money you have a big problem regargless of what medium you shoot in. studio space, lighting gear, assistants, lenses, studio equipment, material and on and on are not cheaper for film shooters.

    more fun with the DMR

    in Leica and Rangefinders

    Posted

    <i>Now a Pro level Nikon D2x is $5,000. cropped frame and all, and you get to pay a demure $2,500 more to get a few centimeters extra sensor with a Canon 1DsMKII ... both of which are built like tanks to no avail since their "technical" life-span is just a few years ... making them obsolete well before they're worn out.</i> <p>

    i'd love to hear why a 1ds mk 2 will be obsolete anytime in the near future. anyone who can't use that gun and get excellent results (now or in five years) is beyond help. a top of the line 39mp leaf aptus 75 digital back with a mamiya 645 afd II and lenses will cost you maybe 600 Euros a month to lease. if you're a working pro you know that's less than what you were paying for polaroids, film material, lab, drum scanning and yes(!) retouching/post or printing in a month. besides the fact that you're not spending more money you're writing it all off anyway. <p>

    the only one who is "hit hard" is the hobby "fashion victim" photographer.

    This is gonna be interesting!...

    in Leica and Rangefinders

    Posted

    maybe you guys can clear me up on this issue of crop = focal length. i always thought the focal lenth had to do with magnification! and not how i crop my pics. a 50mm lens is a 50mm lens on any cam, it's just being cropped to give me a different angle of view on a cropped sensor cam. that means a 300mm stays a 300mm (mag.) on a 4/3 cam and not a magical 600mm. it's just the crop that is different. you might as well stay with whatever cam you have and just lop off the edges of your prints to get to the magical 600mm ; D

    Medium Format or Digital for Weddings? am I an old dinosaur?

    in Wedding & Event

    Posted

    i can see where a normal wedding photographer might be overwhelmed by the work that needs to be done to his files to give them something special, but i can't think of any reason why a top payed new york commercial photographer couldn't find the two or three top addresses in new york where you can get your files worked over by the best photoshop gurus in the industry. just tell them what you want and basta.

    What's your digital workflow like?

    in The Digital Darkroom: Process, Technique & Printing

    Posted

    <i>what're you using for image browsing? </i><p>

    my memory! no shyt, i don't have a library system for effectively searching through millions of pics. I date them and pack them together in descriptive files (the job name, or the photo shoot theme) and that's worked so far. but you're right, in a year or two i'll be up to my eyeballs in backed up pics, i don't know how i could find them other than by going through the hard drive that stores the pics from the time period of when i took them and just hope to find them. <p>

    another thought might be making jpegs and tagging them with your refrence info (yy, mm, dd, location, job, back up source, etc) and uploading them in bundles to flikr or some other web service. this way you could just brouse through them on the web and then either download your 700 - 800 px jpeg or just read the tags to find the date of the back up.

    What's your digital workflow like?

    in The Digital Darkroom: Process, Technique & Printing

    Posted

    i use multiple hard drives for storing and accessing my files and use dvd's for 2 identicle backups just incase both hard drives shit out on me. it's never happened though. <p>

    the hard drives are pretty fast, quick to write to and not terribly expensive. it's easier to search through a hard drive than flip through a hundred dvd's looking for the right one, then searching through the dvd imo. <p>

    i don't know if this is the best way to do it, it's just how i've been doing it for a couple of years and it works pretty well for me.

    Arca Swiss 6x9 camera

    in Large Format

    Posted

    The standard rail is more compact than the folding rail (standard rail is a base rail of 30cm with two half rails on top of the base that can slide in both directions to be lenghtened or shortened very quickly). the standard rail can be streched to nearly the same length but not quite as long. The folding rail will give you 60 cm when folded out, but you have to take the camera off the tripod, fold out the rail and re-attach the camera. the standard rail is something like 45 - 50cm. i have a 30cm rail extension that can be attached the the standard rail quickly and easily with no changes having to be made to the camera. that's my choice. <p>

    The reflex eye piece is great (i have one) but is veeeery expensive. If you get the 6x9 with the Hasselblad adaptor for your digital back you can use all sorts of nice things like the Hasselblad screens (split prism), the viewing prisms and of course the rollfilm backs! which are all top rate and easy to become on the used market. the arca equipment is great but very expensive so this is a good way to save money without loosing any quality.

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