bill.akstens

April 6, 2006

The camera+flash has a fixed algorithm for determining flash exposure based on the camera control settings. It is a simple machine that always behaves according to the same set of built-in rules. There is no inconsistency (ignoring the possibility of a faulty electrical contact somewhere). Seemingly inconsistent flash exposures must come from the photographer not properly compensating for the actual scene being photographed. The camera doesn't know if you're photographing a white or a black object. It may not know you've focused and recomposed. Failing to compensate for all these scene-based things is why the flash exposures seem inconsistent. It seems reasonable to be constantly juggling the flash compensation dial for every shot.

April 3, 2006

Search here for info on the DR5 process. Lot's of good threads. I have not yet used the service but hope to soon.

March 23, 2006

Dan, I'm pretty sure that in M mode the camera treats the flash as a main light source, not as fill.

March 22, 2006

It may not be a monitor calibration issue at all. I've had the experience of viewing Frontier scans (4x6) from a CD and they look really bad (some kind of sharpening effect, not a color problem). Lots of threads in photonet about how poorly some scans look when viewed. And these scans did produce fine 4x6 prints. Must have something to do with sharpening algorithms and such. Also, try viewing the scans at 100% "actual pixels" - might help.

March 17, 2006

There's a typo in the last word of second paragraph in the FAQ page...

March 16, 2006

Damien - it should be easy to do what you propose. Just follow the helpful advice above and use a sturdy tripod and avoid reflections in the photos. Also search on close-up filters or close-up lenses here on photonet - these inexpensive "poor man's macro lens" can help your lens focus closely on the original photos. I do this all the time with a 35mm film camera and it works well. I gently tape the photo to a vertical wall in a softly lit room, arrange my tripod/lens, and use the self-timer to take a steady shot of each photo.

February 14, 2006

Try Michel Company (based in Illinois I think). Very nice selection and helpful customer service.

January 26, 2006

I shoot traditional b&w films from time to time because I believe they offer great archiveability. If carefully processed I trust they will outlive my color negatives (less fading over time) and my digital files.

January 19, 2006

If you charge per print the customer may say "OK, but at that price I'll just buy one print." Will you then do the job for $142?

January 12, 2006

My concern with digital archiving for future generations is this: even if I am great about periodically recreating backups and migrating data from media to media as technology progresses, this philosophy will require all my future generations to do the same. I only hope they are as computer-savy and dedicated to maintaining these image files as I am. It might only take one computer-illiterate generation to lose the whole archive.

December 14, 2005

Check out the alienbees products and maybe a simple umbrella or softbox/speedring. Of course a good flash meter and light stand will be needed too. I enjoy using my "bee" light. Search the archives for more details!

December 8, 2005

I bought a new 3170 and it had haze under the glass right out of the box, perhaps not as bad as yours though.

December 8, 2005

You can always pack both lenses, but just decide to take one or the other out each day. That might add some variety to your experience.

December 1, 2005

I just had a roll of 35mm K64 developed about 2 weeks ago (thru local USA drugstore that ultimately goes to Dwaynes). Disappointed it came back with scratches and residue on the slides. Other films shot with the same camera the same day were fine. Anyone else see any USA Kodachrome processing quality problems recently?

November 14, 2005

Some photographers register their image copyrights with the government so if any future unauthorized uses are discovered it may be easier to seek compensation. Also the advice posted above sounds good. At some point you've done all you can do to protect yourself and then you just have to move on and not worry.

November 10, 2005

I agree with Dan. Since your ambient light level is so close to your flash exposure the only way to freeze motion is use a quicker shutter speed like 1/60, 1/90, 1/125. But of course doing so will change your flash-to-ambient ratio and alter the look of the image.

November 7, 2005

See if a place on Ocean Park Blvd in Santa Monica is still open. Think it was named "First Professional" or something. They had classes and rental darkroom that I used 3 years ago. Right across the street from a Carrows or Coco's restaurant, near the SM airport.

November 4, 2005

Type "a" that you mentioned sound like Hewes, also sold as King Concepts brand. I like those best. The two little prongs catch the film sprockets.

October 31, 2005

The rule of thumb I've heard around here (no direct personal experience) is if your lighting is contrasty go with the Delta 3200 at say 1250, if it is flat go with pushed Tri-X to 1250. Delta 3200 is a low contrast film.

October 27, 2005

I use a Canon 420EX (bought used for a good price) and it is great on my ElanIIe. You should get a flash with a swivel and tilt head to make it easier to bounce off your ceilings in both landscape and portrait orientations. Later on you can even consider getting Canon's OSCS2 cord (around $50) and just hold the flash 3 feet away from the camera in one hand while shooting with the other hand.

October 26, 2005

Let me echo what David said because it's so true: Bounced properly (do you have a low white ceiling in your home?), a good flash can tremendously improve indoor photography.

October 26, 2005

Canon's 50mm f/1.8 without a doubt. It's very small, lightweight, good performer. Cheaply made, but don't let that scare you away. It's less than $100US.

October 26, 2005

Kalaga - the ElanII is readily available used in the USA, and yes I think it is called the EOS 50 overseas. I don't think the Elan 7 or 7N contain any major differences from the ElanII. The ElanII is a very capable camera. In fact for wedding work the dark red autofocus assist light on the ElnaII is much more pleasant than the bright white light on the newer bodies. The ElanII will be less expensive, leaving more money for lenses. As far as the "eye control" option "e" goes, I don't use it but it does work.

October 25, 2005

If the low ceiling is white (or close to white) just bounce the flash off the ceiling with perhaps a small index card behind the flashhead to throw some light forward to fill the eye sockets. Bouncing takes a little practice to get the angle correct. If the ceiling is colored then bouncing may pick up a bad color cast. Always shoot at an angle to the mirrors and never straight into them.

October 25, 2005

Hi. I'm RPI class of '88. When I was a student there, the Outing Club had almost weekly trips to interesting places in the area. Lots of students don't have a car so people would carpool to these outings. There must be some student organizations that plan various trips of interest to you. Have fun!

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