chris_autio

Mark, all looks well aside from the pin coming out. It is the adjustment of the brass fitting that controls the directionality of the light onto the easel. I use this arm all the time to switch to mural size printing on wall.

<p>Dan, great! thanks. Hadn't known this script method. Works fine without using action key.</p>

<p>Where is Image Processor, and can I make it an action key?</p>

<p>Trying to make a jpg and web sized jpg from a tif. Opened tif. Begin recording: Duplicate>image size set to 75%>save as jpg>duplicate>export to "save for web" resize to 50%>close(I am asked if I want to save changes to tif when I didn't make any changes??)>stop recording. My resultant automated action on another file isn't automated but it asks if I want to save the file and makes another tif at 75% and a large jpg. Please help, what steps am I missing? Perhaps LIGHTROOM can do this?</p>

<p>Ideal film, in fact fantastic film developed in d-76, as well as Xtol. I think your spots may be in the result of junk , i.e. undissolved particles, in the developer. I have heard of Caffenol, and the funny thing is that to get crap out of your developer is a coffee filter when you make it. Photographers Formulary recommended distilled water to make your developer. I tried the Pyro developers for a number of rolls, but had junk like this reappearing, so I gave up Pyro. </p>

<p>Rodeo and I differ on the color to paint your walls, and black is fine ... I have no qualms about that. I find I am happy getting that extra light, and that contrast can be controlled later in post. Black may be better for your size of studio.</p>

<p>Couple more thoughts<br> Paint walls white. Your studio will become more like a big light box this way... Broadcasting strobes toward walls will definitely allow for the softening of portraits. <br> Don't be spendthrift on lenses.<br> Purchase some honeycomb grids for your lights, filters for balancing color temp. Reflector kit (or just styrofoam insulation, some black on one side, some silver).<br> For the dimensions you mention, think of a system that will allow you to scissor lights from the ceiling. This is an expensive endeavor, however. If you're getting stands, purchase substantial ones. This goes for your tripod, too. (I've a Manfrotto tripod that's 2o years old, been through sand rain etc., and still works as well as it came out of the box.) The head should be easy to manipulate.<br> If you're photographing stuff that hangs on a wall then put up plywood before sheetrock. You'll save your walls and be confident nothing falls.<br> As Craig says, seamless paper is good stuff, lots of colors if you're into that. You've little overhead, so plan on dropping your backdrops from a system, or cheaper yet, 10' metal pipe with removeable elbows to allow for replacement/different backdrops. Easy to make, sturdier, too. Have some kind of clips up top to keep rolls from unrolling. <br> Buy a few half domes, or umbrellas. Domes have an option of being gridded, as well.<br> Think light. Be well.</p> <p> </p>

heavy snow<div></div>

<p>It's unlikely the two prominent scratches are from the roll, unless the roll was laying about on the floor. Try another roll. If they are in the same place then they are from somewhere your film crosses all points in your camera. I don't know the scanner, but that is unlikely (although this DID happen to me by a company).</p>

turned around a half mile later just to take this shot<div></div>

oil colored 30 x 40 inches<div></div>

10 below last year, 50 above today<div></div>

<p>The Nikon software supplied with my camera, NX2 and View, were ridden with bugs. I could operate all tools except white balance. So I trashed them, downloaded Adobe CC with PS 2014, Camera Raw and LR. All is working fine. Thanks Ilkka.</p>

<p>Thanks everyone. I am trying the ViewNX2 software that came with the camera. I find it kind of clunky, but that is probably because I am on the bottom of the bell curve of learning something new. If I update my PS CS5 Extended 12.0 to CS6 then I may find that Adobe Camera Raw 8.7.1 will work, hopefully. Thanks, George. A fussy route is using the DNG software to utilize my current ACR, but it freezes Photoshop if I open more than one photo. C.P.M., I wrote PS PHOTOSHOP only because of my abhorrance of software acronyms that seem to create even more of a struggle than is necessary (can someone clue me in to what Andrew Garrard means by DxO?)</p>

<p>Very excited about my new purchase of the 810. BUT unable to open RAW files in PS PHOTOSHOP. So I upgraded my mac to 10.9.5 Maverick (didn't want to go all the way to Yosemite because of problems I might encounter with Final Cut 5 program). Still couldn't open NEF files. Downloaded new Camera Raw for PS 8.6. No luck. Had to download Adobe DNG software. From this program I can upload the whole "folder" of what is on my Extreme disc (but not specific images). I can now access the DNG images for Camera Raw, but it is clunky and tends to freeze PS. Not that I have enough working memory allocated (12 Gb). Any solutions to extracting single images? How do I opt out of DNG to just Camera Raw?</p>

<p>Not sure why you would want to make "negatives," onto paper. When you say you would be scanning and contact printing, this is what you would get from a direct exposure onto print paper. To rephotograph the contact print for later use, if that is your intent, basically defeats the idea of large format resolution. Also, you may have trouble getting any double weight paper into the film holders without damaging corners.</p>

<p>Then return in the evening if possible: exterior shots just at sunset, just after sunset and at night can be exquisite. Prepare for long exposures with sturdy tripod. As an added note, postwork programs have filters that recognize your lens and can correct for some whackiness. Generally you have to rework lines get that wobbly, at least with the Sigma 10-20 lens. </p>

<p>I don't see how you could shoot an interior in less than half a day lugging strobe equipment to and fro. I think it really depends on the client in my experience. When I shoot for architects, they realize the necessity of time and effort for proper lighting and proper equipment ... and don't mind paying what you deserve. Home contractors are a step down the notch, expect to pay for time worked. Real estate people are on the bottom rung, sorry to say, and want to dicker with your bill. Do this: bring along a couple strobes that have modifiers, solid tripod, wide lens for 90 degree capture, but see how much you can accomplish without fill. If it is a large home or requires lugging equip upstairs, double your estimate. Charge for post work.</p>

<p>I recently was processing 4 rolls of 120 all together, when, at the very end of the developer, I opened the canister to light for at least 2 seconds. !! I thought OH NO! and yelled some unmentionables. After stop and fix, they turned out just fine. I suppose the developer had completed its job....</p>