ellis_vener_photography

Try this: in the histogram for your scanning software, drag the end points, which establish your black (0,0,0) and white (255,255,255) clipping points, otherwise known as DMax and DMin, for a specific image will be. Drag them to the end of the histogram's "mountain range" shape and for the white point go back out another 5 points. Don't touch the mid scale slider. What this does is optimize the scan for the full dynamic range of the scanner across the areas where there is actual information in the print, negative or slide. Let us know if that helps.

200mm f/2

Start by looking at the light: all of these photos have three things in common: - no dark subject or backgrounds; there's very little contrast I n them. -For the most part he lighting is very broad and even, but not flat. It's what used to be known as "high-key tonality -because of those two factors there's no visual drama to them, the emotional content is kept upbeat and positive. She likes to use her lenses at or pretty close to wide open to keep distracting elements in the background of focus. She is adding localized saturation and contrast not the areas she wants the viewer to pay attention to. Her style is not one I am drawn to but she works it pretty well and I can see why her clients like her approach.

Leave the F5 at home unless you are also planning on bringing multiple 20-roll bricks of film as well.

If you are interested in painting with light at night, check out http://www.thenightskye.com/books/

Adding the license plate, car make, model, and year is- good idea. I use Photoshelter.com

Now this is cool: http://www.njnoordhoek.com/?p=735

I haven't had that problem Michael, but am not sure why.

It should be exactly the same, if you set it to the same aperture. However there are slight variations in actual focal lengths between dividual lenses and focal length markings on zoom lens are at best (which is most of time) close approximations of the angle of view you'll get with a fixed focal length lens. The big limitation with EF-S lens is that you should not use them on Canon's larger format APS-H and "full frame" bodies. You may even not be able to mount them (I've never tried.). EF lenses can be used with all three of Canon's formats. What causes confusion for most people is when people make broad statements. While a 100mm lens on a full frame camera like a 5D Mk I, II, or III captures one angle of view, mount it on one of Canon's APS-C cameras like a Rebel and the angle of view will be limited to what you'd see using a 160mm lens on the full frame camera. Hence the 1.6x crop or magnification claim for comparing focal lengths between the two formats. That's straight forward enough isn't it? The smaller area sensor takes in a smaller angle of view. Here's what many folk forget though: the lens remains a 100mm lens and even though the angle of view is narrower on the APS-C camera, the depth of field (how much n front and behind the subject plane the camera and lens are focused on) remains that of a 100mm lens. In other words, at any given f-stop, the depth of field is deeper than the longer focal length lens on the larger format camera.

This sounds like one of those situations where using a monorail type view-camera body with the lens mounted on one end and the camera body mounted on the other end. Just look for a view camera that can take a wide angle bellows as the two standards will be pretty close to each other and that will inhibit movements On the downside it will be clunky and large. On the upside such a rig will allow for some movements (rise/fall, shift and both front and rear tilts)

Two questions: How large of camera does it need to support and how transportable does it need to be? If you are strictly working Ina studio It sounds like you want a camera stand. The best are made by Foba and the most popular version is the Foba ASABA. They show up on eBay pretty regularly. For field work you might want to look at a Benbo tripod (http://www.bhphotovideo.com/c/buy/Shop-by-Brand- Benbo/ci/4/phd/4291589599/N/4294255798 ) combined with a high quality, high capacity ball head like the Arca-Swiss Z1 Monoball or Really Right Stuff BH-40 or BH-55. I am recommending these specific heads as they have a terrific support weight to head size ratios. A third alternative could be a conventional heavy duty tripod with Really Right Stuff Panoramic components like the set up I used to photograph a spider as described here: http://blog.reallyrightstuff.com/bts-ellisvener/ Finally , depending on what type of surfaces you want the the camera to be connected to you should look at the various options cinematographers use for shooting with cameras mounted on vehicles. These can get pricy and Rube Goldberg like, but much depends on how much mass you are trying to support, and how off-balance the weight distribution will be.

RJ, That's what I thought too until I bought one and tried it. Here's what it does- 1) As you point out it gets the flash closer to the lens axis. For event photography this can make for a more flattering light than a flash in the hot shoe or up high on other types of flash brackets. 2) if you have to switch from horizontal to vertical framing the flash moves a more flattering position than with brackets that don't have a hinged mount for the flash or the far bulkier, heavier, and more awkward brackets that reorient the camera. Also you don't have the distraction and time (admittedly only seconds ) of having to stop snapping to flop the flash or the camera. 3) compared to most flash brackets the weight of the flash is now supported by your right hand, which is likely already gripping the camera body, and is close to the mass of the camera.

Eric, why do you find that strange? The optical design for the two lenses are completely different.

The D2 series DSLRs were of course DX format cameras.

My experience with zoom lenses intended for DX (APS-C) format cameras is limited to various Nikkors on the F5, F6, and the D2 series cameras.

It should cover the entire 24x36mm format of the F5 - but probably not over the short portion of the zoom'srange.

I think all photos have roughly the same amount of content but I think I know what you mean<div></div>

Looks like the CB-Mini to me as well. I have one and like it. http://www.custombrackets.com/products/camera-flash- brackets/cb-series-brackets/cb-mini-rc.html

I suggest you return it and replace it with an i1 Display Pro.

On line? I don't know. There is ColorThink software however.

That is the simplest and if you are indoors in a typical sized studio should work reliably enough -IF the "slave eye" is sensitive enough, IF there isn't a latency issue with the slave eye, and/or IF nothing blocks the slave sensor. Once you step outside,all bets are off on the ability of optical and especially infra-red trigger systems to work reliably. I think the PocketWizard Plus X is a reasonably priced, versatile and reliable radio system.

As you are using Canon gear, check out Syl Arena's site: http://pixsylated.com/blog/sneak-peek-inside-the-speedliters- handbook/ Syl kind of does for Canon shooters what Joe McNally does for Nkon shooters. He also sells a variety f gear for off camera flash work through his site ocfgear.com. I have his 33 and 16 foot ocfgear cables.

To update what Jeff wrote , I believe that hart the request of photojournalists and traveling photographers the period as now been extended up to 3 months without CC programs needing to re-establish contact with the mothership.

You can use the PocketWizard ControlTL wireless system with a combinations TTL and non-TTL controlled flash units. You'll need a MiniTT1 or FlexTT5 transceiver in the camera hotshoe and a Flex TT5 on each flash. I have done this with Canon and Nikon cameras. The TTL controlled flash for the Canon was a Canon Speedlite and for the Nikon a Nikon Speedlight, while the strictly manual flashes have included electronic flash units ranging from the hotshoe mount LumoPro LP180 to the 640 watt-second Paul C Buff Einstein 640 to 2400 watt-second Profoto D4 pack and head systems. I think that for your stated purposes, and as a beginner you might find it easier , and less expensive, to switch your TTL controlled flash into manual mode, acquire a flash meter, and manually set the output level of each flash. You can still use a wireless triggering system. While I am partial to PocketWizard products as they have been far more reliable over time - the past 30 years in my case- than similar products I've owned or tried, so check out the PocketWizard Plus X; I acknowledge that there are new players in this field that I haven't tried but read good things about. Going the all manual route will also help you learn a few things about controlling light to get exactly the effects you want as well as lead you to creatively experiment.