bill_b2
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Posts posted by bill_b2
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A good discussion and remedial action in Adobe Camera Raw is at http://www.photos-of-the-year.com/forum/showthread.php?postid=60975 Note there is cyan/magenta fringing and blue/yellow fringing. The example is for c/m but you have b/y, so choose the right item. Look for similar remedies in other converters.
Stopping down should help. So will reducing the contrast(don't blow out the highlights), especially near the corners where the problem is often noticed. Reduce sharpening, which may show up in your converter as a default if you have it set in the camera or at least know that you can turn it down or off.
Use the search function to look up chromatic aberration on this site. A lot of good info is available. Check your spelling.
CA will be mentioned in just about any decent lens review. On zooms you will see where it is most likely to occur, the wide end is especially troublesome. Zooming in may help, so trying moving away from the subject, if possible, instead of automatically relying on the zoom. The extremes of many zooms are best avoided.
I believe the sensor can contribute to fringing, also.
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Start with your camera focused to infinity.
Shoot a burst of shots on AF in continuous focus mode. This is similar to prefocusing, actually. Somewhere in the middle your AF mechanism catches up to the birds.
Your lens may just need a chance to catch up.
Let's pretend you are correct about lack of contrast. Prefocus to infinity and manually start focusing closer during your burst.
Reducing picture size will speed up shooting, possibly. If you are at a full RAW, try a large or medium JPEG. If that makes the only difference in getting the shot, worry about the limitations later.
Bill
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Important Link At End
Make it easier. Focus at infinity, stop down to f/5.6 and check to depth of field. It is 4 feet to infinity. Good for the street.
Want more depth? Stop down to f/8 and focus is 2.8 feet to infinity. Most lenses do better at f/8 than f/5.6. Less light is less of a problem because angle of view is so large that apparent movement is reduced. I would tape it in position and then go to the street.
If no tape, turn all the way to the right or left and you are at infinity. Try taping it for a couple of days, no exceptions. Freedom Through Discipline.
Free Referral to Official Neutral Scandinavian DOF Monitor for the United Nations on wide-angle focusing: http://www.prime-junta.net/pont/How_to/m_Mastering_Wide-Angle/m_Mastering_Wide-Angle.html?page=6
Bill
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Easy to fix, Joe.
Take a picture. Press the Display Picture button on the back, just above the MENU button. You should see a thumbnail with a yellow border around it. Yellow means it has been selected. Press the ISO button, just below the MENU button, until info displays. That's it.
You always have to get back to a thumbnail with yellow border. If you have a full screen picture, press the lower left button with ENTER imprinted to go back to the thumbnails.
Bill
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Melissa,
They may be salvaged, but not by you in a reasonable amount of time. Find someone up there who knows digital photography and Photoshop. Get their input and maybe have them print the pix. From what you have said in this post, you probably have a few weeks of learning in front of you. Not to mention some color management investment. If you develop good work habits.
I do not know why you say you should have trusted your camera more. You do not know really if you messed up good pictures or hacked around on some poor ones. Your settings on the 20D may be messed up. Slowing down is the only way you are going to move forward. Tell your friends the pictures won't be ready until later this summer, at the earliest. Feverish activity is not going to work, you will end up with shortcuts to nowhere.
On the bright side, you have taken about every wrong turn possible, so when you learn about how to do things right, you will understand everything's importance and not disregard the advice.
Bill
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See if you can trade your camera for an equivalent quality rangefinder with someone. The same quality RF may be worth less, but so what?
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F5 reload not a sure thing now. Cursor at top of window still works to avoid problem.
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From an IE6 user:
http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00GPP4&tag= is a URL it occurred on, this thread.
Here is what I have learned. After I press "OK" and the "this page cannot be found" page comes up, if I press the F5 key to reload the page, it works.
If I keep the cursor at the top of the window, while the page is loading, there is no problem.
I hope this helps you, Brian. Proble has been going on for a week or so. Even with a clean cache.
Bill
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The wood may be a thin piece of veneer, no thicker than many printing papers. If the printer has a straight paper path, should be OK. Prep the same as any porous substrate, such as watercolor paper.
May not be printing directly to wood. May print on a transfer medium and then apply that to wood. Like printing on coffee mugs or t-shirts, etc.
Or could print to a transparent substrate and then place that piece on wood, varnish it and frame.
Bill
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It is normal. You have to dodge and burn when printing film or digital. Printing in digital includes processing for viewing by monitor. You are just narrowing or moving the dynamic range to suit a medium. Paper involves a narrower dynamic range than the camera's sensor, so you lighten and darken to fit it in. Fortunately, there are various techniques available in PS to do this. Be sure you are current on those techniques.
Sometimes the camera cannot capture the entire range in a single shot and exposure-bracketed additional shots must be made and put together in the post processing.
Careful lighting will reduce the problem, not necessarily eliminate it.
Bill
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"...walls were dirty yellow and all pictures look like wb is wrong, although it's the way it should be" Why? Will the client be happier with an accurate capture of ugly? If not, give them a white balance that looks good, regardless of what a color checker card says is correct. This is not documentary photojournalism.
If the colors are so mixed that the remedy would take forever, you live and learn.
Bill
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It is hard to answer without knowing your settings. Exposure mode(A, S, Auto, etc.). Flash settings. Exposure compensation. Flash compensation. Metering method. Matrix, Spot, or Center-Wt. Sync. F/stop and shutter speed for one of these shots. All for a posted picture.
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The best way to do this is to see what you have been doing and why. Analyze that and go from there. Otherwise, you are just given some settings to make without understanding why. If you do not know why, you will not be able to adjust for variations you encounter.
How are you metering? What mode are you in on camera and flash? Any exposure or flash compensation? What f/stop?
Post a picture and tell us what part of the scene you metered and what metering method was used. Matrix. Aperture-priority. Spot. Center-weighted. Everything.
Bill
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Forgot to mention that skgrimes.com should be able to make whatever you want.
Bill
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Is there a problem with the typical photojournalist solution? Both cameras around your neck or one over each shoulder. Maybe with broad stretchy straps for confort. When you are through with one camera, drop it and pick up the other one. Very fast. No unclipping/clipping to do. You can use neoprene covers for body protection. I see this all the time with news and sports shooters.
If I knew why that common solution would not work for you, I could understand better what you need. In the meantime,
Use an A-S-compatible camera plate and A-S-compatible clamp. Get a metal shop to make rectangular sleeve that you would slip your belt through(The sleeve would not be an open clip). Glue/weld the clamp to the sleeve. You are ready to go. A lever-style clamp would be fast.
There are or were neckstraps that would hold one camera above the other.
Bill
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It does not matter if you normally stay for the whole reception. If it is part of the contract, do it. If not, don't. What does the contract say about how long you stay?
Don't throw in a DVD or a DVD slideshow. Make it part of the contract or not.
Don't ask for songs to put on a DVD unless you are willing to pay for a license to use the songs commercially. If in the contract, do it. If not, don't.
It may be a good idea to show people a range of albums and packages that go beyond what you think they will pay. First, you never know if they will bite. Secondly, they can be pleased with themselves by not buying the most expensive product. Thirdly, if there is a problem, you can always say they rejected the more elegant album, bigger package, etc.
Did you give them, as proofs, every single shot you made? If so, think about editing out bad exposures, duplicates, insurance shots(pix you bracketed to get the right exposure), and obviously worthless shots(such as your foot or a gray card).
They should not expect more than they bought. What they bought should be recited in the contract, such as, "1 Romance Forever 4x6 Wedding Album with up to 150 photographs chosen from the provided proofs." Was it?
Do not give a print "out of the goodness of your heart." You are just settling a dispute. Get a release in exchange for the print.
All the freebies you just threw in devalued your product. If people get something they did not bargain for, they will often place a low value on it. If what they receive is akin to what they paid for, it can reduce the perceived value of what they bought. Something not photo-related, such as flowers, would be a nice gift once everything is done and over.
These people are a good example of how something good can take a wrong turn. The value of the written contract is to make sure everyone is thinking alike on what the photographer will do and deliver, thereby reducing disagreements. That written agreement can be a great memory aid.
It looks like you are paying attention to this live and learn world that we live in. You have a positive attitude that will help you succeed in what can be a difficult business.
Bill
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Find a place similar to the mansion to practice in on Saturday. A church, for instance. High ceilings inhale the watt-seconds if you shoot straight up. Try various tilts and the bounce card in a high-ceilinged room.
Praying for a bright, sunny day? You will have a lot of contrasty elements to overcome inside with those big windows. Sheer curtains can act as diffuser panels. Maybe you will be able to use the ambient light as your key and the SB-800 for fill. Could greatly extend the battery life.
Good luck,
Bill
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It is free. Follow the Nikon instructions exactly. That's all you have to do. No shortcuts. No "I did not do that because I did not think it was necessary." Just follow the instructions.
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ISO 400 is a standard that should be the same everywhere for everything, but you cannot count on it. Meters vary, as do cameras, shutters, lenses, and situations. Many people will adjust the ISO setting on cameras or meters for different situations or even different films that have the same speed.
Try matching the meter to the Sunny 16 Rule. That means that for an average subject, outside on a sunny day, you shoot at f/16 and 1/film speed. For Tri-X, the shutter would as close to 1/400 as you can get it, probably 1/500. Is that what your meter says? If not, you may be metering too much of the sky if meter says a faster speed. If it says a slower speed, you may be metering too dark an object. The meter assumes that you are metering a middle gray subject.
Sometimes people want to shoot wide open, at say f/2.8 or f/4. Your camera may not have a fast enough shutter speed to allow that on a sunny day outside. You will not be able to get a good reading on the meter in that situation without stopping down to f/11 or f/16 when using Tri-X. You could put a neutral density filter on the camera to reduce the incoming light, allowing the use of a bigger aperture.
Bill
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Ask the company. And you might have to use their Vagabond Portable Power System. That is a battery, which has to be grounded, by the way.
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Two possibilities that I can think of. They only ship to a home address overseas. Some merchandise is for sale in the USA only. This is common in software.
Check out their page for international shoppers at:
Bill
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These can be saved. Think of this as a photo restoration project. You cannot save blown highlights but you can "paint" over them if you know what should be there and it's pretty obvious in these shots. PS CS2 has several tools for this.
Ask a photo restoration person for bids. Tell them you want to know afterwards what they did. OR, start checking on restoration techniques. After all, a missing piece of a photograph is about as blown as you can get and that is often fixed. There are several books on this.
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Get a Better Beamer, model FX-3. See http://www.naturephotographers.net/gs/gsbb.html
You 200mm is showing what a 320mm would on a 35mm camera. Should work OK. Very common in long lens nature work.
If your flash can zoom, be sure it is doing so.
Bill
The really good and the really bad in my first wedding...
in Wedding & Event
Posted
I feel the pain. Try this:
Guardian of the World of Light and Shadow:
I felt your lightning bolt of justice, Yessiree, I did. A mere innocent accident is as bad as negligence, which is as bad as malice, if our actions are judged by the results. I submit the following as evidence of my understanding and respect for your demand for the highest levels of professionalism:
I promise, in the future, to shoot only as a full-fledged professional, with all the attendant safeguards, if I am getting paid or if the situation is best served by a pro. I will not shoot the weddings of friends or relatives because I should be there as a guest only. Nor will I let anyone else volunteer me. There are enough photographers to cover the land masses three deep, so no sympathy appeal will change my mind.
And again, let me say that you chose a most effective way of reminding me of my place in the photographic universe.
One tiny, little final item. If it would not be any trouble, I beseech you to remind the innocent couple that if their thoughts toward me indicate an abbreviation of my time on our beautiful blue rotating orb, that No Robin = No Pix.
Your lowly supplicant,
Robin Worgull
Try it, Robin. It may work if made on a Sunny 16 day.
Bill