mlevy

The issue was that in low light it can take a while for the auto-focus to find its mark. You have to wait for it to beep.

I've been having difficulties focusing when using video on a Canon T7.
Sometimes the focus is correct, and other times I find when I review the video it is seriously out of focus.
The video in question was captured with modest light with a shallow depth of field. 

Does anyone have any tips here?

 

I was photographing staff in a dentist's office. I bounced the light off the ceiling with a diffuser on the flash, and the lighting still came out really hard. My guess is that its because all their rooms were really small, maybe 5' x 10' with low ceilings, and they were oddly sized. So I was having trouble getting enough distance from the subjects. Any advice for working in a space like this?

<p>Yes, this was already mentioned.</p>

<p>Josh,<br>

I'm trying to get away from using a "<em>serious camera"</em>.<br>

Starvy,<br>

Yes, I've had a lot of fun with my iPod camera too. But the digital effects don't have the same richness as analog aberations.</p>

<p>Well, I guess I will just get out my hacksaw and a bunch of camera parts and see what I can come up with.<br>

Michael</p>

<p>Interesting point Dan. From my work with 4x5, I'm guessing the full circle can be much larger than the capture area. It might miss out on some of that beautiful vignetting. My main concern is that the electronics won't fire without being wired to the lens. Also, it seems it would be better to use the digital camera's shutter and leave the Holga's wide open, so the digital camera would need to be set up with a shutter that would work with this method.</p>

<p>Part of the fun of is the camera itself. The weight, sound and cheapness is part of the way the camera is used. I just bought a broken Holga for parts on Ebay. The next part of the plan is to find a broken point and shoot and combine them. Any thought on which models might be easier to do this with? </p>

<p>I've been looking for classes or workshops to take, but everything in my area is geared towards beginners. Does anyone know of any online classes or workshops in Montreal that are any good?</p>

 

<p>I have an old Spyder that worked great om my old iMac, but it doesn't work at all on my new glossy one.<br>

Would I get better results with a new Spyder or an additional monitor? If monitor, which ones work well for calibration?</p>

<p>Patrick,<br>

Thank you, that link looked like a good resource. <br>

I'm not saying the Costco prints were spot on, but I had retouched some old family photos for a friend of mine and took them there since I couldn't get my printer too work right. They looked pretty good. Which is why it is so frustrating I can't get anything but garbage out of my Epson. It seems like even without specialized equipment, there should be some default settings that are at least be close.<br>

Maybe the information contained in your link will do the trick.<br>

Michael</p>

<p>I have a Spyder2 express that worked great on my old iMac, but I just bough a new Mac. The prints didn't look anything like the screen. They were way too dark and muddy. So where do I go from here? Costcos did a decent job with no calibration. So it seems like there should be some way to get reasonable prints. </p>

<p>Thank You<br>

Michael</p>

<p>I'm a Web Developer and not buying this rationale.<br />I reset the zoom on my browser and it still bumps over the edge.<br />Scalability is a basic Web requirement. Fonts are in a stack and the user might be loading a slightly larger font.<br />Also, fonts are also rendered slightly differently on different computers/browsers<br /><br />You could try graphical text, but it might be probably be too fuzzy with size of the text to use text replacement. I hate too say it, but the design is flawed. If you you use live text that is very tightly fit in the design, it is predictably going to falloff the edge for some users.<br /><br />I'm sure you can come up with a creative way to fit the new content in your site architecture/design.</p>

<p>Last time I was processing film I used about 4 times as much developer I was using before and this resolved the problem. I also used a prewash which ended up bright green. If nothing else it keeps the indicator on the stop intact. On a random tangent, I processed some film that was in some holders I bought on Ebay. They turned out to be police mug shots from the 70's.</p>

<p>That would be bad. No I meant to keep my hands clean so any stop on my hands or overflow from agitation wouldn't run the risk of contaminating the developer. I'm going to try to use more developer and see if that helps. I suppose another possibility is that the shutter is jamming. Its an old lens that I just purchased from Ebay. But I'm going to try using more developer.</p>

<p>Thanks for all this information. It gives me a lot to work with. </p>

<p>That's a good idea to test it with the lights on. I could fire a test shot and cut it into strips. Prewashing the film would probably get rid of the coloring. The film is BW FomaPan 100. I used half a cup of developer. Could it really be going dead that fast. It was mixed from powder. Maybe it wasn't properly mixed.</p>

<p>I've been processing 4x5 film in trays. I do one at a time. (My technique isn't good enough to get even development otherwise.) The first slides come out as expected. The proceeding slides come out blank. This has happened two times.<br>

The d-76 is blue when I dump it. The stop bath is also a dark color. The first time, I thought I had somehow contaminated the developer with stop bath in the dark. So the second time I used a different hand to remove the slide from the developer than to transfer from the stop bath. I also put the trays on the opposite side of the sink. I'm using used trays. Could that be the problem? Any ideas.<br>

Thanks,<br>

Michael</p>

<p>Mike that's a good idea. I just ordered a snoot. I'm hoping to get that type of effect.</p>

<p>I'm starting to take some test photos in this space. Its not quite finished. The wall in the doorway needs to be thicker to block light and it has a major light leak at the top.<br>

http://www.photo.net/photodb/folder?folder_id=952722<br>

I have two strobes with umbrellas. The space in the back is about 24" and behind the side window about 12"-0" (it tapers). There is plenty of space in the front, but no space to the side of the frame to position lights. In these photos there is an Umbrella in the back and one in the front. <br>

The biggest problem is that the light in the front provides a very broad even light that doesn't have any character.<br>

What tips can you provide for getting more directional light and overall texture/grit?<br>

Thanks<br>

M</p>

<p>Garbage in garbage out.. There's no replacement for a good capture.</p>

<p>I'd like to get the most out of my digital Rebel. What are the best lenses and what makes them good? What qualities do they have that distinguish them from other lenses with the same focal length?<br>

Thanks</p>

 

<p>DSLR Bodies are dropping in price like a stone. If the camera lasts you two years, you can buy another used body that will be twice as good. I would definatley buy a used body from a reliable camera store with a waranty. Some camera stores even offer extended warranties.</p>

<p>A polarizing filter is a must have for sunsets. It enhances clarity and color in the clouds.</p>

<p>I've had really great results with closeup filters. A Macro high end macro lens is probably better, but you filters can get good results. You have to get a good filter. The cheap ones are really soft.</p>

<p>red eye flash mode works by shooting two bursts. The first burst makes the subjects pupils smaller to adapting to the brght light. This mitigates the effect described above.<br>

Michael</p>