john_hennessy4

<p>I know about the background layer being locked. But how and why does ACR "decide" (like HAL?) which it gives me. It may not be important other than in a PS trivia quiz.</p>

<p>Opening a file from ACR into PS6 I sometimes see that the layer is called "Background" and sometimes it's "Layer 0." Is that an issue? What's the difference?<br>

Thanks.</p>

<p>There does not seem to be any universal agreement or naming convention. I most often hear and use "Pigment Ink Print." Extra silly is giclee. To merely use "Archival ink print" begs the question: is it dye or pigment? Your printer is of course pigment so that is a key element suggesting its archival qualities, but to call it "archival..." is not necessary any more than calling a gelatin silver print archival; it is archival by definition (assuming the photographer knows what he is doing.) I just searched SFMOMA and found "ink-jet" "ink print" and "pigment ink print." I don't care for "digital pigment print" because it is too narrow. Many of my prints begin life on film. I am sticking to "Pigment Ink Print."</p>

<p>Here are two semi-unrelated questions, but I'm putting them together to save precious electrons. <br>

<br />1. Where is good place to buy parts for Canon gear. For instance, a screw and collar that hold on the big tilt knob on my 24mm t/s is missing.<br>

2. The shade on my 24-105 zoom is so loose it spins and vignettes or just falls off. Is there a way to tighten it or should should just take the answer to #1 and buy another one?<br>

Thanks.</p>

<p>Evidently there are two elevators in La Sagrada Familia which you ride up and walk down. If I have only time (and ticket) for one, does anyone have a recommendation for which one. Maybe neither? Any other La Sagrada Familia, Gaudi or Barcelona suggestions.<br>

<br />Thanks.</p>

<p>Just setup an NEC P241W monitor and I have a question. Is there a practical, fast way to rotate the monitor and the image being edited to match vertically or horizontally? One sees ads showing a vertical images on vertical monitors, so I was optimistic---but is it just hype? I see no easy way to do that. There is a useless auto-rotate feature which detects the monitor orientation but it just stretches Photoshop, the image and even the mouse cursor to make it fit. About 2-3 minutes down into the Windows settings it can be changed and it works as advertised. But that would a pain to switch every time I switch to a file with a different orientation. My video card (AMD Radeon) allows one-click switches of different setups, but it does not seem to record that far down, just superficial, cosmetic things. Maybe a hotkey, something I'm missing in the Radeon setup? Hate to waste all the great monitor acreage when editing a vertical image (all the PS palettes are on a second monitor regardless.)<br /><br />I called NEC and was told there is no way to do this, but the tech support person seemed tentative. <br /><br />Thanks.</p>

<p>One one computer my preferences in Bridge (in the metadata panel in particular) go away between Bridge sessions; on another computer they stay put. How do I make them stay?</p>

<p>Thanks</p>

<p>In terms of print quality alone in a 16x24 print how would a Canon 5DII (21.1MP, full-frame 24x36mm) compare to a Sony nex-7 (24.7MP APS-C 23.5 x 15.6 mm) or a Canon EOS M (18.5MP APS-C)?</p>

<p>Thanks.</p>

<p>I have two 24-105's; the one used by my wife (on a 5D) seems a little odd in that, even with the focus point set to one point in the center, the foot/meter scale on the lens can give wildly different readings with successive auto focus on the same point. E.g., focus on a point about 10' feet away three times and the lens gives distances anywhere from 5' to near infinity, especially with a short focal length. <br>

My copy (on a 5DII) does not do that. I have not tested her lens on the 5DII but plan to.<br>

Is the lens due for a trip to Canon?<br>

Thanks.</p>

<p>You may still find Nikkor lens boards on ebay; they fit as well as Linhof.</p>

<p>This is a question which I suspect is common, but I don't know the answer. If you shoot raw, which I always do, do things like color balance, picture styles etc matter at all? Does ACR take into account whatever the white balance was at exposure? Or does ACR start over with the data regardless of camera settings? <br>

Experience tells me that setting white balance is important. For instance when doing a panorama, if I don't set the white balance to daylight, as opposed to AWB, the exposures for the panorama have a color shift when opened in ACR.<br>

Thanks.</p>

<p>The article cited, as well as other such articles I have seen, say to rotate the base counter clockwise so that the shift lock knob ends up next to tilt control knob on the same side and the opposite knobs on the other side. I wanted both of the lock knobs on one side and both tilt and shift control knobs to be on the other side of the lens. So I twisted the base clockwise and have had no problem with this procedure on either the 90mm or the 45mm.</p>

<p>I wish there was a 17" equivalent of the 7900 which would presumably be called the 4900. Normally I don't read posts which call for speculative answers and crystal ball gazing, but here I am asking such a question.<br>

Anyone care to guess?</p>

<p>With both the 90mm and 45mm lenses, I twisted the rear section clockwise as opposed to the direction suggested by both of the articles cited. That way both tilt and shift control knobs are on the same side of lens and both locks on the other side. I found it annoying and counter-intuitive to have the tilt and shift knobs and locks on opposite sides. After studying the ribbon connector I could not see that it mattered which way it was turned as long as it wasn't pinched in the process.<br>

I used a "jewelers' " screwdriver set made in Japan. It's not labeled JIS, whether it is or not I don't know.</p>

<p>My 90mm T/S is a gem so I bought a 45mm T/S too. But it has chromatic aberration, shifted or not, near the perimeter of the image.<br>

Anyone had any experience along these lines? Can Canon fix it? Should I just exchange it?<br>

Thanks.</p>

<p>Was Bridge rendering the raw files in the interval between when they weren't visible and when they were? With many files, a slow computer or large raw files or a combination thereof, it might take quite a while.</p>

<p>We have a new flat screen TV for xmas and one hope I had for it is not working out too well. I hoped it was possible to resize an image to fit the TV and it would look as good as for monitor wallpaper. But they don't look so hot. Like all TVs of this class it has a resolution of 1920 x 1080; the problem I anticipated is that this resolution is on a screen about 44" wide which of course is much bigger than a monitor. So I figured that as long as the viewer didn't get too close, the image would be fine. But the images I've tried look over sharpened even if they are not sharpened at all (except a bit in raw). I tried making the canvas size exactly 1920 x 1040, twice that and four times that, only the exact size works at all, the other two can't be read or turn purple, (not enough memory in the TV or Blu-ray player?). I am converting to jpegs. Maybe there's a better format?<br>

A real blu-ray disc is very sharp and still looks OK close up.<br>

Anyone have any luck with this issue? Thanks.</p>

<p>Adobe seems to have missed this issue in CS4 because as you seem to know it worked the way you want it to in CS3 and before, at least in Windows.<br>

The only solution I know in Windows is to put the application itself on the main monitor and the palletes on the small monitor. Then (usually) images open in PS itself. Sometimes they end up under the palletes after minimizing either the image or PS and then maximising. You lose a bit of real estate to the PS frame and menu bar etc. Don't know about a Mac. Try it and let us know.</p>

<p>I love what I've been able to do with HDR and stitching and so I was hoping to do as well with the two focus programs I have tried: Helicon Focus and the equivalent in Photoshop. But both are hit or miss, mostly miss by a country mile.<br>

One issue is that I haven't paid for Helicon Focus so I only get a low-res output, but its problems do not relate to resolution. It seems like both programs do not use the sharpest part of each image file but almost mix and match or maybe average. Helicon seems to mangle the colors too. Usually I just have to do it the old way, i.e., cloning and cutting & pasting.<br>

Does anyone have any suggestions or success stories?</p>

 

<p>Just to clarify, you're shooting in One Shot focus mode, right?</p>

<p>Yes</p>

<p>Can't find a way to make the AF On Button (on the 5D II) behave the way I want it to. Probably there is no way, but thought I'd ask before giving up.</p>

<p>What I want is the shutter to work as it does by default, i.e., half down = locked focus but not locked exposure. And I want the * AE Lock button to continue to work as it does by default, i.e., press & release = locked exposure. And, this the part I cannot configure to my liking, I want the AF On button to function in parallel to the * AE Lock button: press <em><strong>& release </strong> </em> locks focus. As it stands, you must press <em><strong>& hold </strong> </em> to lock focus. I am trying to avoid holding two buttons at once (the shutter and the AF On).</p>

<p>I could I know use C.Fn. IV-1 option 2 which makes focus the sole job of the AF On button, but, since most of the time I am content with the default, that is a pain -- though it does force me to think about focus & exposure & composition as three different issues.</p>

<p>Is there some way I have overlooked to force the AF On button to work on focus like the * AE button does for exposure while the shutter release continues to work as it does by default?</p>

<p>Thanks.</p>

<ol>

<li>Bridge does not open automatically with PS even though I have told it to do so every place I can find.</li>

<li>Some tool tips -- especially the icons at the bottom of palettes -- do not show themselves. The tool tip option in preferences isturned on. </li>

<li>I use two monitors; PS opens in my little uncalibrated monitor filled with pallattes just as I want it to. Bridge opens in the main (calibrated) monitor where it is supposed to. But new files open under the pallates on the the wrong monitor. In CS3, new files opened on the main monitor on top of Bridge. How can I make CS4 behave that way?</li>

</ol>

<p > </p>

<p > <br>

Thanks.</p>

 

<p>It seems counter-intuitive, but using a longish lens, like your 24-105 zoomed out, with as many vertical exposures as you need to take in your scene will do the trick. The purpose of a stitched panorama is gather a lot of data. Otherwise, you could just use a wide-angle lens like your short zoom to capture the same scene and then crop to suit. But a severely cropped 30D file will have little data left. Don't know the angle of view of that lens at 10mm but I am guessing that it will take about 6-10 vertical exposures at 105mm for the same scene. So if you overlap about 15-20% you end up with about 4-8 times as much data compared to one 10mm crop.<br>

Ditto what others have said about identical exposures, no polorizer, fixed white balance. Better yet use a tripod, mirror lock up and pan on the nodal point (also known as the exit pupil) of your lens.</p>

<p>This is a question about Vista 64 bit and CS4 and color management. I scan 4x5 film and sometimes end up with up to or even bigger than 1 GB files. Obviously that needs as much memory as possible. Windows XP is limited in this regard and I am in the market for a new speedy computer which won't force me to stay at a snail's pace. In this month's Shutterbug, David Brooks in his Q&A column says to avoid Vista for color management reasons, but offers no explanation or support for his opinion. He implies one should wait for Windows 7 for some unstated reason. With a calibrated monitor and printer and Photoshop controlling color files sent to the printer, why would Vista be any different or worse than XP? Is he on to something or just pontificating? Does anyone know any reliable info about Windows 7 that would make it worth waiting for?<br>

Thanks</p>

<p>Do I correctly understand that one of the improvements with the 5D ii is that one can use live view with a magnified image to aid in focusing? If so, does it actually work? Better than the L finder?<br>

Want to buy one and I'm looking for ammunition to persuade myself.<br>

Thanks.</p>