alice_guy

Have you got a UV filter on your lens? The tint of the flare looks very similar to the green tinted flare I get when using a Nikon UV filter that I have.

 

As already stated, use a lens hood, or avoid shooting into or at an angle near to the sun, or shade the lens somehow.. even with your hand.

 

Removing a filter if o have one in place may lessen the chances of flare.

FP is very useful for fill flash on sunny days [when it's needed most with digital]. I've never used a D80 so have no idea of it's capabilities, but use it a lot on a D200.

I was under the impression that Nikon no longer manufactures the 28mm 1.4. Am I mistaken?

A camera's light meter is usually measuring reflected light. It tries to make whatever it sees as close as it can to middle grey. So, for example if you meter snow then it will give ou a reading or an auto setting [if you're using that] that will make the snow appear middle grey, not white. Similarly if you have a frame with a lot of black in it the meter will give you a reading that will lighten that black and make it middle grey.

 

Neither of these readings will expose your subject as it should be. You can learn to know when to open up [use wider aperture or longer shutter speed] or stop down [smaller aperture or quicker shutter speed] for certain subjects / tones, or you could use a handheld incident meter that measures the light that is actually falling on a subject, whatever colour or tone it is.

Use the built in intervalometer.

"Muzak" in the background in stores will generally be from a royalty free muzak cd / collection so not neccessarily "unlicensed". Other venues, cafes etc that play recognisable and mainstream music will have a license. In the UK cafes and bars etc will have a PRS [Performing Rights Society] license to play music.. the fees for that license are distributed amongst registered PRS musicians / composers etc.

Thinkning about it5... If you're getting a shutter speed of 1/1000th of a second at f/16 on a sunny day then the "sunnny 16 rule" would suggest that you have 1000iso film loaded? Is this correct?

Have another film back loaded with slower film and / or use a ND filter on the lens.

Lots of good sense articles about gear over at <a href="http://strobist.blogspot.com/">Strobist Blog</a> including <a href="http://strobist.blogspot.com/2006/04/money-choices-light-or-mor_114590285884455531.html">this one</a> and <a href="http://strobist.blogspot.com/2006/05/when-are-you-gonna-learn.html">this one</a>.

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Have a look around there if you haven't seen it before. Loads of good advice and ideas of how to work within a budget etc.

.... also be fairly sure that you'll be knocked down a bit with regards to the fee you suggest, so aim slightly higher than you think.

You need to find out how many copies they are going to manufacture. That will give you some idea of what level they are at and where to aim for a license fee. You will also need to know this in order to license the photo to them for use in the CD up to XX units. That way if they're only manufacturing say 5,000 copies and are on a budget you can maybe keep within their budget, but won't lose out if it' a hit and they need to manufacture more... they can license further use for a further fee and you get your fair slice.

Even with the internal flash set to not contribute to the exposure it does still show up slightly due the a feint glow still dying down as the remote flashes fire for the exposure. Putting a strip of exposed [black] slide film over the internal flash can help.

... so I guess that whatI was trying to say above was, yes it's likely he rents in the same way that film productions do when working on that sort of scale.

I saw a book of Crewdson's work that had production stills and crew credits in the back. The crew list for the photos in this particular book was huge. More like something I'd expect to see at the end of a feature film. We're not just talking assistants but big lighting crews, riggers etc etc.

 

The production stils also showed crew rigging very large lights on numerous scaffolding towers etc.

If you look a couple of shots past this one on her website you'll see a full length shot next to a large window. I think that gives a clue that it's maybe window light? Possibly with a reflector for a bit of fill?

 

As a side note.. it's worth looking at the photos on the black pages within her website rather than the direct linked jpeg on the white background of a browser window. It's amazing how much more detail your eye can tune in to in the dark areas. Kind of irrelevant to this thread but I was quite suprised so thought I'd mention it.

You can depreciate capital assets.. ie camera equipment.

 

40 percent in the first year that you start to depreciate it, then 25 percent of what's remaining for the years after.

 

So if you buy a camera for 1000ukp, in the first tax year you can adjust your tax by 400ukp. The following year you can adjust your tax by 25 percent of the remaining 600ukp which will be 150ukp and so on for the following years.

 

Keep in mind that this then means that your business owns the camera. If you the sell it at a profit you may be liable for capital gains tax if you profit over a certain amount in a year from selling equipment for more than you paid for it.

 

Worth talkin gto customs and revenue if you're confused. They're very helpful as it's in their interests to help you work it out correctly.

Small aperture, long exposure to pick up the ambient lights without burning them out and then if the exposure is long enough you can fire the stobes a few times during the exposure if just firing them once isn't giving you enough power.

 

Or maybe something along the lines of the above techinque but using mulitple exposures?

What lights are you shooting under. I get the impression from what you wrote that you're using strobes? You're not shooting under flourescent light are you? If it was flourescent light then the answer may be down to the way the colour cycles in flourescent tubes.

 

Otherwise I'd agree that it looks like some sort of auto white balance issue.

You haven't got the boxes checked that show you blown shadows and highlights have you? This shows any blown areas by highlighting them in reds, greens and blues.

Save the area you've defined with the lasso tool as a selection, "save selection" and then "load slection". Will that work?

 

You're talking about colour channels yes? Copy each channel to it's own individual layer and then work on them as layers?

Thanks for your replies. Just as I suspected, the info I read was written by someone getting confused between the manual and AF versions.

 

Another case of having to be be careful of believing "facts" that you find on the internet. I was sure a quick post here would find the correct answer and it has. Thanks everyone.

Hi,

 

Just wondering if naybody knows how many incarnations there are of the

85mm f/1.4 AFD nikkor. As far as I was aware there has only been the

one. Something I've read recently would suggest there's two, an older

one with with a 72mm filter thread and the current one with the 77mm

filter thread? I'm not convinced that the info I read is correct though.

 

Looking at a second hand one and hoping to make sure it's the newest

version if there are two. Any info would be a great help.

Yep. you can ... page 81-82, 170 of the manual... you can set the function button as FV lock. Press once to set the FV lock and then after the shot once more to release the lock, or continue shooting with the flash value locked. Otherwise for no pre-flash at all... ie/ stealth shooting :) go manual or A / AA.

I thought that you could program one of the buttons [either AE-L / AF-L / functions button?] to operate as a flash value lock button? I'm pretty sure if you do this then you can trigger the pre-flash to get it out of the way.. the camera and flash do their calculations and then you take the photo without the pre-flash happening immmediatley prior to the shot. Best to look through the manual for flash value lock or FV lock.

<a href="http://www.warehouseexpress.com">Warehouse Express</a>

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or Amazon.

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Frustrating that you can't buy the key online.