steakandale

Pick an element of the current picture and make that the new topic,

and let's see where it goes.<p>

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I would imagine that flush mounts do not last, or will show a lot of wear over time. I can still look at our Art Craftsmen wedding album from 1985 and (I dont reccommend white!) it is as good as new on the inside (all MF 8x10's). That might be a good selling point for traditional and not choosing flush-mount. Maybe you could take an artistic, and quality stand against using them?

No, because you have booked that date, and have to turn down other offers, prior to getting the cancellation.

It seems to make sense to me to have a some portion of the retainer be non-refundable that you keep, regardless. maybe raise the total amount of the retainer to half your package price as it applies to the end anyway, but some amount that you keep - that you can live with.

What about emergencies? or some (god-forbid) tradgedy? Do you refund everything in such a drastic case?

I see mostly lighting effects. There's all the usual hair lights, background/separation spots, and really high key, butterfly or beauty style lighting.

But what I want to know is where do you place the light for that railroad tunnel-train coming sort of look giving that strong back-rim lighting? That is the main effect I would like to learn more about.

 

It has a signature look about it that is almost a trend nowadays for TV and Movie ads. Anyone shed some more, uh... light on that aspect?

nikon's ML-L3 remote is only about $17 I think I'll get one. I can't find any in-depth specs on it though NIKONUSA website just says:

 

Trigger the shutter remotely when using slower shutter speeds to prevent camera movement

 

Offers immediate release mode and two second delay mode

 

Range aproximately 16 feet in front of camera

 

Compatible with N65, N75, D70, D70s, and D50 Cameras

 

Wish it had a bit more range.

I wouldn't tape the button down. If you want to rig up something maybe rubber band a small ball over it, using a cloth over the lens and carefully remove it last. I wonder what the battery limit is on Bulb setting?

Sometimes I think this entire group needs to switch to Decaf

Since Nikon is so conservative and slow to market but does it with greater leaps than Can* uh, other cameras, I would not buy a D100. all of the cameras you mentioned have more or less an equivalent output size but each newer camera has better high iso performance and color rendition.

I would suggest the D50 or D70S

 

I have the D50 since its the same output size and reviews have said they like pictures from it better, but I dont know how scientific those claims really could be. It is really not lacking in features. The only main feature it does NOT have is the D70's commander function for flash control. I dont plan on using that, and will opt for another SB800 or an SU800. I'm pretty sure both have greater range than the D70/D200's commander function, in addition to added features like putting additional focus-assist beam from the camera position.

 

The D50 has only one control wheel, but you set fstop with the exposure comp buttons when in manual mode. most other modes the main wheel does either aperture or shutter speed as obviously needed by AP, SP modes.

 

I say get the newest you can. or the D200!

I am a nikon victim, so I can't say this will work 100%. A tip Goerge Lepp touts is to purchase a new Cokin holder, to replace the one in your bag. Take your old one and saw off all but the slot closest to the lens you need. This gets much wider coverage. I don't know how far in mm it covers, but is far better than before. A lot of landscapers do that. Reminds me its time to buy some new adapter rings...

Phoenix, Az North Mountain Park

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Here's ANOTHER unusual suggesion:

 

PUT THE CRACK PIPE DOWN

 

If you bought a D200 and have Leica?, forget used Nikon film bodies.

Enjoy life, go out and shoot.

Are you trolling? How about including the link you brought up?

This has been done ad infinitum, since digital was first introduced, again when sensor sizes reached 4+ mp, again when Canon went to double digits... repeat for every new chip out there. just search on "35mm vs MF" in PN, Google, Yahoo, have a ball.

 

I would be curious to see what the D200 offers, and its high ISO noise level performance.

right in camera under single-photo display, (press the left arrow top button, and the checkerboard looking multi-thumbnail button like thrid one down to be in single photo review mode) and cycle through the photo data, by hitting the up and down arrows on the back command dial, the ISO is listed on one of those three pages. Thats where histogram is too, just deciphered that one last night.

I see lots of posts lately from folks working the kinks out of the

SB800 flash setups. I have one, and am trying to decide which setup

to go with for twin lighting dark dance floors like receptions. The

manual seems to indicate (using my best Nikon manual = VCR jibberish

decoder ring) that only another SB800 on the same channel will set

them off, and you have four to choose from when working with others?

 

So are they immune to being set off by point and shoots firing in the

same room?

Picture Project shows shooting data in the right side, Im not at home, but its under details or something like that - and YES it is an abomination. So far I equate it right down there with Real Player, I hate programs that hold your files hostage, trapped somewhere internally and only viewable by that software.

I bought a D50 with the kit lens, as I only had a 24mm prime at the time for wide stuff. I suggest using what you have already. Go out and take photos. lens acquisition syndrome is hard to resist, but let your picture taking show you what you need.

Stacy, sorry, I forgot to revisit this thread. What did you decide to do?

 

You're right about inserting that last photo, it's a tough one. I tried but don't like how it turned out at all.

Whatever one you go with you want to try and match the contrast and brightness of the main photo so it doesn't bug-out. I added back a slight flash flare using the largest airbrush blurred edge pattern set way down to about 18% to blend with the glare on the frame. The inserted pic might even need a slight blur to push it back more and not compete with the main photo - its supposed to be less sharp (like the frame itself) as its behind everything on the wall.

 

If you've already fixed it, I'm curious what final result is.<div></div>

I have a lot of experience with this, I will add that entire heads usually swap out with better results, unless you have an exact match to the head angle the eyes might look strange unless its exactly the same. Heads are much faster to do also.

 

Another tip is not to not get to fine cutting it out, you can often hide the cut using more background and hide the paste line a bit further "outside the lines". Our eyes naturally seek out those hard edges first - the hunter gatherer in all of us.

The foreground is not a part of that picture, so no harm there - crop more. I would say Manual mode or Aperture priority auto, but be sure to set in about -1 on the camera exposure comp to tone down the sky. Leave the flash exposure comp even, or bump it +.3 to +.7 if your test shot is lacking fill.

No beeps. No flashes. No red blinking anything. Just screams

amature to me. Gives you away and people freeze up or pose/fake smile too.

Well I finished going over the reception shots from last night and they turned out much better.

 

When groups included my "blinker", I did not use the lightsphere, pre-flashes were off, and I made a conscious effert to stay "longer" in focal length more into short-tele range. Not 100% but enough to save the day... A good learning experience for me. I was mainly interested in building upon my problem solving under fire and I was able to get some good shots.

Thanks everyone. Many more good tips here.

 

After a little RTFB (read the book), the SB-800 manual on page 36 says Monitor Preflashes are not fired when the SB-800's flash head is adjusted to other than the horizontal/front or down to -7 degrees, or in the camera's rear curtain sync mode, even when the double lightning bolt appears in the viewfinder...

 

Mine was straight up with an LSPJII and some taken at 45*

so I wasn't firing preflashes. interesting, and good to know.

 

I wonder if the LSPJ diffuser causes more blinking because its so much bigger like a table lamp going off. I'm going to try just the pull-out diffuser card or the box-diffuser that came with the flash without the Lightsphere on her tonight and test that, and sneak around...

I just advised someone earlier to use the SEARCH feature... and I didn't this time. Duh. Lots of good threads there. I really think this is a case of Photoshop=required. I also need a better way to cope than cute tricks though. If this were a paid wedding I would be really sweating bullets right now. I'm hitting the manual to see about turning off pre-flashes. I noticed her mom did it too, runs in the family I guess.

Last night I shot the semi-posed formals for a Bar-Mitzvah I'm doing

this weekend. The mom has the most sensitive eyes I've have ever

encountered. I tried all my tricks;

 

Slam your eyes shut real tight, Open!

 

Ok, on the count of three. One...FLASH

 

a little public humiliation (close family friend) nothing worked. It

was amazing. I have I think one shot with eyes open and at a

distance. Many are just slits. Most are totally shut.

 

Can people with sensitive eyes detect the Nikon ittl preflashes or

something?