joseph_henry

<p>The B&H web sies indicates that they will begin taking orders at 9pm, Sunday April 24. Once the checkout is complete will B&H shipping department ship the item before the end of Passover on April 30? I urgently need to my a Fuji camera and lenses before a trip.<br>

Joe Henry</p>

 

<p>I am consider upgrading my operating system from Snow Leopard to Mountain Lion OSX 10.8 latest update. Is Mountain Lion fully compatible with Photoshop CS6 13.01 x64, Lightroom 4.2, Camera Raw 7.2 and latest Nik plugins? Is it also compatible with drivers for the Epson Stylus Pro 3880 drivers?</p>

 

<p>I use a Lightroom 4 - Photoshop workflow and never use Canon software. Am I correct that all or most in camera (5D Mark III) photo correction settings do not effect raw files? Specifically do any of the following effect Raw files:auto lighting optimizer, highlight tone control, lateral fringe correction, long exposure or high ISO noise reduction, custom white balance or others? Which if any of the above settings effect how a raw photo imported to Lightroom is initially rendered?<br /> <br /><br /></p>

<p>Is there a better and more user friendly environment to create eBooks than the Adobe eBooks software platform? It is enabled by the Creative Suite 5 design premium software package which I can purchase as educator for $449. This package in includes Photoshop CS5 Extended, Illustrator C5, InDesign CS5, Flash Catalyst CS5, Flash Professional, Dreamweaver, Fireworks, Acrobat Pro 9 and Device Central. <br>

I would value comments from folks experience with creating photo books which include text, photos and embedded slide shows as well as interactive capabilities.<br>

Suggestion of other software packages would be of interest.</p>

 

<h1></h1>

<p>Am I correct that the addition of a 1.4x or 2x tele extender to any lens does not effect the depth of field, i.e., the tele extender merely "selects" the a center region of the image circle and fills the frame with it. While there is an apparent effect on the apparent focal length, the reality is the impact of the tele extender is much like a crop effect while using all the sensor pixels to render the photo. If this is correct then there are at least two practical conclusions:</p>

<ol>

<li>Use of a tele extender on a tilt lens does not change the required tilt angle - height of the lenses axis above the plane of sharp focus relationship.</li>

<li>Perspective effects such as compression of near and image image elements with say a 200 mm lens are different than with a 100mm lens with a 2x teleconverted attached.</li>

</ol><ol> </ol>

<p>Here is a quote on this matter from a communication I had with David Summerhayes (http://www.davidsummerhayes.com/)<br /> "Tele converters do not change the physical focal length of lenses. They simply magnify the centre of the image circle. It is similar to putting a 50mm lens on a full frame camera then looking at the same view with the same lens on an APS sized sensor camera. The image will appear to be magnified but the focal length has not changed. Camera manufactures confuse the issue by relating everything back to 35mm full fame standards."<br /> If any of the readers disagree with the above analysis I would appreciate a reply with the basis for a different analysis.</p>

<p>How do you set the content aware setting on the spot healing brush in CS5?</p>

<p>I have been testing the new content aware fill in Photoshop CS5 trial version. Most of my interest is to remove long spans of power lines from my landscape photos. Every attempt I have made so far fails with a message not enough data once the region around the power lines is selected and content aware fill is applied.<br>

Has anyone successfully applied content aware fill to such fine detail as a power line? Is there something I am missing? I currently use CS4. Content aware fill that worked for power lines is one of the primary reasons I would upgrade to CS5 in addition to be able to run Photoshop as 64 bit application on my Mac.</p>

<p>Is there any downside to upgrading from Leopard to Snow Leopard regarding the use of my Epson 3880 Pro printer? Snow Leopard is in version 10.6.3.</p>

<p>I am about to add to the memory of Mac Pro for use with the 64 bit version of Photoshop CS5 . Will i see a lot of difference in performance with 16 versus 32 GB of RAM. My computer has 2 Quad-Core Intel Xeon 2.8 GHz processors. My photos are captured with a Canon 5D Mark II 21mpx full frame camera.</p>

<p>I am using both the TSE 45mm & 90mm lens for landscape photography with the primary goal of increasing depth of field. While tilts are the primary tool to change the plane of focus, vertical shifts can help move the plane of sharp focus up or down so that the wedge of sharp focus is optimal for particular a particular landscape. This requires that the axes between the tilt and shift functions be parallel rather than perpendicular. I am about to have Canon reset the axes to parallel on both lenses.<br /> The only down side of the parallel is configuration would be that I could not shift left and right while tilting in the vertical plane. This capability is useful for panoramas and/or composting vertical compositions to achieve large files for very large prints. Since I have no interest in these two goals it appears there is no downside to have that axes on my lenses reset to parallel.<br /> I would value comments with those more familiar with the TSE lenses on the logic of my conclusions. Comments on considerations I have over looked would also be of interest.</p>

<p> I am considering purchasing a TSE 45mm lens for use with my 5DII camera. I am undecided whether to buy the current 45mm lens or wait for a type II 45mm version<br /><br>

My question relates to light fall off when shifting the lens. Reviews of the new Type II 24mm lens indicates that the larger image circle reduces light fall off. In the event anyone has observed light fall off with the 45mm lens was it easily corrected with vignette correction in the LR2 develop module or other software? Shifting the lens may produce asymmetric light fall off that is not easily corrected by software. Is the light fall for landscape subjects severe enough to wait for a type II lens that will cost almost twice as much?<br /></p>

<p><br /></p>

<p>Thanks for the responses. It is clear that this not a task to make in the field. Most of my tilt-shots will be with the axes perpendicular. The practical solution appears be spending a $1000 more when the 45mm TSE II is released in the future or excepting perpendicular axes only with the current less expensive model. This option is attractive when it possible to buy both the 45mm & 90mm current models for roughly the same price as a future 45mm type II lens. My bet is there that there will be an excellent resale market for the 45 & 90 TSE lens once they discountiued in favor of the Type II lenses. This might make it a no brainer to buy the current models gets lots of experience with them and see if I can justify the II models later.</p>

<p>I would like to learn the proper procedure to adjust the screws on my 45mm and 90mm TSE lens to change the angle between the tilt and shift axes from perpendicular to parallel and visa versa. I want to be able to do this in the field as opposed to send the lens to Canon to make the alteration. Put another way I want to be do right so I do not damage the lenses.</p>

<p>I am searching for a zoomable monocular with the equivalent of 24mm to 200mm full frame focal length equivalent. I would use this for previewing potential photographic subjects before selecting a lens from my back pack. Alternatively the zoom positions could be read out in angle of view I could prepare a calibration relating this to the full frame focal length equivalent. A wider focal length range would be acceptable. Ideally if such a monocular exists it would be light weight and suitable for a pocket or hanging around my neck.</p>

<p>I am searching for a zoomable monocular with equivalent of 24mm to 200mm full frame focal length equivalent. I would use this for previewing potential photographic subjects before selecting a lens from my back pack. Alternatively the zoom positions could be read out in angle of view I could prepare a calibration relating this to the full frame focal length equivalent. A wider focal length range would be acceptable. Ideally if such a monocular exists it would be light weight and suitable for a pocket or hanging around my neck.</p>

<p>What are the factors that would justify the expense of the TSE 24mm 3.5L II which has rotation capability simultaneous with shifts and possibly tilts versus the older TSE 24mm f3.5 which does not have? I exclusively shoot landscape photos. I am interested in both tilts for DOF control and shifts to change the field view and stitching 3 of these images both in horizontal and vertical format. Is it likely that Canon will continue to manufacturer the older TSE 24mm f3.5 lenses? I am still deciding whether my first tilt shift lens will be a 45mm or 90mm tilt shift lens. Are the reasons to wait for a possible release of these lens with the simultaneous shift and rotate feature? Are there other benefits of the "II" shift lenses that are relevant to landscape photography? My sole interest in tilt shift lenses is to improve the quality of my landscape photos as opposed to some of harsher perspectives that might be achieved that would render a landscape as a toy set.</p>

 

<p>I do all my Photoshop CS4 & Lightroom 2 on a 30" Mac HD Cinema monitor. I have one monitor setup. I about to purchase either a Wacom Intuos3 6"8" or 6"x11" graphics tablet. For purposes of using brush and selection tools in Photoshop is there a significant benefit of the 6"x11" tablet over the 6"x8"? Some reviews I have seen are indicate disadvantages of the larger tablet related to the need to use arm rather than hand strokes. Other reviews are more ambiguous on this matter.<br>

I would value comments of users who may have direct experience with the 6"8" and/or 6"11" tablets for photo editing.<br>

Joseph Henry<br>

Canaan Valley, WV</p>

 

Did you have problems with the suction cups on the i1 display 2 sticking to you LCD display?

I want to calibrate my Apple 30 HD Cinema Display. My Intel Mac is running Leopard OSX 10.5.

 

Which of the following two color calibration tools are better for monitor calibration: i1 display 2 or

ColorVision S3P100 Spyder3 pro? I have the impression that Apple uses the i1 display 2 to calibrate their

monitors before shipping.

 

I do all my printing from either Photoshop CS4 or Lightroom 2.

I plan to dry mount about 40 prints for museum show. The prints will be on Epson

Premium Luster paper and printed with an Epson 2200 printer.

 

The dry mount process involves a heat press using 180F temperature for about 5

minutes.

 

Does anyone have experience with this. Is there a chance of color changes or

deteriotation form the thermal exposure?

I have used this lens for month and am very impressed. I have done direct comparison shots with Nikon 80-200mm f2.8 and see little difference after correcting for distortion.

 

I have done test prints at 13"x19" and am hard pressed to see the differences between the 18-200 and 80-200 f2.8

 

I find the creative aspects of such a flexible focal length range far out ways the minute differences. Even better several of my clients cannot see the differences.

 

The only major problem with the lens is the very poor boken at close focus. I know when to anticpate this and use the 80-200f2.8 if the smooth tonal vairations of a lens with little boken effect will benefit my goal for the photo.

John's suggestion to chose let photoshop determine color instead of the printer in print with preview solved the problem. I also chose perceptual intent and no black point compensation in the print with preview.

I am getting drastically different colors in both print preview and

the final print with the identical photos printed from Photoshop CS2

and CS. The CS2 print preview and actual print has a strong magenta

cast compared to CS. Photos from Nikon D2X converted with Nikon

Capture and color corrected in either CS or CS2 have identical and

appropriate appearance on my monitor. When these images are printed

from CS they have identical color as the monitor. When the same photos

are printed from CS2 they have a strong magenta cast. I am using the

trail version of CS2. I want resolve this problem before I switch to CS2.

 

 

As far as I can tell the Photoshop color settings are identical in CS2

& CS. They are:

 

Custom, RGB 1998, CMYK: US Sheetfed coated v2, Gray Gama 1.8, dot gain

20%, Preserve embedded profiles, Engine Adobe (ACE), intent: relative

colorimetric, Black point compensation unchecked, Use dither checked.

Advanced controls unchecked.

 

I am printing with and Epson 2200. The printer profiles are visible in

both CS & CS2. When the trial version of CS2 was installed I chose the

option of using the same settings as the existing installation of

Photoshop CS.

 

I would like to hear from anyone who has similar experiences or anyone

who can suggest a fix.

I am interested in user experience on the quality of NEF file

conversion with Nikon Capture 4.2 vs Adobe Camera Raw 3.1. I using

the trial version of Nikon Capture 4.2 to convert the NEF files from

D2X. My principal concerns color quality of the converted NEF files.

 

I am aware that Adobe camera raw is much faster than the Nikon Capture

Photoshop plugin.

Infnity Photo in Brooklyn is selling the Nikon D2X for $4249. I would

be interested in reader input on the reliability of this provider.