gustavo_xavier

<p>Bingo!<br /> I'm using an EIZO monitor plugged to an iMac. On EIZO I open my images using Photoshop. The EIZO is profiled. On Lightroom I export my images and open it on Photoshop. The images are viewed on EIZO, but since Photoshop menu is on iMac monitor, and the iMac monitor wasn't profiled, the system showed different images. I had to profile the iMac monitor as well as the EIZO monitor. That's the tip.</p>

<p>I'm using Lightroom 2.5 and Photoshop CS4. After ajusting the image in Lightroom I export the image and open it on Photoshop CS4. The colors in Photoshop don't match the colors in Lightroom. The image looks darker too. I tried to export in different formats like TIFF and PSD, 8 and 16 bits and the same problem occurs. I'm using ProPhoto in Photoshop.<br>

Thanks!</p>

<p>Hummmm... I'm using a monitor plugged to the iMac. It's not a computer plugged to another computer. I don't know what will happen if you plugged an iMac to a MacPro.</p>

<p>I've just found the solution: go to Window > Application Frame , drag the application frame to the right monitor and maximize it. It couldn't be easier. Thanks, folks!</p>

<p>Hi,<br>

I work with two monitors together, one iMac at the right and one EIZO at the left. Of course, the EIZO is plugged to the iMac. I use the iMac display to show all the toolbars, Actions, Layers, etc, and the EIZO to show the image at 100 or 200%. The EIZO is calibrated.<br /> Using Photoshop CS3, or version 10.0, there was no problem. Everytime when I opened a image, it was showed by the EIZO. Then, I closed the image and the next image was showed by the same way. Now I'm using Photoshop CS4 and I have a problem: everytime when I opened a image it goes to the iMac display. Then I have to drag it to the EIZO to work with it. I've already saved the workspace as I want it. But closing the image and opening another one the same problem happens. I want to open the images everytime on the EIZO.<br>

Suggestions? Thanks!</p>

 

<p>I've been using my 1DsMarkII for five years. I'm one of the first who has tried it. Before buying, I talked to a lot of people. I was absolutly in the same point than you, Luis. A lot of people voted in 4x5 format and a lot of people went to digital.<br>

I needed equipament to shoot architecture and interiors and my clients wanted a lot of good images of each buiding or project. So, digital was the best option for me because it's much faster and cheaper. And the image quality is good to my clients (architects, interior designers and good magazines, including the well-known Vogue).<br>

So, I think it depends on your business. A 4x5 camera is a very nice tool for a lot of type of photography, and the FF digital is a very nice tool for a lot of type of photography. There are a lot of photographers that do a single shot a day and this shot is a fortune. It's OK to them. But there's a lot of folks that have to do 500 shots a day. Who are you? There are tools and there are people.</p>

<p>As someone told you before, the 1Ds Mark II is weather sealed. I had been using mine for 4 years and it's good. But it's a brick. When travelling I suffer to carry it with me. On the other side the 5D is nice to carry with you, it's light. It has tech improvements over the 1Ds II, but is not weather sealed. You better go to a store and do a test drive.</p>

<p>Hi Chris.<br /> I'm a brazilian photographer and I live in Brazil.<br /> For sure, there's no limit of how many cameras the brazilian's custom will let you bring in here. But, if they think you're bringing the cameras to sell in Brazil, they can take them. How can you prove the cameras are for personal use? You must show signs of use. Don't bring cameras and lenses manuals, box, etc. You have to bring them in your used bag. For more information, ask the brazilian's custom if you have to declare the equipament.<br /> The brazilian's X-rays are absolutely the same of yours. You can run through them, don't worry. If you want, you can ask for a hand check but since you have a lot of equipament in bags they must pass by the X-ray machine.<br /> And yes, the inter-Brazilian flights usually do the X-ray routine.<br /> If you want more information about places to go, feel free to ask me. I'll be happy in helping you.<br /> Have a wonderful trip.</p>

Armando,

could you please post an image done by the Zeiss lens? I did a search on Ebay, B&H, KEH and other and didn't find that

lens.

Steve,

I always use a 20mm and a 24 TSE on a huge Manfroto tripod. I always use mirror lockup too. The camera is always

well fixed. Shooting dark interiors requires long exposures. I'll put some shots in my portfolio, but the problem is

happening when the photos are published in magazines.

 

Scott,

I'll post there.

 

Thanks.<div></div>

I've got a 1Ds2 and I'm not very satisfied with sharpening and noise.

 

I've been shooting at ISO 100, in RAW, using Lightroom 1.3 where I do corrections and apply noise redution. Then I export TIF files to

Photoshop, use Photokit Sharpenner (capture sharpening). After all the corretions I use Output Sharpening from Photokit Sharpener and

save the files as JPEG.

 

I'd like tp know what you've been doing to sharpen and reduce noise from Canon bodies.

 

Thanks.

I've done some test with black papers and I think it's not lens problem. The flare is being created by lights that can't be blocked by the dedicated lens hood. I shoot interiors and it always have a lot of light sources in all directions. As some guys suggested, I need "closers" lens hood to use with this medium format lenses on a 35mm camera, instead of using the dedicated lens hoods.

 

Have you ever used the Lindahl or Lee Shades attatched to this lenses?

 

BTW, Happy New Year everyone!

 

Thanks.

I've been using my 1Ds2 with my PENTAX 645 lenses by using a ZORK adaptor. I have to be careful about flare using this setup. But it works on most situations.

 

Do a search and you'll find it.

I'm gonna do some tests with the adaptor in different positions, using narrow black paper hoods, differents apertures, and I'll show you as soon as possible.

 

Could it be a lens's coating flaw?

 

Thank you again.

The flare happens always in the center of the image, appearing as a white area.

The second.<div></div>

The 2 photos again.<div></div>

Another image showing the same problem. I don't use any filters.<div></div>

I?m sending you an example of this flare.<div></div>

Godfrey,

 

In this case I must find a "closer" hood for each lens. Have you ever use the Lindahl Shades or the Lee Shades?

 

Thanks!

Yes, Godfrey. I've been using all this lenses with the PENTAX hoods.

I've been using a 35mm, a 55mm, a 75mm and a 120mm PENTAX 645 lenses on my

Canon 1Ds2 35mm digital camera, using a ZORK Adaptor.

 

The main problem is the very large flare that I've got using this combination.

I have to be very careful with any light source beside or in front of the

lenses. When the light is beside to the camera it's easy to solve the problem

by blocking the light. But when it's in front of the camera, a window i.e,

it's impossible to cut it off.

 

Is it normal? How are the results using this lenses on a PENTAX 645 body?

I've been using a 35mm, a 55mm, a 75mm and a 120mm PENTAX 645 lenses on my Canon 1Ds2 35mm digital camera, using a ZORK Adaptor. The aperture must be changed manually, off course.

 

No problems with the adaptor. The main problem is the large flare that you get using this combination. You have to be very careful with any light source beside or in front of the lenses. When the light is beside to the camera it's easy to solve the problem, but when it's in front of the camera, a window i.e, you get a large flare and it's almost impossible to cut it off.

 

I'd like to listen if other users have the same problem. Maybe my lenses are uncoated.

Hi everyone.

 

I have got a L-bracket from Really Right Stuff to use attatched to my

ZORK PSA.

 

Using this system I?m able to attatch the L-bracket to my Manfrotto

plate only by the longer side of the L-bracket using a 1/4-20? screw.

But there?s no screw option on the shorter side of the L-bracket. And

that?s the problem. To do all movements I must mount the L-bracket to

my Manfrotto plate by the shorter side of the L-bracket who have a

Arca-Swiss type mount.

 

Could I mount a Arca-Swiss clamp to the Manfrotto plate (by the 1/4-

20?) and then mount this clamp to the L-bracket? Is it possible? Have

anyone done this already?

 

Thanks,

Gustavo.

Thank you, folks. I will ask you the same for the 150mm and 120mm. Have you had any experiences?

 

What about 120mm-FA MACRO? Is it better than 120mm-A?

 

Thank you again!