geoffs1

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<p>If you have a CS2 license, Adobe released an update when they shut down the license servers a couple of years ago.<br> You can get the latest version: https://www.adobe.com/cfusion/entitlement/index.cfm?loc=en&e=cs2_downloads</p>

<p>Just a comment about the polarizer: I don't use one for the simple reason that I want the reflections off the water.</p>

<p>Another "skip 645" suggestion: since you're looking for the big-format experience, why not get an inexpensive 4x5 view camera? Film cost is similar, and in BW you can play with the full Zone-System per-shot exposure and development process.</p>

<p>Another <strong>strong</strong> endorsement of the Canon 100-400mm IS.<br />The major reason I switched from Nikon to Canon 10 years ago was because of this lens.<br> I would guess that the vast majority of my photos are taken with the 100-400mm.<br> It's not perfect, but stopped down to around f/8 it is very sharp. The size and weight are manageable.</p> <p>Used prices for the first version seem to be around $700 so it's not too expensive.<br> An alternative these days would be one of the 150-600mm Tamron or Sigma lenses (although they are in the $1000+ range).</p>

<p>A good way to get close to sailboats is to ask to go out on the race-committee boat at a local sailing club.<br> They are usually happy to have a photographer along.</p>

<p>Scott,<br /> Probably the most important technical element to getting sharp photos like this is a high shutter speed.<br /> Luckily with boats you're (generally) not trying to get any motion blurring to show speed (like you do with the wheels on cars or the propellers on airplanes). With enough light you can usually use 1/500s and shorter shutter speeds.<br /> Even with good light I'll often bump up the ISO from its lowest setting in order to get a short enough shutter speed. For example, the photo above was taken with 1/800s and ISO 200. The higher ISO let me keep the lens stopped down into its "sweet spot" for sharpness (around f/8).<br /> Image stabilization will also help. In addition to sharpening the photos it also helps with framing and autofocus by steadying the image in the viewfinder.<br /> I always shoot bursts at the highest frame-rate my camera allows. As one of my colleagues once said, "there's always a sharpest frame in a burst". It's not a panacea, but it can help when you're forced to shoot at slower than desired shutter speeds.<br /> Cheers,<br />Geoff S.</p>

<p>My $0.02.<br /> <br />An 8MP camera is OK. I still use my old 20D occasionally; a 40D would be much better (I almost cried when mine died a couple of years ago...).<br /> For racing and the like you will want a longer lens.<br /> My "go to" combination are the 100-400mm and 70-200mm.<br /> On a budget the 70-300mm IS would be good.<br> The EXIF says the photo below was taken at 180mm.<br> A good driver on the photo-boat is crucial.<br /> http://moving-target-photos.com/CRAW/2013MadTown/album/index.html<br /> <img src="http://moving-target-photos.com/CRAW/2013MadTown/album/IMG_5469_screen.jpg" alt="" width="900" height="600" /></p> <p> </p>

<p><strong>BTW, don't use "bulb" or a long exposure to open the shutter.</strong><br> There is a "Sensor Cleaning" mode that will open the shutter but not energize the sensor (which can cause it to attract dust via an electrostatic charge):<br> <img src="http://4.static.img-dpreview.com/files/p/articles/1699571491/Images/captures/1000D_tools2.jpeg" alt="" width="240" height="180" /></p>

<p>I've always used plastic-bag style rain covers: http://www.bhphotovideo.com/c/buy/Rain-Capes-Covers-Slickers/ci/3313/N/4075788778</p>

Lots of tricycle photos at: http://moving-target-photos.com/2016-NABSA-NAs/<div></div>

<ul> <li>http://www.adobe.com/digitalimag/pdfs/understanding_digitalrawcapture.pdf</li> <li>https://www.adobe.com/digitalimag/pdfs/linear_gamma.pdf</li> <li>"Real World Camera Raw" by Bruce Fraser and Jeff Schewe</li> <li>"Real World Image Sharpening" by Bruce Fraser</li> <li>"Real World Color Management" by Bruce Fraser, et al. (I can't remember all the authors).</li> </ul> <p>These there articles and books were instrumental in helping me understand the characteristics of digital imaging so I could use my camera and post-processing tools to get the results I wanted.</p>

<p>I think the third paragraph pretty much tells the tale (emphasis is mine):</p> <blockquote> <p>Brooklyn is the second Beckham child to work with Burberry after his younger brother Romeo’s role in the label’s Christmas advert, <strong>which attracted 11m views within 48 hours of launching.</strong></p> </blockquote>

<p>Nice day to fly to Oshkosh...</p><div></div>

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<p>I love my Sigma 8-16mm.<br> It gets used almost all the time at 8mm:<br> <img src="http://moving-target-photos.com/2011Oshkosh/IMG_6694_650h.jpg" alt="" width="433" height="650" /></p>

<p>Having the lens near the end of the case lets you get some dramatic low shots...</p><div></div>

<p>I like it.<br> I don't use any of the "cloud" features, just the licensing.<br> So far, no problems even when I've been off the Internet for extended periods.</p>

<p>I haven't posted in sports for some time...<br> Here's a shot from last spring.<br> Sunset blokart land-sailing on Ivanpah dry lake:<br> <img src="http://moving-target-photos.com/misc/blokart_sunset_700.jpg" alt="" width="700" height="466" /></p>

<p>I'll bet BDC Camera could help you: http://bdccamerarepair.com/index.html</p>

<p>A multiple-exposure HDR-style process might work well.<br> One exposure for the scene and one exposure for the flame luminance.</p>

<p>FWIW, I wasn't "forced" into video - it seemed a natural extension of the kind of shooting I do...</p> <p>The effort it takes to do video over stills is amazing.</p> <p>For example, <a href=" video of landsailing in California</a> took five cameras, months of experimentation designing mounts (many of which didn't get used for this shoot), and half an hour getting everything mounted.<br /><br />I had about 50 GB of raw video to go through (that's watching about 5 hours of raw footage looking for interesting segments). Editing took another ~10 hours.<br> That's all for a rather mediocre little "rock video" short.</p> <p>In comparison, to make this photo (which I like <strong>a lot</strong> better than the video) I grabbed my camera from the car, walked out on the playa for about an hour in the middle of people sailing and took about 8 GB of raw photos.<br> Editing took a few minutes (maybe 15 to get the backlight in the dust the way I wanted it).<br> <a href="https://www.facebook.com/media/set/?set=a.1079937965355749.1073741850.161620673854154&type=3">More shots in this album</a><br> <img src="http://moving-target-photos.com/misc/blokart_sunset_700.jpg" alt="" /></p>

<p>Shutter speed:</p> <ul> <li>1/250-1/320 for slow-turning prop planes (ex. warbirds)</li> <li>1/500 for fast-turning props (small aerobatic planes)</li> <li>As fast as you can get for jets</li> </ul> <p>I usually bump the ISO up 2X for jets to get a bit faster shutter speed. I figure I have a chance to reduce the noise, but "motion-blur is forever".<br> I usually chimp a few frames after every pass to make sure the shutter-speed looks good.<br> Slower shutter-speeds can make the prop more dramatic. "Full disk" is a goal for many aviation photographers. Watch out that you don't try that on a gray day or you can blur the prop so it disappears (see photos below).</p> <p>300mm will probably be a bit short for most single-ship acts, so I'd go with the higher resolution D3200 to make cropping a bit less painful.</p> <p>Shoot bursts of shots with servo-focus.<br> I always hand-hold (even my 500mm f/4).<br />Some of my colleagues use a tripod or monopod, but they are in the minority.</p> <p>Here is a pair of photos showing "full disk" and "almost gone" prop-blur:<br> <img src="http://moving-target-photos.com/misc/FullDisk.jpg" alt="" width="700" height="429" /><br> <img src="http://moving-target-photos.com/misc/LessBlur.jpg" alt="" width="700" height="417" /></p>

<p>I was fortunate to study film-making earlier in my career, so the transition was more about learning how the latest technology behaves (luckily I remembered the "lessons learned" from my still-photography film->digital transition).</p> <p>I did have to re-learn the need to tell a cohesive "story" in my videos. With still-photography it's more about capturing a moment; film-making is more about the sequence and relationship between shots.</p> <p>After that it was mostly finding the right tools for my work. I haven't found the perfect tool-set but I'm learning...<br> Some examples of mine are at:</p> <ul> <li> <li> </ul>