sking

<p>Friends,<br>

I recently acquired an Olympus OM4T and the official instruction book (four language). <br>

I notice what appears to be a red light located on the top deck between the shutter release and the hilight button. The light doesn't light up when I take a spot meter reading or multiple spot readings, or so it seems.<br>

What is the purpose of the light and how does it function?<br>

Thanks.<br>

Steven King</p>

<p>Are you thinking of Chuck Westfall?</p>

<p>steven</p>

<p>Mike,<br>

<br />I shoot with a 35-70mm f 2.8 D AF on a DX body. Instead of the HN-22 or an HB-1, which are the recommended hood for the lens, I use an HN-24 or HN-25 with no vignetting or any other problem. More shade with no downside.<br>

<br />Regards, Steven</p>

<p>Recently I purchased a Nikon D2h, but I did not keep it long because the level of noise, especially compared to my D200s, was horrible. How does the noise of a D2x compare to the D200?<br>

Steven King</p>

<p>Steve,<br>

<br />I am a full-time newspaper photographer, and I use both a 1D MkII and a 40D. I prefer the 40D primarily because of the weight and size advantage. It will pretty well match up to the 1D MkII in performance where it counts. In my experience the 1D MkII's advantages are focusing speed and durability. But, the 40D is pretty tough and nearly as fast to use. Plus, the ergonomics of the 40D are much better, in my estimation.<br>

I urge you to get the 40D. You'll really appreciate having the same battery in both cameras (only needing one backup instead of two) and cameras that handle identically.<br>

<br />Good luck on your choice.<br>

Steven King</p>

<p>Wiliam,<br>

I second the recommendation of any of Karsh's books. The examples are traditional lighting techniques that are still the basics for portraiture. In addition, if you can find them, the videos from Dean Collins (I think they were produced by Finelight) teach the basics very simply and directly. Another resource I found invaluable when I was learning portraiture are the Kodak portrait books from the 1970s. They taught the styles of lighting that are most common, such as short lighting, broad lighting, Rembrandt lighting, loop lighting, and all the rest. Even better, those books taught when to use each style of lighting and how to sculpt (or hide) the face by lighting.<br>

<br />Good luck with the venture.<br>

<br />Steven</p>

<p>Will,<br>

<br />I live in Arizona and I have photographed the canyon several times from both rims. I don't recommend the North Rim unless you have a lot of time. It takes about an extra 7-8 hours to get to the North Rim from the South Rim — and most of that is driving through undeveloped country, which means no gas stations, no restaurants, etc. When you get to the North Rim, it is relatively undeveloped compared to the South Rim. There is a lodge at the rim, but little else.<br>

The North Rim is also a couple of thousand feet higher in elevation, so the look of the canyon is quite different. Lots of aspen, juniper, pine and oak in the area.<br>

The South Rim, as has been mentioned, is more crowded because it is more accessible. But most of the tourists won't be roaming the canyon during prime shooting time: from the hour before until the hour after sunrise/sunset.<br>

The final suggestion is to take a lot of water and hydrate regularly. The combined effect of summertime temperatures and elevation means low humidity (in the 15% range) and rapid water loss. Drink before you're thirsty.<br>

<br />Most of all, enjoy the experience of the awe-inspiring vistas and nature's wonder. The canyon is a photographer's paradise.<br>

Best of luck.<br>

Steven</p>

<p>Geoff,<br>

I have owned and used all three of the 50s you mentioned: the 1.4, the 1.8 and the 2.5. I liked all of them, but the one I kept in the end was the 2.5. The 1.4 version was a little soft between 1.4 and 2.8, so what is the point of keeping it? The 1.8 was sharp and contrasty, but it broke when taking a hit straight on. Cheap enough to replace, but I decided that the 2.5 was the sharpest and best lens of the lot. On film, the 2.5 might be considered too slow to use indoors, but with digital, the ISO can be raised a little to compensate. I think of the 50s, the 2.5 is the best of the lot.<br>

By the way, I use my gear every day as I work full-time as a newspaper photographer on a daily. My gear gets used a lot!<br>

Regards,<br>

Steven</p>

<p>Dan,<br>

I shoot high school basketball at two different high schools each week for a local daily newspaper. I use a 7D and either a 50mm f/1.8 or an 85mm f/1.8. Because of motion on the floor, I never use a shutter speed less than 1/250 second. I set the ISO to whatever speed that will allow me to shoot at either f/2 or f/2.5. It's not like shooting the Phoenix Suns at the U.S. Airways Arena, for sure! But it will get you by.<br>

I don't use zooms, because they are too limiting to me when I shoot from under the basket. Besides, they are generally far too slow for shooting in high school gyms.<br>

As for flash, if you're shooting from the floor, the referees will NOT allow you to use a flash at AIA games (those in the high school conference), so you are pretty well limited to available light only.<br>

My last advice is to shoot a lot. For a typical half of high school basketball, I will shoot approximately 250 frames. You can edit later, so don't chimp or you'll miss the layup!<br>

Good luck on your outing.<br>

Steven</p>

<p>Sorry,<br>

I meant a 7D in my previous post.<br>

Steven</p>

<p>Mark,<br>

The 1D Mark IIn and its derivatives are the workhorses of newspaper photography across the country. Why? Primarily because they are terrific cameras for shooting sports. There are newer and brighter toys (I like a 70D too), but a Mk IIn is the sports photographers' industry standard.<br>

Steven</p>

<p>Wayne,<br>

Sam Abell, a long time National Geographic photographer, shoots primarily with a 28mm lens and a 90mm lens as his second most-used optic.<br>

Check out his work in A Photographer's Life.<br>

Steven</p>

<p>Greg,<br>

Amateurs fixate over their gear. Pros just use whatever gets the job done. I shoot for a newspaper, and I carry Canon gear, Nikon gear, and even occasionally Leica gear. (And it's <em>my</em> gear, not the paper's. I paid for all of it.) I use the tools that are appropriate to the assignment and the gears' capabilities. Each manufacturer has its strengths and its limitations in its product line. There is no "one size fits all" solution. Anyone who says there is is selling something or not paying attention.<br>

So, you now have Nikon cameras and lenses, and a Canon camera and lens. So what? Only the gear snobs will really care.<br>

When John Updike or Patricia Cornwell publish a novel, no one asks, "So Patty, what word processor did you use?" That would be crazy. The final novel — or in our case, the image — is what matters.<br>

When HCB commented, "I am not concerned with the technology of the photograph," he was right on. It's the image that matters. A bad picture taken with a Nikon D3s or a Canon 1DMkIV is still a bad picture. The gear doesn't make the photo legitimate.<br>

Enjoy your T3, and happy snaps.<br>

Steven</p>

<p> </p>

<p>Kimberly,<br>

I'm sure others will chime in, but I suggest putting your camera in the green zone where the camera makes all the decisions. This is not the time to try to learn the technology of photography. If you're not familiar with when to use what settings on your camera, a once-in-a-lifetime event is the not place to experiment.<br>

Your camera is very smart, and it will make decisions that will ensure viable pictures within the limits of your gear.<br>

Now, I'm sure others will respond with other technical suggestions and gear you "should buy or rent," but given the gear you have and the opportunity before you, go with what works automatically.<br>

Best of luck at the Glow.<br>

Steven</p>

<p>Bob,<br>

A wide that has a sterling reputation is the Nikon 28mm f/2.8 AIS. Mine, which I shoot with an F3 from time to time, is sharp and has no distortion. A bonus is that it has close-range-correction and focuses to about seven inches!<br>

Steven</p>

<p>Edo,<br>

According to the Canon 40d manual, the spot meter measures approximately 3.8% of the viewfinder area, primarily around the center focusing point. You can find this on page 92 and page 183 of the manual. The manual does not mention, however, a viewing angle – just the percentage.<br>

Steven</p>

<p>Harry,<br /> I have found the best soft-focus effect is created by using a homemade soft-focus filter. I simply take a UV filter and paint the outer two-thirds of the glass with clear fingernail polish. The effectiveness of the filter varies with the f/stop. The wider the lens aperture, the more the soft-focus effect; the smaller the aperture, the less effect. I have attached a sample made with the filter.<br /> Steven</p><div></div>

<p>Simon,<br>

I work for a daily newspaper, and I shoot with a 1D Mk II all day long. It is designed more for journalism and sports shooting, as demonstrated by the 8-frames-per-second motordrive. On the other hand, the 1Ds is designed for maximum pixel density and is full-frame. It is NOT intended for fast action, as it shoots at only 3-frames-per-second. For the use you described, the 1Ds is the appropriate choice.<br>

Steven</p>

<p>Thank you, Gil.</p>

<p>I recently acquired a Nikon S2 with a 50mm f/2 lens. Can anyone tell me the filter size for such a lens?<br>

Thank you<br>

Steven</p>

<p>Nathan,<br>

I use a pair of 1D MkIIs every day and I have used them for more than five years. I shoot for a daily newspaper and cover everything from spot news to sports.<br>

The vertical release is positioned such that when I hold the camera normally, the flesh of my hand near the little finger will set off the vertical release. So, I've just learned to lock the vertical release off unless I need it.<br>

As to its sensitivity, I don't think there's a problem — at least, there never has been with the two MkIIs I use. Most of the complaints or criticisms on the internet are picayune gnats that don't have any weight in the real world of taking pictures. I'm convinced most internet critics are not shooters, only criticizers.<br>

Enjoy your Mk II. It's an awesome machine and nearly indestructible.<br>

Steven King</p>

<p>Why?<br>

While it doesn't turn heads and impress people with how much money you can afford to spend, the 18-55 is a very good lens. Rather than invest your money in a replacement for a perfectly usable lens, why not invest instead in a 50mm or a telephoto zoom? They would add to your arsenal rather than simply replace it.<br>

I am a working full-time pro. I never add a piece of gear until I can articulate what the new item will do that I currently cannot accomplish.<br>

Then, instead of collecting cameras and gear, I have can collect memories and photos of the places I've visited.<br>

Good shooting.<br>

Steven</p>

<p>Lauren,<br>

I'm sure you're familiar with the sunny f/16 rule. The moon has a similar exposure guideline, the lunar f/11 rule. That means that your exposure should be 1/ISO at f/11 to get a proper exposure. Because of your lens combination with the TC, you should be using a shutter speed of 1/1000 or so to get sharp pictures.<br>

The focus of the lens should be easy. Set the focus distance to infinity and shoot away. If your pictures are still blurry, it probably has to do with the optical limitations of the long lens plus the compromises made by using the teleconverter.<br>

Good luck trying again.<br>

Steven</p>

<p>Erik,<br>

I shoot for a daily newspaper. When I shoot the Arizona Diamondbacks, I use a 300mm f/2.8 and a 70-200mm f/2.8 to get the shots. And that's in major league lighting! The 100-400mm lens has a reputation of being slow to focus in the first place, and it will be too slow (as per aperture) for the shutter speed necessary (1/250th of a second as a minimum).<br>

I will bet that in minor league venues the lighting is dimmer and the lens speed will be even more of a problem.<br>

There are simply no cheap workarounds, I'm afraid.<br>

Steven</p>

<p>John,<br>

Your best bet might be to shoot the pix at night. During the daylight hours, reflections will be a bear.<br>

Steven</p>