james_martin9

<p>I think the first thing you have to realize is that no matter which way you go it will be a substantial improvement over the D70 in terms of high iso performance, speed and ergonomics. If low light, high iso performance is not a major concern, than there really is no reason to spend the extra money on the D700, especially when you have DX lenses. The only caveat is if you plan to shoot alot of wide stuff, than the FX format is 100% for you.<br>

I would not purchase a D300 when you can get a better performing camera in the D90 for less money and a D400 is probably about to come out.<br>

The D700 being replaced with a 24mp D800 is really irrelevant imo. I subscribe fully to the megapixel myth.<br>

I am in the same boat sort of. I shoot a D200 with a 17-55 2.8 and a 70-200 2.8. I am about to dump the 17-55 because it is a beast and buy some primes and trade the D200 for a D700 because I mostly shoot theatrical stuff.<br>

Good luck and enjoy India.</p>

Is this a good deal to use as bg or hair lights with either an Alien Bee or

Elinchrom?

Ok so I am going to ask the same question that has been asked about which

lights to buy with a twist. I have a local brick and mortar dealer who always

gives me a great deal on everything and I feel I owe him the loyalty of my

purchase. I am about to buy a one monolight with soft box set up and my options

from him are Elinchrom 400BX, or D Lite. Given the high price point of

Elnchrom, I can not get as much in terms of equipment as if I purchased Alien

Bees but not from my dealer. Is Elinchrom really much much better than AB? WHat

about photoflex or photogenic

I am not a Canon shooter but I do shot a tone of low light theatrical stuff with and without a flash. Without I bump my Nikon D200 to ISO 1600 which does introduce some noise but it is manageable. I also crank the exposure compensation +1 to +2 f2.8 1/100 to 1/125th depending on the lighting. ALso I try to use custom white balance

Yea..it was unavoidable in those photos because I was a spectator and bought the 50mm 1.4 as a walk around, but thought being so close, I could get some good shots.

Jeff, so I am guessing 2.8 is not considered "very fast" because I get no flare with it. I wonder if this is really about my lack of knowledge and experience. Does the longer focal length mean more or less flare or is flare even a function of focal length at all?

This is a follow up to my 50mm 1.4 question. I had very poor results under very

low ambient lighting with spot lights scattered throughout the scenes I was

shooting. The photos has alot of flare, ghosting and color fringing, as well as

what looked like halos around some of the people in the scenes. First, I admit

the lighting was very poor, but I have shot the same types of scene with my 70-

200 2.8VR with none of those issues. Some have said that is an inherent trait

to super fast lenses wide open and other say I might have a bad copy.

Regardless, I am taking it back and possibly trading for an 85 1.8 because that

suits my shooting better. Will this lens exhibit similar behavior wide open in

very contrasty type situation between focused bright lights and dark rooms.

Also this one

Is sever flair, ghosting and softness common shooting at 1.4? I just bought

this lens and am thus far disappointed, but maybe I do not know how to properly

use it.<div></div>

I have a room that is 10 x 10 with an 8' ceiling. Is this big enough for some

single light or even two light headshot or 2/3 stuff? I want to keep this

simple wnd watching a photo shoot with Sheryl Crow was done in a small room.

Well I have always thought of primes very differently than zooms, but I did some reading that suggested the 85mm and the 70-200 would essentially overlap. I was trying to fetter some responses to this and you provided me with a very good one.

I would find a local camera shop to make you a deal on a D300 and a warranty. My local camera guy is excellent about honoring warranties and repairs.

Well, I am a fabulous walir..lol. Sorry about that I was typing in haste. I also own the 70-200 2.8 VR and it is my favorite lens, so that range is covered. In fact, I see mixed messaged about the 85mm 1.8 duplicating the 70-200 2.8 since there is only a 1 stop difference.

So this is an extension of my previous question. I have enough money to

purchase 1 of 3 options. I can purchase a 17-55 2.8 to add to my Sigma 10-20

and 70-200 VR. I can purchase a 28-70 2.8 to add to the same collection,

provided I can find one before the 24-70 comes out, or I can buy an 18-200VR,

50 1.4 and 85 1.8. 3 lenses instead of 1 2 of which are prime seems to be a

good choice, but then again they are single focal length primes not good for

waling around. Just some more thoughts if you please.

I have a 70-200 2.8 vr, a Tamron 28-75 2.8 and a Sigma 10-20. I am thinking of

trading the Tamron for the 18-200 VR and a portrait lens. I cannot afford the

85 1.4 but am thinking of either the 50 1.4 or the 85 1.8 Is the 85 1.8

duplicate of the 70-200 2.8? It is less than 1 stop so will I see much

difference? Also trading the Tamron for the 18-200 good or bad idea. I know the

18-200 duplicate the 70-200, but I want it for one lens travel, but dont want

to get an inferior lens either.

For learning purposes, what is the benefit of a ring flash versus on camera or monolights?

I feel as though the next step for me is some form of formal training. I really

want to move in the direction of fashion photography. Would something like the

NYI be good, go back to school for a BFA or intern with a photographer?

I need some help with curves I think

I know this is silly, but I really like the look of his images. Not so much to

pose or the makeup, but the crisp clean almost white to slightly overexposed

look. Can someone please tell me how he achieves this look or at least a

direction to experiment in.

 

http://www.headshot-photography.com/index.htm

I have a 2 part question that I am sure has been asked before. First, I am

wanting to purchase an inexpensive introductory studio set. I want strobes as

opposed to hot lights, with soft boxes. I am considering Elinchrome or Aline

Bees. Second, I have not used this type of equipment so I am not familiar with

the operation of such. How are these lights set for shooting? Obviously they

are not like my Nikon i-ttl SB800, so how does a general set up of studio

lighting work? Any thoughts would be appreciated.

Belive it or not, the free program Picasa from Google is excellent for dowloading, cataloging and simple editing. Try it for free.

This is an excellent test. I fully appreciate people who take the time to post tests such as these for all to see.

I am thinking of purchasing the camera for a travel sidekick to my D200 kit.

Can anyone tell me about this camera, and how does it do in low light high iso?

I have one and love it.

Based on some research, it seems that for long telephoto shooting in low light,

an APS size sensor might be better than full frame. I do mostly low light long

range stuff in dance halls and theatres where I am usually maxed out on a

telephoto. ANy thoughts.