douglas_coon1

<p>I had the same problem you've described, D750 with Lexar cards. The strange part was that it started happening with alarming frequency six months after I bought the camera and cards. I did some looking online and the suggestion was a problem with the Lexar cards with some Nikon bodies. I switch to Sandisk cards and haven't had the problem since.</p>

<p>Robert, I wasn't suggesting with my earlier response that you should keep the lens or return it, that's up to you. I have three of the first generation AF-S zooms, the 28-70, 17-35 and 80-200 and all squeak from time to time, but the AF still works. Thinking back, I've actually had them longer than 10 years. Given your needs, the 24-70 may be your ideal choice. I've found that it focuses faster and is less prone to flaring than the 28-70 but it isn't exactly cheap.</p>

<p>I have a 28-70 I've used for about 10 years and it's squeaked for 9 1/2. While the squeak is annoying the AF works fine, I've read many have had the AF fail but in my case the squeak doesn't equate to AF failure.</p>

<p>I have the AF-D version that I purchased when I was shooting film. On a film camera it was pretty good but on a full frame digital it's extremely soft in the corners. I actually like the look of it for certain situations but it wouldn't be my first choice for landscapes. I'd rent one and see if it works for you.</p>

<p>I'm assuming that you did a print head check. I'd try doing another print using the profile for Epson's fiber paper to check if it's a profile problem. When I was printing this paper on a 3800 I used to have problems with head strikes even with the platten gap set to the widest setting</p>

<p>My D700 would occasionally lock up but not in the way you have described. It would simply freeze, the white lcd and focus points all lighting up didn't happen. The fix was the same, remove and reinstall the battery. Since I've upgraded the firmware I haven't had a lockup.</p>

<p>I use a netbook for storing images as a second backup, I have an old hyperdrive that I use as my primary backup. It works fine for that purpose, I wouldn't attempt to edit using it.</p>

<p>I will actually buy a cheapo UV filter for my lenses. I leave the lens cap attached and screw it off and on when shooting. I'm old enough to remember the metal lens caps that worked that way. I'm amazed how much crap ends up on the filter with the clip on front cap attached. I'd rather have it have that on the filter that I remove when shooting then on the front element of my lens.</p>

<p>I have the same thing happen on my D700. It happens rarely and removing and reinserting the battery frees it up, I'm hoping that Nikon's fix will also work on a D700</p>

<p>I had that happen a couple of times with my FM2. What work for me was to use a coin on the motor drive connection on the bottom of the camera. Wiggle the coin in the slot of the connection while gently trying to advance the lever. </p>

<p>When editing my NEF files in ACR from bridge the open image button will launch Photoshop but the image itself doesn't open. This only happens when I access ACR from Bridge, when opening ACR directly from Photoshop the open image function works fine, has anyone else experienced this? I'm running OSX 10.6.4, CS5, ACR 6.1.<br>

Thanks,<br>

Douglas</p>

<p>I agree with the above posts that the scene has too large a range to capture with Velvia and the suggestions regarding split ND filters. One other suggestion regarding exposing slide film in general is to bracket your exposures. Shoot one at normal exposure and one over-exposed 1 EV and one under 1 EV. You'll be burning up a lot in film and processing for a while but eventually you'll get a feel as to how to expose Velvia and what sort of scenes lend itself to the image characteristics of that film.</p>

<p>I've had the same problem, I think that it has to do with the way the Ilford curls. I've had some success by placing several sheet in a dry mount press with the heat off, I've read others have put sheets in the freezer. Gold Fiber curls in an opposite direction of any other paper I've used. I haven't had the same issue with the epson fiber, but it's much more expensive. I'm going to try this paper: http://www.luminous-landscape.com/reviews/printers/tale.shtml seems like it may be a good alternative to the Ilford.</p>

 

<p>John, How do you have your camera set? Jpeg or RAW, if your shooting jpeg what color space are you shooting in srgb or adobe rgb?</p>

<p>You have a couple of options, one is to create a profile for your camera and apply that to your images, read this: http://labs.adobe.com/wiki/index.php/DNG_Profiles:Editor. The other option is to set Lightroom's adjustment sliders to your liking and save those settings as a preset. You have the option of applying presets when you import images into Lightroom</p>

<p>I agree that most photo apps I've seen are fairly useless, but given the lack of depth of field guides on modern lenses I find the depth calculator helpful. Also knowing sunrise, sunset and moonrise and set no matter where you are is nice, I realize that are other ways of doing these things but for 3 bucks it seemed to handy tool.</p>

<p>If you have a 3G iphone you may find this interesting,http://www.adairsystems.com/photocalc/ the depth of field and sun, moon calculator are very handy.</p>

<p>I will be traveling in Ireland for two weeks with a rental car, I've done some location scouting online and in travel guides but I'm interested in opinions of those who have traveled there from a photography perspective. I'm interested in landscapes, ruins, and interesting villages.<br>

Thanks, Douglas</p>

<p>Most theater lights are 3200K so I set my white balance to that temp, if you can get the lighting director to agree, have him light the stage with lights without gels, they usually will have those lights on a seperate bank, shoot a grey card of some sort under that lighting ( I use a whibal card ) assuming your shooting RAW you can set all the images of the performance based on the temp from the grey card shot. The color casts from the gels are used as a part of the production so I try to capture the scene as the director intended.</p>

<p>I noticed the link I provided above takes you to the sites home page, to find the tripod collar section click on the lenses link on the left side of the page, when the next page loads scroll tword the bottom of the page the link to the tripod collar section is there.</p>

<p>This article http://www.naturfotograf.com/index2_PC.html offers a good evaluation of Nikon tripod collars. </p>

<p>I'm on a mac but Photomechanic should do the trick, there's a windows version.</p>

<p>The white balance card I use is about the size of a business card, filling the frame with it would be difficult at best. A 8x10 card would make setting the white balance possible but be a pain to carry around. I've also found that for some shots, interiors for instance, with mixed light sources, taking several reference shots around the space allows me to blend the image in layers with various areas having different color temps.<br>

I have set the white balance in camera, when I was shooting more jpegs in pre ACR days, but now I find setting the color temp post exposure works better for me. I do set the white balance setting in camera to the general light source in order to get a fairly accurate histogram.</p>

<p>When I'm shooting with studio lights I have the subject hold a whibal card for a reference shot. Load all the images from the shoot into ACR, select the reference shot then select all other shots. Now select the white balance tool, click on the whibal card in the reference shot and all of the rest of the shots will be set to the correct color temp. Once you've done this you can create a preset and in the future apply the preset to all studio lit images. I've found that using some sort of target, I use the whibal card, allows you get a accurate color temp, I take reference shots during all my shoots. I may adjust the color temp of a image for a look I may want to achieve but it's nice to have a neutral image to start with.</p>

I don't think that you can get a good sense of what B&W film is capable of image wise using C-41 B&W film and scanning. If there is somewhere near that has a darkroom (community college) I'd suggest trying shooting some B&W film, developing and printing in a wet darkroom. There is a unique sense of accomplishment from watching a quality B&W print slowly appear in the developer. That being said I haven't worked in a darkroom myself in three years and have been amazed at the ability of the Epson 3800 for B&W printing.