john_n._wall

I have heard good things about the Sigma (good review in Practical Photography a few issues back) but the Tamron is one of the classic macro lens designs. I would have no reservations about recommending it highly. It is certainly comparable in optical quality to the 105 Nikkor, at a much better price.

I have a generic Kirk "L" bracket for my F4 which I shoot with the MB20. Wish they made a custom bracket for it like the one they make for the F4s. I understand that people who have the custom L brackets leave 'em on the camera all the time.

I own both these lenses and think they are wonderful lenses. Would not be without them. They are among the classic Nikkors, legendary for sharpness. Some folks think the 50 f/1.8 is sharper than the 50 f/1.4.

 

I use hoods with the 85mm and 50mm, but then I use hoods with every lens I own. The standard hood with the 50mm is a rubber hood which is great to have in the bag when you want to shoot through glass. Press the hood against the glass and it cuts out reflections and you can still move the lens around for composing.

Go to Grey's of Westminster -- an exclusively Nikon store in London -- and ask their advice. My thought would be fast prime lenses -- 24 f/2.8, 85 f/1.8 -- and a tripod. And enjoy -- as Samuel Johnson once said, he who is tired of London is tired of life for London has all that life has to offer. And don't forget to enjoy the English rail and coach systems -- get out to Oxford, Cambridge, Hampton Court, Greenwich.

and he likes it . . .

 

<a href="http://www.kenrockwell.com/nikon/d70.htm">

http://www.kenrockwell.com/nikon/d70.htm</a>

I wear glasses and came to hate cameras with poor viewfinders -- especially Canon viewfinders. I picked up a Nikon 8008s and have never looked back. Now have two F4 bodies which are even more enjoyable to use than the 8008s. They get the job done and are a pleasure to use. What more can one ask for?

I think your current lenses are fine, although I'd ditch the zoom in favor of a fast medium tele prime lens, like an 85 to 135. The Sigma I suspect is variable aperture and you'll need to shoot fast print film to use it. I also suggest taking a sturdy tabletop tripod -- amazing what you can do with those in dimly lighted places. You can put them on things to support your camera, or use them to brace the camera body against your chest.

 

Someone once said that in travel photography your lenses are either too long or too short -- that is, you either can't get far enough back to get everything in, or you can't get close enough. The classic travel kit is a 24 (or 28/35), a 50, and a 135 -- any longer and you really run into the problem of shutter speed and you start needing a big tripod.

 

While you are in London, don't forget that you can get to scenic places near London. Don't forget Greenwich, where they have the Cutty Sark, a clipper ship and the Maritime Museum among other things, and the observatory where they have the prime meridian painted on the ground. Also, Oxford and Cambridge are each about an hour away by train. Either is a wonderful place to wander around -- parks, rivers, pubs, and the ancient colleges. If you go to Kings Cross to take the train to Cambridge, you can see the sign up over an arch that says Platform 9 3/4 (only understandable to Harry Potter fans). They are both a little young now, but someday your boys will be thrilled to see a photo of them standing under that sign.

 

Also worth going to Hampton Court, south of London. But then, again, London is crammed with wonderful photo ops -- as Samuel Johnson once said, he who is tired of London is tired of life, for London has all that life has to offer.

When traveling one must make choices. Film is your first big decision. If you want top quality images, shoot Provia F and take fast lenses. You can push Provia F to 200 ISO and be fine; just remembeer to ask for a one-stop push when you have film processed. If weight is an issue, my sugestion is a 24 mm f/2.8 and an 85 mm f/1.8. Also take a 50 mm f/1.8, a Nikon 5T diopter and perhaps the 6T as well (they turn the 85 into a macro lens), and a circular polarizer. Also take a good flash unit with a cord that will enable you to get the flash unit off the camera.

 

If weight is not an issue, take an 80-200 f/2.8 zoom or a 180 f/2.8 lens. for the longer glass with this film, you will need a tripod.

If color print film is your choice, or you specialize in B&W, shoot 400-speed print film. Then you can consider hand holding a longer lens. Otherwise get a tripod.

Your investment plans for macro gear sound like real overkill. You are considering far too many options, many of which are for very specialized situations. I'm disappointed that so many people are encouraging you to break the bank on a big pile of gear that you've then got to haul around.

 

Before going into all that debt, I strongly suggest you learn the parameters of what you are trying to do. The best way to do this is by buying John Shaw's Close-ups book and at least have a look at two or three other books that deal with gear and technique for macro work. They are

 

Paul Harcourt Davies, THE COMPLETE GUIDE TO CLOSE-UP AND MACRO PHOTOGRAPHY (1998)

 

Craig & Nadine Blacklock. PHOTOGRAPHING WILDFLOWERS: TECHNIQUES FOR THE ADVANCED AMATEUR AND PROFESSIONAL (1987)

 

Larry West (with Julie Ridl). HOW TO PHOTOGRAPH INSECTS AND SPIDERS (1994)

 

IF you are going to do flower and other close-up work, all you need is a way of focusing close and a sturdy platform to hold your camera.

 

To get close, use a macro lens or put close-up diopters on your regular lenses [Nikon 3T and 4T (52 mm) or 5T and 6T (for 62 mm)] or the Canon two-element diopters. You can get close with extension tubes, too. You probably don't need all these things, just one way to get to 1:1 magnification. The books discuss the relative merits or one or the other approach.

 

And you will need a sturdy platform, which means a good tripod (Bogen 3021 or similar made by Gitzo) -- the books will discuss the pros and cons, but get a good one. Most folks do use a ball head with the Arca-Swiss quick-release system -- either the Arca Swiss or the Kirk or other heads -- some folks find the Markens or Acratrek or whatever it is to be just as good.

 

You do not need a flash bracket unless you are going to use flash -- most macro shots are taken in natural light from a tripod. You will need to shoot on overcast days or in the shade or in the soft light at the beginning or end of the day. Or you can get a diffusion disk to soften the light. A small collapsible reflector can help with macro work too.

 

The purpose of using flash in macro work is to enable you to hand-hold the camera and use the flash as the primary light source. This is good for shooting moving objects up close that move quickly like butterflies or insects. Look into flash if that's what you want to do, but I see no particular reason for shooting flowers with flash.

 

The focusing rail helps you focus precisely, but again you don't need one if you are careful, or you can get a focusing slider that has the same benefit for much less money.

 

The L-bracket is good if you are using a lens set-up that does not have a tripod mount on the lens. The point of the L-bracket is to allow you to change from a horizontal composition to a vertical composition without moving the tripod head. If your lens has a tripod mount on it, you can do this by rotating the lens in the mount. So you don't need the L-bracket.

 

There is so much macro gear out there but money is best spent on film so you can shoot lots of images and develop good technique. Once you have a good tripod and head and a lens that gets you close, the real fun begins -- learning how to get the lighting and composition you want and learning how to make the best use of VERY shallow DOF.

 

The answer to great macro shots is in the technique, not in tons of gear.

Interesting story on NASA's Mars photographs --

 

<a

href="http://www.nytimes.com/2004/02/10/science/space/10COLO.html?8hpib">http://www.nytimes.com/2004/02/10/science/space/10COLO.html?8hpib</a>

You are asking us to compare apples and oranges, in a way. The N90/s and F100 bodies are Nikon's second-tier bodies, successors to the 8008/s body, which was the one-step-down body from the F4 in its day. At that point in the line (between the 6006/N70/N80 model and the top-of-the-line model), the N90 and its enhanced N90s version were the stepping stone to the F5 and F100 generation of cameras.

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What this means is that the F4 is comparable only to the F3 and F5 in that you pay for (and get) the feature set of a top-of-the-line Nikon body -- enhanced performance, flexibility,and durability; MLU; interchangeable viewfinders and backs; and other things that give you access to the full Nikon pro line of accessories and lenses.

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The F4 is unique in extensive backward and forward compatibility. It can use more of the Nikkor line of lenses with all its meters than any other Nikon -- from older MF lenses through the AF-S lenses -- and its AF speed with non-AF-S lenses is very adequate for most purposes. Its AF speed with AF-S lenses is very fast, since the speed of AF is determined by the motor in the lens, not the motor in the body. I certainly use it in AF mode all the time with nonAF-S lenses, with no problems. I learn the circumstances in which it works well and depend on it for that. That is to say, it AFs best with fast glass when there is adequate contrast in the subject. Since I do not shoot fast action sports, its limits are not a problem. The AF works well under real world situations.

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The F4 is not compatible with VR lenses, but when shutter speed is an issue I think you ought to be shooting off a tripod anyway.<br><br>

There is also a "feel" to the F4 that lots of us like. The F4 is developing almost a cult following among those of us who value a fine camera but do not need to chase the "latest thing" in high tech gear. The quality of the materials and finish on this body, the sound of the shutter, the ruggedness of the camera all add up to an enjoyable photographic experience. Imagine that the N90/s is a Camry; the F4 is a Lexus. Both will get you there but the F4 will get you there with more style.

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I haven't worked on it much lately, but the F4 FAQ at <br><br><a href="http://www4.ncsu.edu/unity/users/j/jnwall/html/f4faq.htm">http://www4.ncsu.edu/unity/users/j/jnwall/html/f4faq.htm</a> <br><br>has lots more information about the F4.<br>

<br>Imagine the F4 and Nikkor lenses as a poor man's Leica system -- outstanding quality of finish and peerless performance within its acknowledged limits. But if you are not making a living shooting sports, I can't imagine a situation in which the F4 will not bring home the goods for you.

The New York Times today carries an account of a new digital

point-and-shoot using a Foveon chip with 4.5 megapixels, to retail for

about $400 MSRP. See the full story at

<br><br>

<a

href="http://nytimes.com/2004/02/09/technology/09camera.html?8hpib">http://nytimes.com/2004/02/09/technology/09camera.html?8hpib</a>

Flexible, lightweight kit for travel -- one body with a 24 mm f/2.8 on a strap around your neck and a waistpack with an 85 mm f/1.8, extra film, a sturdy tabletop tripod, and a polarizing filter. Perhaps add a 2x TC if you think you might want a bit more length. Then zoom with your feet.

 

Life is full of tradeoffs, and basically, if you really want to travel light you are gonna have to accept that you aren't able to take everything, so there are some shots you are just gonna miss. So take the simplest kit that gives you the most options, which means prime fast lenses. The only alternatives are fast zooms which get very heavy. Or a big tripod, which also gets very heavy. Slow zooms often have more range but require a tripod if you are going to use them in anything but bright conditions. Or, you can use fast film, which means print film, whihc has its own set of advantages and disadvantages.

Having done a good bit of traveling last year, I have just switched from a padded strap to the Tamrac N-17 strap which has two full-length rubber tracks woven into the material to prevent the camera from sliding off my shoulder. I found that comfort was less important to me while traveling than the security issue of making sure the strap did not slide off my shoulder while moving around. This strap also has quick-release buckles that allow you to take the strap off for tripod or copy stand work. This strap looks very durable and solid. I think this strap has a lot in common with a Domke strap that also has the rubber track, but this strap is wider than the similar Domke strap, a feature I also like.

The New York Times on the WWW is running announcements about the

deaths of two well-known photographers. Noted fashion photographer

Francesco Scavullo has died suddenly at the age of 82.

 

See http://nytimes.com/aponline/arts/AP-Obit-Scavullo.html for the

details.

 

Also, Pulitzer Prize winning AP photojournalist Roberto Borea has

died of stomach cancer at the age of 51.

 

See http://nytimes.com/aponline/arts/AP-Obit-Borea.html for details.

If you are accustomed to the F3, then you really ought to try the F4. Only the F4 will have the flexibility, quality of finish and handling, and range of features of the F3 (except fo the F5, of course). The AF of the F4 has been grossly maligned; it is workable and effective, if not quite as fast as later cameras. But it works with Nikon's AF-S lenses and AF's as fast with them as the F5 does. Definitely worth a check-out

The short answer to your question is, "No." The fuller answer to your question is, "B&H and Adorama." You will not be sorry.

This woman looks very well fed and clean to me. The shot was probably taken with the chief illumination being soft light coming from above and to the model's left. There is also probably light on the right side of her head to illuminate the thingie in her hair and a light behind her to illuminate the background.

This isn't really any cheaper. B&H has the same camera/lens package for $280.00, but that includes two batteries, the camera strap, and a roll of film. Tri-State wants $250 for the camera, $6.00 for each battery, and $15 for the camera strap, which gets the price up to basically the same as B&H is charging. Plus to find the real cost you need to compare shipping costs as well. Some dealers inflate shipping costs. The business about charging you for something (like the camera strap) that Nikon packs with the camera as part of the package is an old trick of unscrupulous retailers.

 

When ordering camera gear by mail, always remember two things: Adorama and B&H. Stick with them and you will be fine.

One camera body, a 24 mm, a 50 mm, and an 85 or 105 mm. And a table-top tripod. To really travel light, drop the 50 mm. Get a waist-pack to carry the gear in. And you can buy all the film you want in Europe. Unless you really like Fuji Provia F 100, which is a bit hard to find. If you want to add one thing, take a small flash unit for fill-flash.

North Carolina -- the coast and the mountains -- in both fall and spring. Especially the mountains in the fall for the leaves and in the spring for the wildflowers -- actually the entire appalachian region from Front Royal, Virginia down the Skyline Drive in the Shenandoah NP to the Blue Ridge Parkway and on into NC, winding up at the Great Smoky Mountain National Park. See Kevin Adams' books on photographing wildflowers and waterfalls in this region. They are invaluable.

 

The coast is also beautiful -- dunes, lighthouses, sunrises and sunseets over water. The Great American Photo Weekend has shooting workshops all over this region that will get you to the right places at the right times.

 

Given that you have the time, you might want to consider doing a circuit of the country in the first year or so and give yourself the opportunity to go back the next year to benefit from what you learned the first time around.

 

A guy named Fitzharris (writes for Pop Photo) has a couple of books about shooting in the national parks -- where to go for the classic shots -- that might also help you plan overall. What a marvelous opportunity! Keep us posted as your plans develop and your trip unfolds.

I am confident that there is a very simple answer to this question that does not resort to long drives, heated phone calls to NIKON USA, or anything else. I strongly suspect, in fact am certain, that each F3 body has an identifying mark on it to indicate whether or not it is a USA model. I own two F4 bodies -- one of which is a USA body and the other is not. The USA body has the initials US engraved on the body along with the serial number of the body. The non-USA body does not. Surely the F3 has a similar marking system.

Well, Charlotte is a New South city -- lots of new construction downtown displacing old buildings and neighborhoods. If you like to shoot street photography, you will find lots of opportunities in contrasts between remnants of the old Charlotte and the new and the people who live there. There are big glass buildings and small older buildings. There are parks, street people, and some interesting older neighborhoods not too far from downtown. The weather in Charlotte in January is likely to be chilly -- perhaps windy and rainy, unless we are getting one of our rare winter snow storms. There is a good camera store in town -- Charlotte Camera, which has a nice web presence at http://charlottecamera.com/ -- but its a bit of a hike from downtown. Still worth a cab ride while you are in town. Hope this helps.

Review fo D2H by Moose Peterson:

 

http://www.moose395.net/gear/d2h.html

 

He kinda likes it.

Justin, what conclusions would you draw? I do not have the background or perspective to understand or evaluate what I am being shown here. If you do, please enlighten.