jason_whang

<p>Well I only mentioned the 14-24/2.8 because of the 1.5x crop factor. I think that range makes for a nice up close lens. As far as the 70-200/2.8 goes, I just don't like what it turns into with a 1.5x, not nearly as fun. I also mention the 85/1.4 as I used an old 85/1.2 (???) back in my film days and loved it.</p>

<p>Really? I hadn't realized the D300's AF was improved so much. Kinda figured it'd perform similar to my D200 in AF.</p>

<p>Is there any improvement in AF going up to the D700 or is primarily an FX/DX thing?</p>

<p>Assuming I go for a D300 would buying FX lenses at the moment be considered a bad investment? Though I suppose a 14-24/2.8 would fill the 17-35/2.8's role (albiet heavier) and the 70-200/2.8 would still be useful... though I would also need a portrait lens.</p>

<p>D300 is an option but I figured if I was going to bother to step back to DX that I would go all the way back. I can print well but I've never enjoyed it. Most of my work is shot sRGB and remains on the net so I don't need the extra megapixels. I'm more concerned with AF speed and FPS with the work I do.</p>

<p>That and I imagine a D2Hs on the used market would go for significantly less than a D300.</p>

<p>A couple questions for all of you have not strayed from the path:</p>

<p>1. I currently live in Seoul, South Korea and will remain here for the next six months before returning to Chicago. Should I buy Nikon equipment here, forgo the Nikon USA warrantys and service and take advantage of the improved cost or do I wait six months and buy them in the 'States?</p>

<p>2. I've been out of the game for nearly a year now. After completing my BFA in Photography I sold off all my Nikon glass, moved to Korea and bought a nice bike. I think it's time for me to get back in the game but I've got a lot of work to do, first and foremost is buying a camera and some glass. I've been looking at primarily at the D700 & D3 paired with a 17-35/2.8 & 70-200/2.8 but I'm starting to think I'm reaching.<br /> A. Is the D2Hs still a viable option for sports photography?<br /> B. Former D200 and current D700 users, is the D700 + vertical grip more comfortable than the D200 + vertical grip?<br /> C. Obviously the 70-200/2.8 is second fiddle to none but does the VR really support the addest cost over a 80-200/2.8 AFD or AF-S?<br /> D. More to come.</p>

<p>Edit: Stupid, didn't even mention the type of shooting and budget. I shoot primarily sports and street photography. Let's also say that my current salary is "$2000" a month and that my living expenses are close to zero with few financial burdens (debt, etc).</p>

I guess I should also ask if this is even the right sub-directory to be posting under. I mean I know you wedding photographers are total hipsters but do you go to underground-spin sessions? :D

For the past year or so I've been working for a central-Illinois focused

nightlife website taking pictures of various events at local clubs and bars.

Some of the highlights included visiting Playboy playmates, Real World MTV

'celebrities' and Girls Gone Wild. I haven't actually been paid yet, its a

startup so I made a deal to bring friends along who would get free drinks on the

tab and enter without being carded.

 

Now for the most part these images have been just piling up in a folder on my

desktop and I really hadn't considered that they'd be worth much except for an

occasional keeper but recently stumbled upon the work of a photographer named

Clayton Hauck (everyoneisfamous.com). Further research has lead me to believe

that while he isn't a big mover and shaker in the industry he is, I feel, pretty

talented and more importantly seems to be supporting himself solely on nightlife

photography.

 

First: I want to know if anyone here has any experience doing this type of work

full time.

Second: How on earth do you make money doing this? I see on his website that he

sells prints, but if sales from my BFA show are any indicator, print sales are

pretty unreliable.

Three: For a given scene/clique/sub-culture, exactly how many photographers can

effectively make a living taking pictures of said group's debauchery? Am I

correct in thinking that said turf will be actively guarded?

 

Following my graduation (May 17th) I will be returning to my home in Chicago and

would like to shift my attentions to events/parties in similar circles as those

of Mr. Hauck and am worried that I would be intruding on his territory. The

crowd I generally shoot are made up of current or ex-greeks and for every

happy/compliant/eager/drunken smile I get a dozen catty/roid-raging/drunken

refusals - this is after several months worth of finding tricks to better engage

my subjects. Perhaps its just a "grass is always greener" kind of thing but I've

always felt that the parties in my social circles (read: Mr. Hauck's social

circles) are much more laid-back.

Well the idea is to have the camera mounted forwards photographing as I tail other riders. I hope to mount it, not on the handlebars, but forward and below the handlebar level. I was hoping the suspension of the platform upon which I would mount the camera would supply some amount of vibration reduction.

 

As far as capturing the action, well I don't expect to be capturing anything very clean. I plan on leaving the ISO as high as possible to maintain a quick shutter speed. I'll meter ahead of time and set the exposure in advance or simply use a matrix metering with a movement-aiming AF pattern.

Hmmm... excuse the double post but for some reason my first post lacks spacing. I will repost it for ease of reading.

 

------------------------------

 

I've been doing some research and have yet to find a satisfactory solution to finding a way to mount my camera onto my bicycle. I hope that I could bounce some ideas off you guys and see if I could come up with a reasonable idea.

 

The main problem is that there are no products on the market that suite my needs. The second problem is that I do not know if by attaching my Nikon D200 to my bike whether road vibrations will tear it's insides apart. Most mounts I've managed to dig up have been variations of handlebar mounted lights and accessories (which are not strong enough to hold up my DSLR) or based around products such as the Manfrotto Super Clamp (doesn't inspire confidence nor does it go easy on my frame's paint).

 

I've got a few ideas of my own, however. They revolve around using a specific type of handlebars, called bullhorns or time trial bars (TT). I plan on suspending a platform between the two prongs of the bar upon which some kind of mounting system will be bolted down, say a quick release or simple 1/4" threaded screw. *An image of the kind of bar I plan on using can be found below. I'm thinking of using a material like hose clamps to suspend the platform but have been thinking about instead using something that will reduce vibrations and steady the camera.

 

Since the use of this mount will define how it's built, I'll tell you that I plan on using this system to document bicycle races. I'll probably use a 12-24/4 and light scenes with a pair of high-power HID commuting lights. The camera will be controlled with a wireless remote of some sort with AF set to nearest moving object.

I've been doing some research and have yet to find a satisfactory solution to

finding a way to mount my camera onto my bicycle. I hope that I could bounce

some ideas off you guys and see if I could come up with a reasonable idea.

 

The main problem is that there are no products on the market that suite my

needs. The second problem is that I do not know if by attaching my Nikon D200 to

my bike whether road vibrations will tear it's insides apart.

 

Most mounts I've managed to dig up have been variations of handlebar mounted

lights and accessories (which are not strong enough to hold up my DSLR) or based

around products such as the Manfrotto Super Clamp (doesn't inspire confidence

nor does it go easy on my frame's paint).

 

I've got a few ideas of my own, however. They revolve around using a specific

type of handlebars, called bullhorns or time trial bars (TT). I plan on

suspending a platform between the two prongs of the bar upon which some kind of

mounting system will be bolted down, say a quick release or simple 1/4" threaded

screw.

 

*An image of the kind of bar I plan on using can be found below.

 

I'm thinking of using a material like hose clamps to suspend the platform but

have been thinking about instead using something that will reduce vibrations and

steady the camera.

 

Since the use of this mount will define how it's built, I'll tell you that I

plan on using this system to document bicycle races. I'll probably use a 12-24/4

and light scenes with a pair of high-power HID commuting lights. The camera will

be controlled with a wireless remote of some sort with AF set to nearest moving

object.<div></div>

aaron,

 

no i'm sure i wasn't on private land. the factory i was photographing is along the illinois river surrounded by a tall fence. directly surrounding the factor is a fairly large plot of land then another ring of yards and smaller factories.

 

i had the camera set up on a tripod against a fence in the grass i was approached by 2 guards from two different directions and they closed in telling me they were taking my equipment. i made a break down the line of fences and jumped a short fence into the parking lot of an old rope factory (interestingly enough, i later found out that the factory no longer makes rope by houses a local artists group and a nice little gallery).

Yes, this was a hypothetical situation -- although it's gotten pretty close to having my camera taken from me on several occasions. I had as many as 4 CTA officials harassing me in Chicago last year and several security guards confronting me outside an ADM plant last fall, I only managed to get away from them by jumping a fence :/.

Me and some fellow students were discussing restrictions on photography we run

into now and then and had a question:

 

Now we know for a fact that it's legal to photograph anything on public grounds

or visible from public grounds. However, say I photography a factory, am

approached by security guards and have my equipment forcibly removed from me.

This is clearly a breach of my rights, but who exactly should I call to complain?

 

I doubt the police will care and my school for sure wouldn't get involved. Do I

bother the ACLU? Is there some kind of photography lobby that will send lawyers?

Should I be paying dues to some kind of photographer's support organization?

the crumpler seems to stick much further out off your back.

 

i've tried the adventure 9 myself and while its as big as your average backpack, it doesn't stick out as much as a normal camera bag would go. if i had to choose, i'd say the adventure 9 -- i just dont like the colors :/

-James

 

It is spray paint, just that it has been carefully masked with a pattern and several different colors of paint. I've seen work like this done to rifles.

I'm doing a lot of research into the same thing right now - except that I'm about a year from finishing my BFA in photography.

 

Here's some of what I've come away with:

1. AF photogs seem to win the most awards.

2. Officers don't get to do any photographing - so you've got to get enlisted to do any real shooting.

A. Problem - you have to do a lot of boring stuff before you get to the good stuff.

B. Problem - you get paid less.

a. However, you do get paid more if you have a BA/S and you still enlist instead of trying to get commissioned.

3. From what I've been told, yes you can work on a degree while you are in the military but no, they will not let you major in art.

 

Now I can't tell you much since I'm still in the process of figuring all of this out myself but it seems that finishing college first is always a benefit, whether you decide to get commissioned or enlisted.

Since everyone has already mentioned the Narrows (my favorite hike in America) I don't have any new suggestions.

 

However, if you decide to hit up the Narrows you'll need to make sure you bring a waterproof pack - complete submersion waterproof - because the trail is after all underwater. Also along those lines, you'll want to make sure you don't mind getting your tripod wet.

Well the first image looks like the image was taken in late afternoon sun and had a black background added in post processing. I suppose it could've been shot in the studio... but the color balance isn't right in that case.

 

In the second image, the cups are probably placed upon black velvet. The table with the cups is then placed far enough from the background to prevent any light spilling. The lighting is fairly simple: a light in the back and maybe a softbox or umbrella in the front.

-Bob

 

I'm not sure about that. Not only does it have the same color scheme but if you look closely you can see quite a bit of wear around the zoom/focus ring as well as some of the leading edges of the lens.

Stumbled upon this just a little while ago, thought it was pretty cool. I've

just never seen anyone spray paint their camera.<div></div>

I'm looking for a photographer who needs some help this summer in the

Chicagoland area.

 

I am a Junior BFA Photography major at Bradley University in Peoria and will be

available full time between May and August. I've got experience in digital

(Nikon D200) and film work (positive and negative, B&W and color, 35mm through

4x5) in a variety of shooting styles (sports, event, portrait, studio).

 

I currently work for the University's photographer as an assistant and in the

past worked as assistant photography editor for the school paper.

 

I'm available to do a variety of work: back up shooter, editing, lighting setup,

runner, etc. I'm open to any kind of photographic work not just wedding and

event photography.

 

If you'd like my resume as well as a link to some of my images you can email me

at: jason.whang@gmail.com

I'm looking for a photographer who needs some help this summer in the

Chicagoland area.

 

I am a Junior BFA Photography major at Bradley University in Peoria and will be

available full time between May and August. I've got experience in digital

(Nikon D200) and film work (positive and negative, B&W and color, 35mm through

4x5) in a variety of shooting styles (sports, event, portrait, studio).

 

I currently work for the University's photographer as an assistant and in the

past worked as assistant photography editor for the school paper.

 

I'm available to do a variety of work: back up shooter, editing, lighting setup,

runner, etc. I'm open to any kind of photographic work not just wedding and

event photography.

 

If you'd like my resume as well as a link to some of my images you can email me

at: jason.whang@gmail.com

Canon F1 -- notice the bridge that travels from the prism to the shutter dial.

 

http://www.hugorodriguez.com/articulos/canon_f1/canonf11.jpg

I purchased a Katz Eye focusing screen for my D200 a few months back and I've

been enjoying it thoroughly. The other day though I was shooting with my FE and

decided to challenge myself by focusing only with the microprism collar. To my

surprise I found that I found it even faster to focus with than my split prism.

I immediately went back to my D200 and attempted the same thing, however, the

microprism on my D200 doesnt seem to work quite as well.

 

When the image is focused properly (split prism + af indicator saying its

focused) the microprism, while showing a sharp focused image underneath still

retains its diamond-pattern. On my FE, however, when the image is in focus the

diamond-pattern of the microprism completely disappears.

 

Is this natural for the Katz Eye focusing screen or do I just have a problem

with mine?

My D200 performs quite well in cold weather. I haven't done any kind of scientific testing, but I honestly don't think the cold weather negatively effects battery life by that long, if at all.

 

The N80, which I've owned in the past, does have cold weather battery issues. Perhaps I'm confusing it with another camera, but isn't there a cold weather battery adapter available? The batteries are replaced by a tether that leads down to a warm pocket in your pants or jacket where an off-camera battery runs the camera.

 

Honestly, for an extended trip in the wilderness, I wouldn't be as worried about how long my batteries lasted as much as how on earth I'm going to charge them or how to store all my images.

i'm not doubting your climbing skill because i'm sure it's very difficult to climb and photograph at the same time but... galen rowell did keep his comparatively big nikon on him while he climbed, [link]http://www.yosemitestore.com/Merchant/images/photoart/rowellvisionl.jpg[/link].