doug_axford1

Louise, You're right, except that the 'world wide warranty' is third party, not Canon (in my experience). I have bought grey market on some things, but on a DSLR, I'd be wary. Canon gets repairs back to me in days as a pro member and I've had to replace items under other warranties because it took so long to repair.

 

I checked out Camera Canada, I get better deals at Henrys or Aden. I didn't know Antony had an online store - interesting. I know someone else who started work there recently, just didn't know it was online. Vistek is way too high. BTW, watch out for some stores now selling US Canon products. Same warranty problem.

 

Doug

"Journalism, whether by using words or pictures, must be an accurate representation of the truth."

 

Wow, words that accurately represent the truth in jounalism. I've never seen such a thing.

 

I agree that news photos should be unaltered. It would be nice if the copy that goes along with it could be so pure.

 

Doug

If you are shooting indoor figure skating, hockey, horse competition, etc., the extra stop is necessary because in most cases you're already at the highest ISO possible at the slowest shutter to stop action. Unless you live on the edge, save the money.

 

Also, some Canon cameras take advantage of 2.8 or better for focus accuracy with more focus points in use.

Keep in mind that if you are a Canadian and buy US, warranty will not be valid in Canada. Most of the good prices are mail order. Robinsons in Calgary are among the best in western Canada. I know their ebay prices are not the same as their store prices.

I'd do it Don's way, except (you may already do this) Save original elsewhere, WB, noise, save this copy also alsewhere, resize, sharpen. The reason for the extra save is that you don't want to have to do the WB & noise all over again if you decide you want to make a larger size. Best to go from the partially corrected one. You may not do this on all images, but I always have 3 copies on 3 different drives.

 

Doug

I'd agree that blowing air around is not good, but curl almost always comes from to much heat and I don't think the curl is caused by your drying method. Is the film curled too much prior to mounting? I'd turn the fan off and see how that works first. Next, are there heat sources on your mounter? I used to have a film editor/puncher that had a lighted viewing window that was warm enough to curl film if I hesitated too long. Last, some emulsion batches will vary more than they should. You may want to heat the base side a bit with a warm hair dryer prior to mounting to reverse the curl just enough.

 

Doug

Camera? Honeymoon?

 

Gee, maybe you should take them all. lol

wow - I love the wrinkles. Just make sure that they're out of focus. If not, hang the muslin up a few hours ahead and most will come out on their own. Perhaps you've got one with heavy paint- that's a no-no.

 

Another option is to glue your favorite musin to the wall with heavy (not thin) wallpaper paste. Simple and then put others in front of it when you want a change. It will come off the wall easily when you want.

 

Doug

You need a color profile for the printer with the paper you are using.

Andre & Robert,

 

I own a digital lab, though not Frontier. On mine I can get decent B&W with a click, but to get good B&W without a slight warm or cool cast is not as easy. It's a matter of what the customer wants and expects.

 

Hard to say what this lab was using.

Jim, The gears wear out. When you wind, you have to do a double wind to go to the next frame. More inconvenience than anything else. I probably had 50K on each insert, so you may not need to worry.

 

BTW, if you want to use the 120 insert with 220 film, I just remembered that I taped up the small pin inside the insert chassis where the small triangular part actuated the counter setting. If you check it out, the pin goes up (I think) and you simply place a tape so that it stays up without the small part on the insert. Sounds 10 times harder than it is. Simple to try it out, just remove tape and you're back to 120 - 15 exp. settings.

 

Doug

Al, I'm that old, but didn't want to admit it.

 

My favorite was getting zapped when shooting a weddings on wet grass and the motorcycle battery pack grounded through your nose & sinuses when you were looking through the viewfinder. That made you think.

 

The finger theory was 1 finger = 1 stop. But that depended upon how large your relector was. Honeywell Strobonars were a miracle by comparison, except when the spare battery grounded out in your bag and welded itself to the dark slide and your bag started smoking.

 

Gosh, life was so easy compared to digital. Weddings were so much fun back then. Gotta write a book.

 

Doug

Your biggest problem will be nervousness.

 

Shoot where you are most comfortable with lighting and location. I'd stay outside if possible or somewhere where you can use natural lighting. Keep equipment changes to minimum. Talk to her and ask questions about her interests to keep you both relaxed. Length of time is determined by how interested/excited you both are. Which means when she gets bored/tired/etc. you are done.

Old guys like me always used manual mode because it was more certain. On wedding park sequences, there are only 3 distances that I shoot at: over 20' for groups and full length (full power); approx. 10' for mid length; approx 6' for close-ups. I simply know what setting works for those distances. BTW, I shoot with zooms, so standing at those 3 distances can get me every crop I want when shooting. Also, I'm wanting flash fill at 1/2 ambient. For aisle shots, reception shots, etc., I go to auto.

 

The problem I have is that auto/ETTL misreads on clothing at weddings. If I was starting out again, I'd probably set compensation factor, but for me, memorizing 3 settings is easier and more accurate.

 

Doug

That post was probably from me and you can change a 120 to 220, but I've never tried the other way around. The little triangular piece simply sets the counter to go to 15 or to 30 before it stops.

 

Now that I think of it, I have shot 120 in a 220 insert in an emergency. Just rmember that you have to stop shooting at 15 and keep winding off until you hear the film clear the roll.

 

The focus difference would not be affected between the 2. At least, I did not ever see any problems. I used to shoot weddings with 220 only, simply becasue I didn't want to change film so often and I used the modified 120 backs all the time. Remember, the inserts do wear out after awhile.

 

Doug

Sometimes a photo taken at a reception with a very dark area will indeed have a very small file size. Same is true for solid walls. I would always save jpgs as 12 (highest) on PS. I get enough criticism that I save as jpg, but if you are doing that, always save as highest.

 

Doug

Rebates were announced in Canada a week ago, so it should be soon.

As a lab owner, printing good B&W on color is a bit of a pain. It's easy to get color shifts into cool or warm tones, so we do charge extra because remakes are more frequent. If you are happy with the lab and you say you are, I'd pay the few dollars to get good quality. The answer the sales girl gave you is absolutely correct, unless the lab doesn't care about color shifts on your B&W.

 

Processing film should be identical.

Manual mode & light meter are more accurate at weddings. Brides are all white, grooms all black (usually anyway) and auto will often get fooled unless it happens to see both equally. Most groups tend to be in the same or similar lighting area and you want consistant exposure. Get exposure plus WB very close and shoot raw if in doubt.

 

Doug

If you just bought it, then tech support is free, so is the phone call. I've used ED for 6 years and the support is pretty decent lately. Sorry, I use Canon, not Nikon, but a simple call will be a lot easier.

We do thousands of preschools. Never use contracts so far and never pay a rebate. Preschools are too time intensive to allow enough profit. PPA has some contracts, but you ned to be a member.

From what I read, this is industrial printers, but that would be an entry into wide format for photographers. I doubt they would plan consumer printers & compete head to head against the likes of Kodak! lol

 

Doug

Absolutely, positively. Get 2.

Fantastic stuff. I like the first rugby shot - head down, determination. I hope they bought lots of shots.

 

Doug

Those assignments back in college of shooting 2 white eggs on white paper actually are useful sooner or later.

 

I assume that in this situation, you can't set up studio lighting, or minimal at best. I would shoot with no flash, get the WB as close as possible and shoot raw. The lighting for the ceremony probably will be from the ceiling and will give you the best shadows and separation other than gettting a whole lighting crew in there. And separate light meter for sure, unless you have experience with knowing the adjustments.

 

I've found most times that flash flattens too many subtle details. In this case, you need those details, so use no flash.

 

Doug