tom_bowling1664874721

Hi,

I wonder if any lighting experts know what I should expect here? The Godox/Wistra manual says I should expect

1/220 to 1/11300 seconds, the Nissan instruction brochure I have seems silent on the matter. The background is I want to freeze action in the studio and my studio lights are cheap (ie slow flash) Elinchroms. Camera is Leica so no HSS available. Thanks in advance.

I have both cameras and like them both a lot . I had the sensor replaced at the beginning of this year for free while Leica were doing other work to it. The SL works in low light in which circumstances the M9 struggles. I think the SL really comes into its own with the 24-90. They're a match made in heaven, or maybe Wetzlar. But the M9 does give you that rangefinder experience - nothing like it!

Does it need to be new? I bought a 2.8 Summaron for about that much recently. It's lovely and I have the feeling most Leica lenses, while not an investment, don't lose much money.

Thanks for that Joe. I was aware of it and actually do make some allowances (ie in what I rate as mid tone, which isn't what I would rate as mid tone for film). You'll see I do a lot of shooting into the light in the pictures I have already uploaded to this site. I'm not sure about 'getting the highlights under control' and ETTR though if it is to be a portmanteau rule. The photographer still has to find a balance and there are still decisions to be made. According to DXO the camera has almost 15 stops of dynamic range - but I'm not in the least convinced all of that is useful. It's a point well made, could be an interesting debate and I am very grateful to you for bringing it up.

Yes that AE lock thing works. Thank you both very much for replying. By the way Matthew, you are not at the other end of the photo spectrum - I have a Brownie on a shelf here. Now that's the other end of the spectrum.

Hi I have a question about the d810 and light metering which I hope won't try the patience of absolute Nikon d810 experts! I come from a background of using spot meters and film cameras, so one thing which wore out my patience a little bit with the modern digital camera was the approach to metering - essentially, I would like to choose what is the mid tone I require in a picture, get a reading off that, reframe and then take the picture. Of course it is possible to do that using the camera in a Manual mode and that worked pretty well for me, until I discovered Auto ISO. I've got to admit I love auto ISO. It's so fast! Of course, using Auto ISO means you're not fully manual and so therefore the metering is done after you've framed the picture. Hmmm.

 

I expect most photogs use back button focussing on the d810 - I do. It's great. Find the thing you definitely want to get in focus, focus, take your thumb off the button, then reframe. I love it. What I'd really like to do is the same thing with metering... find the thing I think is the mid-tone (or choose it by whatever method you will) Take your finger off (whatever button you used to set the auto ISO) reframe, then shoot.

 

Is there any way of achieving this? I know I can do it by using the camera in Manual, but there are so many circumstances in which the auto ISO is better than fumbling with buttons.

 

Thanks for reading and if any more experienced Nikon guy or gal can suggest a solution, I'd be grateful

i wonder if i can tack on a polariser question? i find it incredibly difficult to find the dark spot on circular polarisers. Im

using a D810 with a nisi polariser, often to reproduce paintings. i know it works (I can turn it to black out the tv screen) but

presented with a painting or a simple shiny surface, i find the circular polariser verydifficult to use. my old linear polarisers

used to have a remarkablyclear cut off point. anyone else have this issue?

 

 

apologies for orthography, im writing on an iphone

<p>I have an f1.4 G but I don't like the bokeh (not sure how to describe it - I'm no expert on that) and would have been happier, I think, with a plain old f1.8 G. I think the Nikon f1.8 G is massively underrated - it doesn't cost enough to satisfy some people!</p>

<p>I can't resist a follow up comment about the Sigma 35 ART. The example I bought front focussed so much I took it back to the shop and had them adjust it on the dock. It's fine now and I just love the lens. But it is a little bit weird to sell lenses and an adjustment dock. All the other lenses I've put on my 810 focus correctly from the first time they are mounted. I wonder what's going on. All of which is not to be negative about the Sigma - I love what it does.</p>

<p>Thanks Ilkka</p>

<p>I'm sure this question will seem daft to those of you who know the answer, so I beg indulgence. I'm on my 3rd digital SLR but am foxed by a facet of the d810. If I am in manual, as you would expect to be for studio flash lights, the camera's live view seems to follow the adjustment of shutter speed and f stop down to complete darkness, as if it were a live <strong>pre</strong>view. This makes it useless for setting up studio shots - I always use the viewfinder. Is this 'just the way it is' or is it the case that I have a setting wrong? Thanks for reading</p>

<p>I've used the Nikon 50mm 1.4 G on both the D810 and the D750. To be frank, after a few thousand shots on each I wish I'd never bought it. Yes it seems to render colour well. But if I want to use it at 1.4 (for portraits?) there is rather ugly distortion and the way it goes out of focus is unattractive. If I take it down to say f4 what's the point in having it? Nikon 1.8 50mms are *so* nice and so inexpensive and seem to me to give much less distortion.<br>

Re. the 35s - a Sigma 35mm Art is just beautiful for the way it goes out of focus, but of course you can't take portraits from too close or you give your subjects banana noses. No experience with the modern Nikon 35mm prime - I used to like the old ones!<br>

Just to expand the discussion a little, the Nikon 85mm 1.8 G is amazing value for money if you haven't tried one. Good luck </p>

<p>Thanks for your contributions, one and all. I feel I've learned a bit anyway. I'm afraid the problem was very simple. The batteries in the Godox X1 had enough power to receive a signal (so the warning light came on to show it was receiving a signal from the transmitter) but not enough to fire the shutter. Doh!<br>

<a href="/photodb/user?user_id=4983522">C.P.M. van het Kaar</a> - that wasn't one I was aware of but it's a good warning for the future</p>

 

Hi, I have a Godox x1 which should be able to fire the 810 shutter but won't. Wiring, channels, groups etc are all correct. Is there a

software setting or menu setting in camera I need to choose to make remote shutter work? I don't mind buying a dedicated wireless

shutter release, but obviously don't want to trip over the same problem. Does anyone use/recommend a wired release? The question is

making me long for the days of my pneumatic shutter release.

Thanks

<p>Thanks for this response, Wouter. You're making sense to me! Of course, using the laptop for sessions is the way to go. It's not exactly how I intended to use the software but it's close enough – I do mainly use the laptop for tethered shooting. I do travel a lot in my work and wanted also to be able to use the laptop to do some editing during downtime. Of course sometimes you have to accept you can't have everything.</p>

<p>I think this answer is so straightforward that people who had seen my question before you must have imagined I'd thought of it and dismissed it. Unfortunately I hadn't, so I'm grateful to you for drawing my attention to it.</p>

<p>Hi<br>

I posted this question on Capture one's own forum, but it is obviously so basic it didn't elicit any response there. If any passing expert on libraries/catalogues and sharing could point me to a resource where I could educate myself about this very specific question, I'd be grateful!</p>

<p><<Probably to people really experienced in workflow and networking, this will look like a simple question, but it's baffling me. I have an iMac and a thunderbolt connected backup drive in an outdoor office. I use Capture one 9 on it. It's all connected to my house via ethernet where there is an ethernet wdbook. I have a macbook I use on the road and in my house. That's only ever connected by wifi. I use Capture one pro 9 on that too. I work on photographic files on both the iMac and the macbook. What I'd like to do is have them share files and catalogues, so I can work from either computer, and have back ups of the catalogues on the networked drives too. But I can't figure how. I don't expect anyone to hold my hand with it, but a pointer to some resource which would allow me to educate myself on it would be gratefully received!<br />Thanks in advance<br />>></p>

<p>you could open it and put the 'unboxing' film on youtube. For some reason people love this. Or to be precise men do. </p>

<p>Just found this thread. Wasn't it Tolstoy who said being asked to choose his best novel was like being asked to choose among his children? I went to the Pompidou show too last Easter and though I met many old friends (man leaping a puddle at the back of gare st Lazare, rue Mouffetard for example) some of my faves were missing - there are great pictures of women in the bals musettes which didn't make it, for example. I just thought it proved what a great photographer he was to speak to so many of us in so many ways.</p>

<p>just a little note on the xpro1 diopter - it unscrews easily, so check often. Mine has fallen off twice, once in the camera bag, once in my hand. I'm tempted to put some loctite on it!</p>

<p>Thanks for replies, everyone. I'm grateful. After handling a few cameras I broke my own rule for a tilting screen and bought a g16. It just felt dead right in the hand compared to others, which is weirdly the most important criteria of all for a little camera which I expect will be a constant companion. </p>

<p>Thanks for responses one and all. Very helpful. to answer Phil Stiles, I think you have to make compromises with the compact camera on sensor size... if sensor size ruled all I wouldn't ever prefer my xpro1 over my Nikon D600, but actually I often do. I agree with you about Fuji lenses, though. the 35mm is an absolute cracker.</p>

<p>Thanks Hector. That's very kind. I'd never found the preview search engine... schoolboy error! And yes I would want a viewfinder, for all their shortcomings.</p>

 

<p>Hard to know where to post this... but I'll try here and if a moderator wants to send me elsewhere I'm happy for that. After may years of film cameras I worked my way through a few digitals. I have more or less liked them all, with a few caveats but a recent visit to Paris convinced me I need a rethink. I have a D600 which I never use as a walkabout camera -I only ever take it to do something specific. I have an xpro1 which has served as the walkabout camera - but I'm starting to think even this is a bit too heavy/clunky. I would have a powershot g16 but the back doesn't swivel, and no matter how amateurish people think it looks, I think a swivelling back would be really useful -I still have a rolleiflex in a cupboard and i love waistlevel photography.<br>

so here's my list<br>

1. capable of being used manually<br>

2. capable of shooting raw<br>

3. light<br>

4. smallish (smaller than xpro 1) - should fit in a coat pocket<br>

5. good quality lens but Im not brand driven<br>

6. tilting rear screen<br>

7. gps/wifi I can take or leave<br>

Id be grateful for any suggestions for a camera that meets the criteria. Frankly I find the world of small modern walkabout cameras bewildering. Doesn't everyone?<br>

tia for suggestions</p>

 

Thanks for responses - I've now figured out that the following settings produce a flash from the Vivitar 283 slave registered in the picture

on the Nikon D600

 

Aperture priority

Flash sync 1/60

Flash shutter 1/60

Flash control for built in flash - manual

 

I've no doubt I can refine and develop this, but I put a note here for the benefit of web searchers!

Sorry any not Andy. shell not she'll Please excuse any Ipad induced solecism.