emil_ems5

<p>I recently read, in a Popular Photography article, that most DSLR cameras have a multi-bracketing function, providing, for instance, three exposures in rapid sequence, one over-exposed, one under-exposed and one normal. <br>

I recently acquired a Nikon D60 which I used extensively on hikes in Gran Canaria. When taking pictures in the mountains, the camera exposure system consistently over-exposed. This was difficult to see on the back-screen, due to the intensive light on those altitudes. At similar occasions in the future, I will always make two exposures, one automatic and one with 1-step exposure compensation. However, this is unwieldy to do, since the compensation has to be operated by depressing a tiny button and simultaneously pushing a wheel forward. And since this takes some attention, the risk is that the subsequent picture is not completely aligned, making post-processing difficult. In addition, the compensation does not disappear after exposure, thus risking misjudgments in subsequent picture taking. The light quickly changes under those circumstances and I would prefer to concentrate on the motive rather than on fiddling around with tiny controls.<br>

Is there some possibility in the camera, hidden somewhere in the menus or otherwise, to get an automatic multi-bracketing? I was not able to find such a feature. If not, are there software solutions out there in the market (I heard of one for Canon cameras) that could add-on this feature to my Nikon D60?</p>

<p>"although the new Adobe camera profile methodology is pretty sweet"<br>

Howard,<br>

Could you please tell me through which menu commands I can apply a Nikon type raw conversion in Adobe Camera Raw, that is, apply the "new Adobe camera profile methodology"?</p>

<p>Ashley,<br>

Neither of the responses given by Charles or Patrick work for me. What I do is simply (i) to highlight the pictures in iPhoto I want to send out; (ii) push the command File/Export, (iii) export the pictures to my Documents. Thereafter (iv) I go into my gmail account and send the photos by pushing the button "Attach file". Hope this helps. </p>

<p>Gigi,<br>

I am the proud owner of a Technika III, which I use both handheld, with rangefinder (even with raising the front), and on tripod. When having to tilt to gain depth of field, I follow an old advice of Ansel Adam's: <br>

Put the camera on the tripod in neutral position. Thereafter, lower the lens BED as far as it will go. This will be an overkill as tilting is concerned. But do not fret, this is easily corrected by tilting the lens STANDARD back as far as needed. You will also need to back up the lens SLED (or the lens on the sled) a trifle to compensate for the fact that the lens, by tilting, has gone farther away from the film plane. Furthermore, it may be necessary to raise the lens board a trifle. <br>

Give it a try! It is easier doing it than writing about it. Hope this helps. </p>

<p>Dear Bob,<br>

With due respect for your eminence in all things Linhof, I have to disagree with your conclusion "the rangefinder on any version will not be accurate when these movements are made. Same with the finder". You have forgotten that, on the Technika III, you can raise the lensboard without changing its distance to the film plane. Thus, the rangefinder will stay perfectly accurate. Furthermore, the wirefinder will be raised together with the lensboard. As long as you keep the eye firmly fixed on the eye cup at the rear of the camera and glance at the (raised) wireframe from there, the picture will also be accurately framed. <br>

Bob, I have taken several handheld architectural pictures in this way and they have always wound up perfectly in focus and framed. Thus I know what I am talking about and have the pictures to prove it.<br>

Permit me to add that the same method can of course be used with the (far cheaper) Graphics, as long as the lense permits a raising without losing picture quality.<br>

I hope this clarifies things!</p>

Ganesh!

Why would you like to go through all this trouble? I have a Toyo 45A that I am perfectly happy with, groundglass and all. I would not advise trying

to remachine the groundglass holder. The factory (being Japanese) has done a nice job, keeping, I trust, all specifications within calibrated

standards. Why risk that through remachining? I have never found the groundglass solution chosen by Toyo to be to the detriment of accurate

focusing, not even when using extreme lenses, such as, the Rodenstock 65 mm lens.

As I understand it, the suggestion to put the Fresnel screen on the back of the groundglass stems from the need to add such a screen to a

camera that comes without it. By placing it behind the groundglass, one avoids the need to remachine the holder. But in your case, the holder is

perfectly adapted to the solution with the fresnel facing the lense!!!!

Larry,

I use a Linhof Technika III handheld with a 90 mm Angulon, as well as a Graphic with a 135 mm Sironar. I find that it is difficult to use those cameras for longer lenses. As to the Linhof, my advice is not to use the special Linhof grip. Instead, grab the camera with you left hand fingers inside the left hand frame and your right hand resting under the fold out. The shutter can be released by a cable release fixed to the front on the right, seen from behind. I would suggest you to get a Technika III for this kind of work. It has the advantage of being able to be used with the front rise (used together with the wire frame as finder). With the newer Technikas, rising the front causes the focus to get out of line! I hope this helps.