spritestress
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Posts posted by spritestress
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There are multiple purposes for shooting so called "tethered", between a computer and a camera. With either the latest version of the Canon EOS Utility software, or with Nikon's Camera Control Pro 2.0 software, it is possible to control almost all of a camera's operations from a computer via the "tether".
People use this feature for multiple purposes. For example, some people use this feature with the camera on a tripod for shooting products, food, and so on. As they capture each frame, it is instantly downloaded to the computer for review. Even when shooting hand held in the studio, the same facility can be priceless. Having instant review of shoots on a 1920x1200pix, 30" LCD monitor, swiveled up in portrait (i.e. "tall") mode, it is possible to visually check a near pixel for pixel sized RAW as a shoot proceeds.
With a Canon 40D, EOS 1D3, or EOS 1Ds3, or a Nikon D3, or D300, it is possible to use LiveView this way, displaying the LiveView of the photo to be captured, directly to that same large computer display.
Another application for shooting tethered, is while creating large series of bracketed exposures for HDR cityscapes, with the camera on tripod, tethered to a computer, where incremental exposure times can be set without ever touching the tethered camera. This insures that the camera isn't moved accidentally.
There is a whole lot more that is possible while shooting tethered, than a mere remote shutter or just live photo download. Especially in a studio setting, shooting tethered provides a level of control, and possibilities for instant review and confirmation that a 3" back of camera LCD cannot. The manuals for the Canon EOS Utility software and Nikon Camera Control Pro 2.0 both contain additional relevant information, they may provide additional insights.
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Someone inquired about long USB 2.0 cables for shooting tethered elsewhere, but
I couldn't locate that thread just now. Also, when trying to decide which forum
was best for this post, I couldn't find a forum entitled something like, "geek
gear and accessories" or something like that. Might that be an idea for an
additional forum category?
Anyway, the length limit on USB 2.0 cables is 16.4 feet. The length limit is
required because of the time it takes for an electrical signal in the USB
protocol to make a round trip fast enough to maintain the 480mbps throughput rate.
Given the foregoing, there are cables around, that will probably work with most
DSLR cameras for shooting tethered, that are 15 to 16.4 feet long. Here is a
link to some.
The USB protocol designers anticipated some workarounds for the length problems.
One of the solutions is a repeater system, although I got the impression from
reading some specifications that it might not be a great idea to use more than
one repeater. The repeaters are referred to as "active" extensions. They are
available in lengths up to the 16.4 maximum. The active extension units are
possible because the USB 2.0 protocol includes provision for providing power to
USB devices, which is also why it is possible to have portable USB 2.0 hard
drives that do not require external AC power. Here is a link to some active USB
2.0 extension cables.
An active extension cable should work in combination with the usual 6 foot USB
2.0 cable that comes with most DSLR cameras.
I have used a single 16.4 ft cable with a couple cameras for shooting tethered
without problem. I also have one of the active extension cables on order. I will
test it soon and report back with results when I have a moment.
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Try the following to use an SB-800 flash with any camera, via a Pocketwizard or other radio trigger. Please note that the SB-800 will NOT be ON the camera. That is a terrible place for a flash anyway. The SB-800 will use its SU-4 mode.
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<b>SB-800 SETUP </b><br>
Turn on the SB-800 and then hold the SEL button until it enters the custom function setting mode. Highlight the firing type block and a list will appear to the right with SU-4 at the bottom. Press the SEL button again, then press the - button to highlight the SU-4 item, then press the SEL button again. The SB-800 is now in the SU-4 mode. Press and hold the SEL button again until the unit returns to its main screen. Press the MODE button to change the mode to manual. Then Press the SEL button to highlight the output level and use the + and/or - buttons to adjust the level to your desired output. Use the "tree" buttons to adjust the light output angle as desired. The output level and output again are creative adjustments so experiment to find what works for your application.
<br>
<br>
<b>POCKETWIZARD SETUP</b><br>
Next, attach a Pocketwizard, set to receiver mode, on the desired channel, to the synch socket on the SB-800. The SB-800 synch socket is on the left side of the unit when facing the unit's LCD control panel. It is the socket nearest the bottom of the unit.
<br>
Finally, test fire the SB-800 with both the receiver Pocketwizard attached to the SB-800, from the transmitter Pocketwizard on the camera hotshoe, and by taking a test shot with the camera, to confirm that everything is working as desired.
<br>
<br>
A similar setup can be achieved by using SU-4 as described above, while connecting the SB-800 synch socket to the PC synch socket on any DSLR camera that has one. Be sure to place a piece of paper on the hotshoe between the camera and the SB-800 so that its electrical connections do not confuse the non Nikon camera. Also see strobist.com for relevant articles.
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Thanks for the SU-4 mode tip. It worked great! It was actually more flexible than other approaches in many ways because the output level of each SB-800 could be set individually in 1/3 stop increments. The SB-800s all fired consistently too.
Setup for those photos was a very long day, adjusting everything, and making many test fires before getting the final look I wanted. The Bowens Geminis were fired via Pocketwizards, and the SB-800s simply slaved to their initiation. I think I am going to use this method all time now when mixing SB-800s into a scene. I wish I had explored the SU-4 mode a long time ago!
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In the U.S., go to an Aaron Brothers framing store.
They have 32"x40" matte board sheets in numerous colors for about $10.00 each. They have various gray shades that produce excellent results.
They also have 32"x40" foam core sheets in white and black for $11.00 each.
Foam core is also available in 40"x60" and 4'x8' sizes, in either black or white.
Aaron Brothers also has light weight wooden easels for $10.00 to $15.00 that you can use as a support for the matte or foam core sheets. For stiffness / support you may want to combine a sheet of foam core with a sheet of colored matte board. For a close up portrait, the matte board rivals or exceed background paper rolls because they are stiff and maintain a flat surface. They are not big enough for 3/4 length or largere portraits.
The white foam core makes a great reflector to provide secondary light for portraits. Many top pros use them for this purpose, so don't think it is a second rate equipment choice.
The black foam core is great for light blocking/shaping. For example, they can be positioned in front of rim lights to block glare.
Some people have used foam core to create their own "soft box", and/or barn-door, substitutes.
Commercial support and light control equipment isn't really very expensive, and its durability is worth the cost. At calumetphoto.com for example, search on:
calumet panel
calumet litedisc
and similar searches for stands, supports, light control / reflector panels and discs.
You can also get an inexpensive background support kit made by interfit from ritzcamera.com for about $75.00.
http://www.ritzcamera.com/product/301600144.htm
A lot can be done with a few umbrellas combined with Canon 580EX IIs, or Nikon SB-800s, plus the items described above.
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Not to worry. The whole site is going 504 at the moment.
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The bowens brand lights combine the advantages of monolights with the ability to operate on either battery pack or direct AC power. The Bowens brand lights are manufactured by the parent company of calumetphoto.com. The calumet photo company also markets a calumet brand line of lights made by the bowens company. They are called calumet travelite, and look quite similar, but with slightly different features. I own the Bowens Gemini Digital lights. I also use the calumet brand Travel-Pak units, which are identical to the Bowens Travel-Pak units.
The gallery on their site has countless photos made using Bowens lights.
http://bowensinternational.com/gallery2/main.
As far lenses go, if you want to create truly sharp portraits, an F.28 or faster lens is essential. Nikon and Canon make various lenses of that sort. Focal lengths like 50mm, 85mm, 105mm, the 24-70mm zoom, 28-70mm zoom, and similar ones are nice for studio portraits. You will also need a light meter like the sekonic L-358 to measure the aperture setting you need given the shutter speed you are using, all in manual mode of course.
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Whatever you choose, give yourself plenty of time to become familiar with your equipment and digital photography. Digital photography involves many new processes, and DSLR cameras provide dozens of features and related techniques that take time to get used to for people who have only used film in the past.
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Use sRGB color space for the web.
Color is subjective, so there isn't any master formula to give you.
Also, get a color calibrator for your monitor. The baseline choice, is a Pantone Huey, which costs about $100.00. They go up from there into the hundreds with more features, but the Pantone Huey provides adequate, basic features.
Make sure you use Save As in Photoshop, to preserve the ICC data and the EXIF data.
Even if you were printing, the very high end Fuji Frontier system doesn't even support ICC color profiles!
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I wonder what would happen if you cashed their check, sent ZERO, NOTHING, to anyone, and simply waited to see if they showed up in person to arrange their wedding, or until the bank might eventually notify you that the check is bogus? I have heard of these deals where the bank rescinded check acceptance/remittance after some exceedingly long time gap. I have often wondered why the bank tenders them through in the first place after a week, only to credit itself later when they discover the fraudulent account. One would think the computer database applications would detect that in the first instance. So, are the funds purported to exist by the check coming from some non-party, legit account, that the scammer has defrauded as well?
Thanks for the heads up on further mutations of this kind of thing, so that we might recognize the next mutation as well.
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You need a simpler workflow!
Try one of these:
- process / adjust / fine tune / raw file using Canon digital photo pro software - and "save as" into .TIFF file.
Edit the TIFF in photoshop.
or
- get Lightroom and - process / adjust / fine tune / raw file there.
- lightroom has settings to load an adjusted file as a TIFF ( or PSD if desired) directly into whatever version of Photoshop you have, or any other image editing application you have/use.
- Lightroom can also output JPEG files directly if no photoshop editing is required or desired.
( skip the DNG )
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1. store original raw file.
2. edit using TIFF, which is portable across many applications.
3. output final JPEGs for web etc. as needed.
Lightroom would simplify your life.
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You need a better understanding of Windows and how thumbnails are generated in Windows Explorer, while using its thumbnail view. In short any support for thumbnail image display in Windows Explorer must generally be supplied by the file format's vendor, with a view exceptions for universal file formats, for which Microsoft decided to provide a display DLL. For each file format, vendors must supply a DLL executable file that implements thumbnail creation, and must insert associated information into the windows registry database.
Microsoft can't anticipate every image file format on earth. Consequently, this thumbnail image problem applies not just to RAW, i.e. CRW, CR2, and NEF files, it applies to people using PS CS3, because Adobe removed Windows Explorer thumbnail support at about the CS2 release.
The solution for CR2, NEF, and DNG, is the following freeware software, or its more feature rich paid version.
The display solution for .PSD files in Windows Explorer, is to download the file at the following article and follow the installation instructions.
http://www.sitepoint.com/blogs/2005/12/13/adobe-cs2-and-the-case-of-the-disappearing-thumbnails/
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What repair / maintenance resources do you know of for vintage cameras like a
Canon FTb? Another thread here inspired me to dig mine out from a box. Digging
that out brought back fond memories! I'll probably test a roll of film in it to
determine its condition.
However, it would be nice to find someone competent to give it a cleaning and
overhaul though. Its not like I'm going to use it on a regular basis, but
keeping it working seems like a good thing.
Today's full-frame Canon digitals are such a completely different universe!
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There are many options available from lightware, but their bags can get kind of pricy for being just bags.
search on lightware at calumetphoto.com.
Another brand for possible consideration is tenba.
Also, given the size variances listed above, it may be worth it to consider more than one bag. Given the price of large cargo bags, a more compact background support system may also help out.
Another approach to gear luggage is hard shell cases.
I use SKB cases for some equipment.
skbcases.com
The SKB cases have made it possible to ship gear Fedex for outbound projects. The U.S. military uses them as well, and many of the cases are ATA approved for airline travel / shipment.
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I need CLS mode triggering for the slave SB-800s, to set specific manual output levels using groups A,B,C. They will be scattered around the grounds to light foliage, and things not lit by the home's own exterior spots and sconces. My setup efforts before dawn should provide the experience and experiment results I'll need. If all else fails, it will be more pocketwizards to the rescue. Also, the camera is Canon, but their equivalent to CLS sucks. The pocketwizard on a master SB-800 provides triggering such that own brand has no clue about the other! I guess I will need to get some sleep soon, so that I can start setup early, in the wee hours.
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I use Bowens lights. I recently upgraded my lighting to the Bowens Gemini Digitals. I have never been happier. The digitals enable me to precisely set each light and record the output values in spreadsheets I keep about each shot setup.
The bowens lights also support a battery pack system called Travelpak, so that I can use them at locations without AC power. You can read about them here:
They also have PDF manuals there for download.
I have found them to be a reasonable investment/expensive/value at about $1500.00 for a pair of 500ws monolights in a kit with wheeled carry case, stands and so on.
As for weight, they are 7 lbs each. I have two on booms with wheels and counterweights. They move around easily enough, and I haven't tipped one yet. By the way, I purchased soft ankle weights used for exercise at an athetlic supply store and wrapped them around the legs of the stands to balance the weight at a low center of gravity. Each soft ankle weight is 10 lbs., while a Bowens monolight unit weighs about 7 lbs. Bowens and their parent company Calumetphoto.com make a variety of reflectors, snoots and grids, that I have also found helpful.
Someone mentioned the need for multiple pocketwizards (PW). No matter how many lights I use, I generally use no more than two receivers on the lights. The others seem to fire quite reliably in their photocell slave mode. As for the PW count, there is a transmitter built-in to my light meter, and one on the camera's hot shoe. When I shoot from tripod, I use two more, one on the camera's remote trigger jack, and one in my hand, with the pocketwizard channels in cascade mode, so that I can stand away from the camera and shoot wirelessly, with pocketwizard transmitter in my hand. So that is either 3 or 5 PWs depending on use of tripod or handheld, plus the L-358 built-in.
The investment for me has been a fraction the cost of Profoto or BronColor lighting.
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Weather permitting, I am doing an architectural shoot tomorrow, of a large house
at an amazing setting, shot at dawn and then again near dusk. I plan to use a
set of Bowens strobes on Travel-Paks, and some additional lights. However, I
would like to try something I haven't done before, which is to attach a
Pocketwizard to a Nikon SB-800 in master mode, and combine that with other
SB-800s around the area. Have you tried this? What, if any hassles, might you
have encountered with this setup? I am supposing that there will as many as
eight lights on radio trigger. Have you encountered distance and/or line of
sight problems with the slave SB-800s triggered in cascade by the master SB-800
receiving its signal from the Pocketwizard?
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Why skimp on an essential? I would go for a new one, and be certain to get the version of the L-358 with built-in the Pocketwizard transmitter so that it can trigger your strobes.
http://www.calumetphoto.com/item/SE4052K/
According to Calumet Photo, a new one with the Pocketwizard module is currently $289.99.
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Be certain you have thorough legal paperwork with notarized signatures from both parents and the minor, with initials on all pages of multi-page contracts. The paperwork should state that a legal guardian is present at all shoots and that the guardian has provided approval of all images. As noted by other responders, make certain all your intellectual property rights are crystal clear too. A conservative approach with minors may save you infinite headache later.
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Compare their appearance in the Library Module, with what they look like when you load them into the Develop module in Lightroom. Have you checked with Adobe to find out if your version 1.X Lightroom, supports the D300 features? Have you checked with Adobe's web site etc., to confirm that Lightroom supports those features in its current 1.3 or soon to arrive 1.4 updates?
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Nikon's web site doesn't say anything about the 28-70 f2.8 lens being discontinued. You may want to email Nikon or call Nikon's 24/7 technical support at 1-800-645-6689, and find out what they have to say. The 28-70 is a wonderful lens. After you get information from Nikon about its status you may want to find out from a store like calumetphoto.com if they can get the lens for you. They pride themselves in being able to provide that kind of service.
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You might consider limiting the resolution of the proofs on the DVD.
You may want to present the proofs on the DVD in an html based presentation.
You may want to add a visible watermark to each proof so that printing the proofs is useless, assuming that your goal in providing the proofs is a prelude to ordering prints from them.
Why not provide a web based proofing system, which seems to be the trend, along with integrated ordering software created using a web content management system?
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Melinda,
Owning SLR camera equipment is about deciding on a brand and making a long term investment in that brand's lenses. In that regard Nikon and Canon go head to head with equivalent lens, all equivalently priced (not by accident I don't think). Five years from now, the DSLR camera bodies will have evolved amazingly. However, most of the lenses will likely continue to have value and usability. With that in mind, spend as much as your wallet can handle on the fastest lenses you can afford. Eventually your collection of lenses will be valued at a multiple of your investment in a camera body.
If you cannot afford the F2.8 lenses that start at $1,000.00 and up each, try something like the 24-120mm VR (model 2145) as a first lens.
It is about $600.00. It provides many features except for long telephoto. It may be a good starter lens. At some point in the future when you can afford it, the 70-200 F2.8 VR is the heart and soul of the Nikon lens family (model 2139).
For portraits, the 85mm f1.5D IF (internal focus) (model 1933) is about as sharp as imaginable.
If you buy great lenses as you learn, as you trade up for a more advance body that produces sharper images, you will be able to stay with your lens investment. Please also learn to shoot using RAW file format, and invest in Adobe Lightroom software.
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The suggestions here have been excellent. I have CaptureNX, Lightroom and Adobe CS3 Master Collection.
Although CaptureNX has nice features, in my experience it is clunky. Capture NX is also slow and it crashes on occasion. Then I got Lightroom 1.x. After learning its interface, I have been delighted. It brings in photos from memory cards using custom file name filter nicely. Lightroom's "develop" module has all the features of CaptureNX, but with a much more intuitive, modeless, user-interface. The before/after side by side is really helpful. I have also been able to configure Lightroom to work MY WAY!!!! when interacting with Photoshop CS3 and saving incremental file copies with the custom naming conventions I like and want. It has also enabled me to import thousands of RAW files and TIFs stored on terabyte hard drives very easily. Lightroom also allows me to keep its management database WHERE I WANT IT TO BE, rather than in some presumptive, pre-ordained, location as many other (nikon software) products often do.
My workflow has now become - RAW - Lightroom - PS CS3 - (HDR software when needed), back to Lightroom for making collections and tagging. The Adobe products have been worth the expense.
Good Luck
boom kit
in Casual Photo Conversations
Posted
There are many ways to create hair lighting with a boom. Your choice of light modifier is a matter of your creative preference.
As far as gear goes, boom kits range in price from a little over $100.00 to nearly $1,000.00. The difference is mostly in their weight capacity.
I use the following boom:
http://www.calumetphoto.com/item/MF6210K/
for most applications, although I add "sand bags" to its legs for greater balance and safety.
For lighting control, I sometimes use a snoot like this:
http://www.calumetphoto.com/item/CE1888/
attached to a monolight strobe.
http://www.calumetphoto.com/item/BW4375/
The snoot is like a reflector for a strobe, except that it narrows the light to a small beam. A grid attachment for it narrows the beam even more.
A similar affect can be achieved with a reflector and grid set for a strobe monolight like the following:
http://www.calumetphoto.com/item/CE18650/
http://www.calumetphoto.com/resources/images/prod_tnlg/37f19c0934e54df9b9cdc948f0ccc04b.jpg
for a wider, directed beam. Depending on the pose, it important to position a hair light carefully, and take test shots to fine tune its output level.
A monolight spot attachment that supports gobos, like this:
http://www.bowens.co.uk/catalog/product_info.php?products_id=255&language=es
can be used to create special effect shadows.
Sometimes a broader hair light effect is desirable. For that, a photoflex small halfdome, without the front diffuser, but with grids, produces a hard, very directional, downward light that can work well.
hope this helps ...
(disclosures)
I am only a calumet photo customer. I use many of their products. I have no other affiliation with their company.