matt_batchelor

As previous posters have said, I guess it depends on whether you feel the need for a warranty.

One thing I would add, is that you may find small items such as batteries are far cheaper (certainly for us limies an EN-EL3e is 50 GBP,

versus only 40 USD). You may be better off buying a body in NZ and then lenses and batteries in the US, especially if you're going over

there anyway.

Matt

I second the above answer - I found that in tricky lighting situations centre-weighted metering on both my F100 and D300 gave more

predictable results, as it works out an exposure based on a simple calculation rather than using a computer programme to second-guess

the subject matter. I find that, once I've got used to a camera/sensor/film, I can apply compensation pretty consistently with CW mode,

whereas, as you say, it can go awry with the Matrix mode.

I only use spot metering in really tricky conditions, often to read -2/3 stop on some nearby greenery, or off the sky. The book

"Understanding Exposure" by Bryan Peterson is really good for tips on this sort of technique, and photographic exposure in general.

If you have time to use a separate meter, that might be worth a shot. I've had some good results with an old Weston Master V that I got

for about 25 GBP, though any off-camera meter will work just as well. Being able to take several readings off a scene, and average

them, or take an incident reading, is something that is difficult or impossible with even the newest DSLRs, and in some conditions a 30-

odd year old castoff can blow my D300's built in meter into the weeds.

Good luck! Let us know how you get on.

You've even got a new member over here now!

I just bought my dad's mint old AE-1 and 50/1.8, as it seemed a shame for him to sell it to someone else at the going price here in the UK.

I've wanted

an old-school body for a while - I use Nikon AF and digital bodies, but old Nikon gear is so expensive because you're up against

collectors a lot of the time, and FD gear looks like such good value. I might even look at getting a beaten-up old F1 or something as a

'nail' - for when I don't want to risk the AE-1 or my modern stuff.

I think the trouble with film cameras now is that you only tend to use them when you really want to - I just got back from Goodwood with

over 1500 frames on my digital body, something I just would not have done with film, as the time and money to develop, sort, scan in,

print and so on does not make sense now digital has arrived.

I still like B&W though, and until I can get something that looks like HP5 without endless faff I'll be using film for a while yet.

Kudos to photo.net for keeping this forum open on a mainstream site.

I've been using a Huey Pro on an Apple Cinema Display for 9 months, and, until I

start making money from photography I wouldn't feel the need to upgrade.

The software's not bad, there are just enough settings (white point and gamma can

be set independently, something that may not be true for the plain huey), and the

monitor has been so close to prints I have made I wouldn't need much more for the

screen.

The only reason to spend more money would be to get something that could profile

printers, and that would be many more ﾣﾣﾣ (or $$$?)

Highly recommended, especially for the money.

Matt