petr_tyll

thanks c.p.m., very good article. definitlly the radio trigger is the way to go. Concerning MLU, I think the mirrorless

cameras have an advantege in this department, almost like rangefinders.

thanks c.p.m., it is an excellent point. that makes a lot of sense. the test is acctually done without the remote release. I

think thats the issue.

well that is the thing, for my kind of photography I do l not really need fast af, rigid body, weather sealing, high iso.

Image quality is the criterion. Recantly I shot with canon t3i which means the same image quality as 7d for much less

(but the t3i has a full MLU and delay even 10 sec) That is my thinking behind D3200 - super image quality in low

priced body. Recently I saw this test (sorry it is in czech) http://www.digineff.cz/art/jaknato/clanek2018524231.html

It shows that vibration from the mirror effects the sharpness even after 2 sec delay. That is why I am asking about the

live view shooting possibilities with D3200.

<p>thanks for response. </p>

<p>Thanks for response Shun! Actualy I want the camera strictly for interiors and macrophotgraphy. Macrophotgraphy I do is only with flashes at the highest normal sync. spedd (ei 1/200-250 s). For interiors the time can be even longer then 1/8 (sometimes even 1sec. or more). <br>

The thing is, I shot recently with Canon T3i and was quiet surprised with the results in a positive way (but it has regular MLU). 24 Mpx is more then 18Mpx and for the money of D3200 it is amazing. </p>

<p> </p>

<p>Thank you for responses! I have a solid tripod. Somebody knows how the Quiet mode and a 2sec Delayed Remote setting works and could it be used to prevent the mirror vibration? Thank you.</p>

<p>Dear all, I am considering to buy Nikon D3200 for interior photography. But does it have possibility to eliminate the vibration coused by mirror slap? I mean by any means, I know it does not have regular MLU (MLP), so is it possible somehow via live view shooting or is the mirror falling down before the shot in live you anyway? Thank you!</p>

<p>No offense at all Zach. You are completelly right. One has to be carefull to maintain some kind of logic in the lighting. The second version of the picture is better I think. These kinds of interiors with wooden polles are always challenging.</p><div></div>

<p>Hi Laura, your idea using many shots with a flash aimed to different place is perfectly doable. Actually with a digital camera it is a way I as photographer that focuses mainly on shooting interiors and architecture use myself and highly recommend (you can see the examples done by this thecnique at my page www.petrtyll.cz)<br>

I would suggest following:<br>

1. good tripod with head (the stabil tripod is a must. It is essential that the tripod would not move in between the exposures)<br>

2. studio flash with a reflector (usually bounced from the ceiling to balance the light from the outside or overpower the interior lighting)<br>

3. "hand flash" - either one flash head with a battery or speedlight with reflector and grid (the grid is usefull to really aim the light. Many times when you want to show the texture you almost use it in the opposite direction toward the camera and you do not want light in your lens)<br>

Remote triger for your camera and also for your hand flash/ speedlight is usefull. The studio flash can be triggered by light from the hand flash.<br>

At the moment with my Nikon D300 camera I use Tokina 11-16 2.8 most of the time. For details I use 35/2D or 105 micro but I thing 60 micro would be more convenient for interiors.<br>

Petr</p>

<p> </p><div></div>

Dear R, your advice is priceless! Your comment exactly reflects my situation and actually substantiates my

"suspicion". Thank you!

Dear R, your advice is priceless! Your comment exactly reflects my situation and actually substantiates my

"suspicion".

Thanks Janos, that's what I'm after, I will take your comment into account.

Thank you very much again guys! Excellent things to thing about! What do you think about Nikon 14 2.8 AF, I could

use with crop body and later as a ultrawide with FF? Later when I would save some more money I could by Zeiss

21mm and would be set in the wide area. Definitely I think I am gona go through the glass oriented path.

<p>Thank you guys for your comments and responses! There is a lot to think about. I have to agree that it is not a good time to buy the D700 at the moment. I am thinking now about a crop plus 14-24 option. Hotel and restaurant interiors is acctually the area I would like to use it. May be I will buy a used D90, D300, D2X, D7000 plus the zoom and move to the FF camera when the D700 upgrade is out. The 4x5 film route would be a pleasure for me but I feel there are not many clients able to pay for it anymore. May be used Canon 5D mkI and Nikon 14-24 2.8 could get me to FF rightaway. My friend is using Leica 19mm 2.8 ROM with his 5D and it is stellar from 2.8, I hope the Nikon 14-24 2.8 will be up to it (but more versatile).</p>

Thank you Andrew, ofcourse the D700 with 14-24 would be best! But with my budget I think I can not have both. I

would like to get to the FF later. Anyway, you think I wd get better outcome with crop body example D7000 (D5100)

with let's say Nikon 10-24 then with D700 with 20 2.8?

Hi guys, with my budget I can get either D700 with 20 2.8 AF or D300 with 14-24 2.8. What do you think would deliver better picture

quality for me at 20 resp. 21mm equivalent? I want to use it for architecture and landscape photography. I am asking from a viewpoint of quality not from the "what is the more clever buy" perspective. Thank you!

I would suggest buing a Canon 100/2.8 IS macro instead of 85/1.8. P

<p>Hi Harold, as others said, it´s about the light. You need difused light without hard shadows. What works best for me is bounced light. I use two flash heads - one in the back and one on the side but without softfboxes and bounced. It´s easy to set it up for examp. in the corner of a room with a light walls or I use sometimes big polystyren desks. Usually I either use white or black glass (the black they use here in czech for furnituru or tomb stones). I´ll try to show you the set up if i´ll have time. Then I use black and white cards to bring the light and black reflections in front of the items. Also I found the hard way - best is to be dressed in black - once I had a green color cast from my t-shirt on the silver items. <em></em> Petr</p><div></div>

<p>The subject does not convey to me any special thing but the way it´s done - BW and grain, I like that. Actually I like the iron bridge. It reminds me one picture. Here it is.</p><div></div>

<p>Fi´s picture, right above me: I acctually like the tilted image, the wires and pole are geometricly interesting. The grain and BW has something about it. Not bad at all.</p><div></div>

<p>marc´s photo: good street snapshot, nothing extraordinary though, rather boring, may be if he would not be looking into the lens would make it more interesting? Excellent idea this thread!!</p><div></div>

<p>Nikon D700, AIS 20/3.5, f8, 1/25s.</p><div></div>

<p>Very good Patrick! Thank you!</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/7740651-lg.jpg" alt="" /><br>

velvia 100, hasselblad 503 with distagon 50, scanned on hasselblad flextight x5</p>

<p>One can not take these "tests" that state that digital is better then film much serious. It is obviously about money. There is a czech saying "whose bread you eat, his song you will sing". In Czech Republic there is a company which is an exclusive sale representative of Sinar. He stated on his website (picture that was suppose to prove his point: <a href="http://www.profifoto.cz/okno_por19_8.html">http://www.profifoto.cz/okno_por19_8.html</a>) in 2004 that according tests made in 2000 the Sinar back with resolution 4.2 MPx is better then film 4x5. Can you trump this?</p>