AndyMiller

<p>Hi Julie, I use the Spyder series of monitor calibrators I find they are very good and work well with my printers. I use a Canon A3 Pixma printer for large colour shots for exhibition etc. and also for my standard A4 shots. The Spyder calibrators come with software or hardware (Very Expensive at top of range) that link with the printers so that what you see on the screen is what you get from the printer. For smaller sizes of prints, I use a colour laser and print on good quality card. You cannot put photo papers through a laser as far as I know.</p>

<p>Has anyone tried the new Adobe Photoshop CS6? I am in the process of downloading the beta version and hope to report back soon. Anyone already tried it?</p>

<p>Hi Filipė, I've taken one of your shots and increased the Brightness and Contrast in Photoshop - you can do this in most post processing software. I have then added a graduated neutral density filter to the clouds - this is a Nik Software filter - again part of post processing but very easy to use once you get into this sort of thing. I use Nikons and always have Active D Lighting on and set to high - I also have the colour setting set to vivid. This is something you need to try for yourself until you find the settings that you are happy with. Some people say - No Sun - No Picture but all rules are there to be broken and nature and the weather do not always cooperate with our camera outings. Because of this fact Post processing is for me, a very important skill to learn. There are many programs to help you from simple to very complex Photoshop CS5 to Photoshop Elements, Picasa etc. Some are free, some are expensive but a basic one is essential.</p><div></div>

<p>For me, at that sort of gig, I'd want to travel as light as possible - one DX body with an 18-200 Nikkor or 2FX bodies, one with a 24-70 nikkor and the other with a 70-200, and forget fiddling in a bag. The D7000 is excellent at high ISO settings.</p>

<p>Hi Jacob, Seasons greetings. As time goes by, I have learned one main point about my gear, always invest in the best glass/lenses you can. Bodies and other items come and go but with care, your lenses will outlast you - I've been taking photographs for over 50 years and although I've gone from Nikon "F"s to D3's - two of my lenses are over 30 years old and still very much in use. Your Tutors will guide you on what you need for your course and you will find an awful lot can be obtained second hand from those who do not stay the course. If you intend to be a photographer for life, whether pro or amateur - always go for the best glass you need and can afford.</p>

<p>As an Apple user since Mac Classic Days, I too have been having problems with Lion. I anticipated this when they annouced the cancelation of Rosetta so for the time being I have kept Snow Leopard on a separate drive and use that For NX2, Nikon Transfer and Photoshop CS5 until things settle down.</p>

<p>Hi Nancy, I think you have asked an IR question before? Just a suggestion - go to the location where you intend to take the wedding pictures and take a series of IR shots for the background (A good wedding photographer always examines the location before the event) - filter and tripod, if that is what you use, before hand. Take them at the same time of day you will be taking the wedding pictures and save them. On the day, place your wedding party, bride and groom etc in the same locations that you have decided on before and take your normal shots. Then take those you wish to do in IR and run them through one of the many IR Photoshop actions that are on the internet. ( I think I mentioned them in an answer to a previous question you asked - if not there are loads of very good free PS Actions out there ) Then mask out the background of those pictures and superimpose the results on your IR backgrounds. </p>

<p>Here is an extract from the Advanced Camera Services web site in the UK which I hope will clarify these points for some people and set them on the road for further exploration of IR. Do not forget that you can write the process as an Action in Photoshop and save it and run it automatically if you wish.<br /><br />Colours & white balance<br /><br />Using Auto White Balance (AWB), some digital cameras may produce IR images with a strong yellowish/reddish/brownish colour cast known as false colour. This is due to the characteristics of the imager and processing algorithms. Post-processing in Adobe Photoshop (or similar) is required to remove/reduce this false colour effect. False colour can be removed/reduced by shooting images with Custom White Balance.<br /><br />Using Custom White Balance (CWB) measured on sun-illuminated grass/leaves (a ubiquitous available midtone), IR images tend to appear more monochromatic.<br /><br />When using the Colour mode, random spots of colour (colour artifacts) may occur in images. If the camera has Black-and-White mode, using this mode will eliminate colour artifacts, and may strengthen the monochromatic appearance in IR images.<br /><br />Generally, there are 4 possible combinations of photographic modes to shoot infrared images.<br /><br />Colour mode with AWB<br />Colour mode with CWB<br />B&W mode with AWB (unavailable on some cameras)<br />B&W mode with CWB (unavailable on some cameras)<br />More false colours can happen with other white balance settings such as Tungsten or Fluorescent.<br /><br />Post-processing of IR images<br /><br />Open your IR images in Adobe Photoshop. Click Image > Adjustments > Auto Contrast if your images are underexposed due to the filter.<br />Click Image > Adjustments > Channel Mixer. Select Red Channel in Channel Mixer, slide your Red percentage to 0% and Blue to 100%. Now select Blue Channel in Channel Mixer, slide your Blue percentage to 0% and Red to 100%. The basic process is done.<br />You can still further tweak the colours to your desired effect.<br />To enhance whites/highlights: <br />Click Image > Adjustments > Selective Colour. Select Neutrals. Slide the Black to a negative percentage to enhance whites/highlights. Experiment with the Method - Relative or Absolute.<br />To obtain a cyan-tint:<br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Yellow to a positive percentage.<br />To obtain a yellow-tint: <br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Cyan to a positive percentage."<br /><br />I hope these simple steps help you to explore Infrared further. DO NOT FORGET -you can use these steps in either RAW or JPEG. (Try it on a JPEG and then add other filters if you like This shot (JPEG AF-s 17-35 mm Nikkor; 19 mm; 1/125 f5.6; Custom WB. Nikon D100 converted for IR by Advanced Camera Services UK) followed the normal post process above and then had a Nik Software Tonal Contrast filter applied :<br>

This works for converted cameras and those with filters on - Experiment with the sliders to see what happens.<br>

<br />Andy M.</p><div></div>

<p>Here is an extract from the Advanced Camera Services web site in the UK which I hope will clarify these points for some people and set them on the road for further exploration of IR. Do not forget that you can write the process as an Action in Photoshop and save it and run it automatically if you wish.<br /><br />Colours & white balance<br /><br />Using Auto White Balance (AWB), some digital cameras may produce IR images with a strong yellowish/reddish/brownish colour cast known as false colour. This is due to the characteristics of the imager and processing algorithms. Post-processing in Adobe Photoshop (or similar) is required to remove/reduce this false colour effect. False colour can be removed/reduced by shooting images with Custom White Balance.<br /><br />Using Custom White Balance (CWB) measured on sun-illuminated grass/leaves (a ubiquitous available midtone), IR images tend to appear more monochromatic.<br /><br />When using the Colour mode, random spots of colour (colour artifacts) may occur in images. If the camera has Black-and-White mode, using this mode will eliminate colour artifacts, and may strengthen the monochromatic appearance in IR images.<br /><br />Generally, there are 4 possible combinations of photographic modes to shoot infrared images.<br /><br />Colour mode with AWB<br />Colour mode with CWB<br />B&W mode with AWB (unavailable on some cameras)<br />B&W mode with CWB (unavailable on some cameras)<br />More false colours can happen with other white balance settings such as Tungsten or Fluorescent.<br /><br />Post-processing of IR images<br /><br />Open your IR images in Adobe Photoshop. Click Image > Adjustments > Auto Contrast if your images are underexposed due to the filter.<br />Click Image > Adjustments > Channel Mixer. Select Red Channel in Channel Mixer, slide your Red percentage to 0% and Blue to 100%. Now select Blue Channel in Channel Mixer, slide your Blue percentage to 0% and Red to 100%. The basic process is done.<br />You can still further tweak the colours to your desired effect.<br />To enhance whites/highlights: <br />Click Image > Adjustments > Selective Colour. Select Neutrals. Slide the Black to a negative percentage to enhance whites/highlights. Experiment with the Method - Relative or Absolute.<br />To obtain a cyan-tint:<br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Yellow to a positive percentage.<br />To obtain a yellow-tint: <br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Cyan to a positive percentage."<br /><br />I hope these simple steps help you to explore Infrared further. DO NOT FORGET -you can use these steps in either RAW or JPEG. (Try it on a JPEG and then add other filters if you like This shot (JPEG AF-s 17-35 mm Nikkor; 19 mm; 1/125 f5.6; Custom WB. Nikon D100 converted for IR by Advanced Camera Services UK) followed the normal post process above and then had a Nik Software Tonal Contrast filter applied :<br />Andy M.</p>

<p>Hi there, Have both Bigma and a Nikkor 300 f4, had a Nikkor 80-400 as well but kept the Bigma which IMHO is superior. Used a Kenko Pro 1.4TC on all three, fine with the 300, focus hunt with the Bigma on occasions - terrible focus hunt with the 80-400 which contributed to my getting rid of it. Used all three on my D3, D700 and previous D300 and 200 - I found the different bodies made no difference to the usage characteristics with the TC. I use the Bigma ONLY in bright conditions. </p>

<p>Hi Holly, First - go to a good camera shop if possible and handle as many of these cameras as you can. Canon, Nikon, Pentax, Panasonic etc - make does not matter - you need one that feels comfortable in your hands. You need to know that the controls are easy to reach and use. As a beginner you do not want to be overwhelmed with gizmo's, so ignore any sales person who goes on about mega pixels, movie modes etc.. The camera needs to be comfortable in your hands, otherwise YOU won't be inclined to pick it up and use it. I have used Nikons for over 40 years, mainly because they feel right in my hands. When I started the Canon's felt clumsy to me. You do not have to buy from the shop, you may choose second hand, but at least you will know what your choice of camera feels like. I too would start with something like a D90 and kit lens (18-55 seems a standard these days) or a D3000 - then as the others suggest, practice and practice. As you get along, make sure to remember this site as there are always people here to help - no matter how silly the question may seem. We are all still learning, some of us just started a long time ago.</p>

<p>Hi there, Try Adobe Exchange - Many of the Actions there are free. <a href="http://www.adobe.com/cfusion/exchange/index.cfm?l=-1&s=5&o=desc&exc=16&cat=190&event=productHome">http://www.adobe.com/cfusion/exchange/index.cfm?l=-1&s=5&o=desc&exc=16&cat=190&event=productHome</a></p>

<p>Hi there, if you Google "camera waterproof cover" you get many results, some expensive, some cheap, some that will let you take a camera into a river. They come in all sorts of shapes and sizes. I use an Aqua Tech for my D3 etc..</p>

<p>Hi Carney, I think you mark/place them in the nude section. Then anyone who is not interested in nudes uses the gallery filter which is in the "Gallery" tab on this site that says "All (no nudes)" or goes to a specific category to view. </p>

<p>I'm sure you can, but I would not recommend it. In post processing you need to calibrate your monitor/TV so that what you see on the screen will be the same as what you can or wish to print or view elsewhere. If it is for your own viewing only and you are happy with what you see then go ahead, but if you post to the internet you may be surprised at what others may be seeing. I calibrate my monitor every month using a Spyder3 device. My monitor has a lot more controls to fine tune colour, contrast, saturation etc. than any TV I know.</p>

<p>Hi there, I use the Kirk "L" bracket on my D3 - I also have a D700 with the MB D10 - to start with I had the D700 plate but once I put the MB D10 on then I switched to the Kirk "L" bracket again. I find it no heavier than my D3 setup and so much simpler to use.</p>

<p>Film, my old F2AS with MD - which disappeared in a burglary in 1986 - still miss it, Digital - D3.</p>

<p>Hi Sal, what do you use to calibrate your monitor? Do you calibrate it regularly? I used to get this problem until I started using a Datacolor Spyder to calibrate the monitor every 8 weeks. This means that my prints also now match what I see on the screen. I also use a Mac.</p>

<p>Here is an extract from the Advanced Camera Services web site in the UK which I hope will clarify these points for some people and set them on the road for further exploration of IR. Do not forget that you can write the process as an Action in Photoshop and save it and run it automatically if you wish.<br /><br />Colours & white balance<br /><br />Using Auto White Balance (AWB), some digital cameras may produce IR images with a strong yellowish/reddish/brownish colour cast known as false colour. This is due to the characteristics of the imager and processing algorithms. Post-processing in Adobe Photoshop (or similar) is required to remove/reduce this false colour effect. False colour can be removed/reduced by shooting images with Custom White Balance.<br /><br />Using Custom White Balance (CWB) measured on sun-illuminated grass/leaves (a ubiquitous available midtone), IR images tend to appear more monochromatic.<br /><br />When using the Colour mode, random spots of colour (colour artifacts) may occur in images. If the camera has Black-and-White mode, using this mode will eliminate colour artifacts, and may strengthen the monochromatic appearance in IR images.<br /><br />Generally, there are 4 possible combinations of photographic modes to shoot infrared images.<br /><br />Colour mode with AWB<br />Colour mode with CWB<br />B&W mode with AWB (unavailable on some cameras)<br />B&W mode with CWB (unavailable on some cameras)<br />More false colours can happen with other white balance settings such as Tungsten or Fluorescent.<br /><br />Post-processing of IR images<br /><br />Open your IR images in Adobe Photoshop. Click Image > Adjustments > Auto Contrast if your images are underexposed due to the filter.<br />Click Image > Adjustments > Channel Mixer. Select Red Channel in Channel Mixer, slide your Red percentage to 0% and Blue to 100%. Now select Blue Channel in Channel Mixer, slide your Blue percentage to 0% and Red to 100%. The basic process is done.<br />You can still further tweak the colours to your desired effect.<br />To enhance whites/highlights: <br />Click Image > Adjustments > Selective Colour. Select Neutrals. Slide the Black to a negative percentage to enhance whites/highlights. Experiment with the Method - Relative or Absolute.<br />To obtain a cyan-tint:<br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Yellow to a positive percentage.<br />To obtain a yellow-tint: <br />Click Image > Adjustments > Selective Colour. Select Black. Slide the Cyan to a positive percentage."<br /><br />I hope these simple steps help you to explore Infrared further. DO NOT FORGET -you can use these steps in either RAW or JPEG. (Try it on a JPEG and then add other filters if you like This shot (JPEG AF-s 17-35 mm Nikkor; 19 mm; 1/125 f5.6; Custom WB. Nikon D100 converted for IR by Advanced Camera Services UK) followed the normal post process above and then had a Nik Software Tonal Contrast filter applied :<br />Andy M.</p><div></div>

<p>Hi again Nancy, thanks - here is another link for Canon, not a full list but it does say your 50 1.8 is a good one for IR. <a href="http://dpanswers.com/content/irphoto_lenses.php">http://dpanswers.com/content/irphoto_lenses.php</a> . I agree with Jay, get a large filter - I use 77 mm filters; and then use step down rings for smaller size lenses - although from looking at your list, the 50 mm is the only one suitable for Infrared work. If you get a Hoya R72 infrared filter or its equivalent you will not be able to focus through it. So always set your camera on a sturdy tripod, switch to manual mode - set your white balance to auto and your exposure time for 20 seconds and frame/compose and focus your picture without the filter on. Set your f stop to f11 or f16 - carefully - and then carefully fit your filter on. Lock your mirror up and then expose with a remote or delayed release. Repeat the above for 30 seconds and 10 seconds. Then transfer your results to your computer to see what you have. I mention White Balance because with Infrared you can get several different results with Custom White Balance - it depends upon whether or not you want a monochrome or coloured result - That is down to what sort of Post Processing you use. Don't be afraid - that can be done very easily in Photoshop or Elements or any good editor and can be largely automated through "Photoshop Actions" - I can explain further if you wish and let you have several links. Here is one that I think you will find useful in the mean time. <a href="http://dpfwiw.com/ir.htm">http://dpfwiw.com/ir.htm</a> - have a good read.</p>

<p>Hi there Heinz, I use a D3 and D700 - my favourite lens for walk about was the old 28-200 and is now the new 28-300 VR - I have a 24-70 but it is a neck strainer - so if I'm going to be carrying the thing for hours and wish to travel light - just one body and lens - those are my choices. If I have a camera bag with me then I'd be using the 24-70 and others.</p>

<p>Hi Nancy, I do quite a bit of Infrared Photography so here goes. As James says some cameras are better for IR than others, because of their built in blocking filters. I use a converted Nikon D100. Some lenses are not suitable for Infrared Photography at all - because they cause what are known as "hot-spots". I'm afraid your lens is terrible for IR. Here is a link that explains about it and lists good lenses. <a href="http://dpanswers.com/content/irphoto_lenses.php">http://dpanswers.com/content/irphoto_lenses.php</a> . If you need more info - I have an Infrared section in my gallery and you can google "Infrared Photography" - some are very scientific but most are very simple. The list in the link is a fair one but covers a very limited range of lenses.</p>

<p>I have this lens and use it on my FX cameras. Prior to that I used it on my D2X, D2H and D300 - it is a superb lens. The only problem I think you may have is if you get one without the central L37c filter in its inside the body, near the rear, holder - It does work without, but causes focus issues. The lens is built like a tank, optically one of Nikons best in my view, but, if used in dusty environments, needs a regular service and clean by Nikon or a good Nikon Agent. Using a step down ring will give you noticeable vignetting with this lens so I use square or oblong Cokin type filters on mine - ND's and others. I have an 82 mm polarizer however. </p>

<p>Hi there, I agree with Wouter, there is nothing better than going to a shop where you can hold different camera models in you hands and see how they feel to you. See how the control layout fits and gives you ease of use. Also a kit zoom lens 18-55 is a good place to start. You may never need another lens. Don't be pressured by the sales people - decide what seems best for you then go home and search on the internet to see where the best deal is.... An established internet firm in your country ... B&H, Adorama in USA, Jessops, Warehouse Express in UK may give you a good deal, your local camera dealer may match their prices or you may decide that buying local could be worth a little extra for the local service and help they can give you. Whatever you decide - Happy New Year and enjoy your photography. </p>

<p>As a Nikon user, I would recommend the 28-300 - it will cover most of what you want to do at this stage. Remember, bodies come and go but good glass/lenses last for ages - some of mine are over 30 years old. Do not forget you can also get close up lenses that screw on the front of your existing lenses. </p>