jay_auskalnis

<p>You need a special cord to fire the 285HV. Flash Zebra has these for $19. I have both the Skyports, and the 285HV, and this does solve the problem. There was an explaination once on why this is, but I can't quite remember.<br>

<a href="http://flashzebra.com/wizardcables/0071.shtml">http://flashzebra.com/wizardcables/0071.shtml</a></p>

 

<p>For indoor, low light photos, why not get the 50mm f/1.4 lens, and use it on your XTi without a flash? Even my 18-50mm f/2.8 Sigma lens is iffy indoors at low light. You can then use the kit lens outdoors. I don't think the 40D is your answer based on your initial post of what you're trying to do.</p>

Once I switched to a final rinse of distilled water, all my spotting/stains went away. I don't even use a rinse agent anymore. I typically process Ilford HP5+ or Delta 3200 in DD-X. I just hang them vertical with a heavier clip at the end to help straighten the film. I don't touch or squeege the film after I unroll it from the reel. Just clip and dry.

I agree, of course, with everything stated above. If all you have now are umbrellas, then use them in bounce, and very close...just out of the frame.

 

Also, an item I just bought to get very soft light is the 60" Photek Softlighter II. It's a bounce umbrella with a diffusion panel. I put two speedlights into it so I can get a higher f-stop at lower flash power. It folds down to a very compact package.

 

Keep practicing using all the advice given above. You CAN get soft light when using your speedlights properly.

Just to get it out... :) ....as someone who's lived in Chicago for 34 years (not long, I know), and went to University of

Illinois at Chicago when there were giant concrete walkways and a real threat of crime at the school...the city hasn't

changed a bit with Obama (yes I do like him). But, "pre-Daley" would give me a different image of the city (whether

you like the guy or not).

 

That said...I like the photographs. As a Chicago native, it would be great if you have any in different neighborhoods

capturing the people. I like your photographic style and would be interested in seeing those.

Alaric-

 

I want to make sure your camera is in "A" or automatic mode. Otherwise, the meter is inactive. Check the battery contacts, and make sure you have the polarity correct. The small movement with a half shutter press is the the mechanical "lock" on the meter. This way you can compose an image, lock the meter, and then recompose/shoot.

 

I believe the film counter has a tiny gear/cog. You should be able to see, and test this with the top off. That part is easy, remove a few screws, and then open the film door, put a small screwdriver in the slot of the post which holds the roll of film, and unscrew the winder. Then the cover will come off.

Thanks for the responses and examples everyone. I might pick one up on the 'bay, and see if I have use for it. The nice thing about used equipment, if it's working as advertised, is you can re-sell it for usually no loss, and sometimes a profit. :)

I recently purchased a Mamiya M645 1000s with a Prism S finder and an 80mm f/2.8 lens. So far, I really like the

combination, and I'm having fun using the camera. I do some on location amatuer model shoots and such, and I

really like to play around with strobe lighting. I haven't done it much with this camera because of the low sync

speed. I understand that a lot of photographers like to use the leaf shutter lenses so they can use fill flash in

brighter sunlight, at higher shutter speeds.

 

Are there other useful functions of the leaf shutter lenses? I was thinking it might be an advantage using a strobe

indoors. A lot of times, I get unwanted spill on the background in a smaller room. If I used a leaf shutter lens,

perhaps I can use a strobe (unmodified...bare bulb, etc) with a shutter speed of 1/500, an light the person, but

reduce most, if not all of the light spill? Does this make sense? Sometimes, I'm in a bright walled room, and I don't

want the background to show up. I typically use my flashes off camera, but without a lot of modifiers, it's at times

difficult to control spill in a smaller room, with light colored walls. Yes...I know, I need a studio :)

 

So, based on some of the things mentioned above, is a leaf shutter lens worth the cost for me?

Richard-

 

I have several camera formats, and here's my take on a few. Let me start by saying I'm not a professional, but a serious amateur; and someone who loves different cameras. For image quality, and to get the most number of "keepers", my Canon XTi with either the 50mm f/1.4, or 85mm f/1.8 usually wins. Even though it's a "small" dSLR, it still attracts a lot of attention in my opinion. If I don't want to be noticed, then it's my Canonet QL-17 GIII. The small size, whisper quiet shutter, and easy to focus rangefinder are great for street photography, or candid portraits at a party. ISO is only up to 800, but we all know you can read the meter, and then shoot manual at higher ISO. Sometimes at a party I'll just throw the Canolite D flash on it. For fun on vacation in good light, that would be my Bell and Howell Dial-35. At f/5.6 or greater, everything I need to be in focus is in focus, and I can just snap away, rewind, snap away again. These are just snapshots, so half-frame 35mm is fine with me. A 36 exposure roll of 35mm film gives me a healthy 72 exposures.

 

Now, I recently bought a Mamiya 645 1000s with a metered Prism S finder and the tyical 80mm f/2.8 lens. Out of all my film cameras, this is the best rival in sharpness to the first mentioned XTi with prime lens combos...when I get the shot. It's manual focus, and the XTi is faster than my eyeball. Keep in mind I scan all my negs with a Canoscan 8800F. Higher quality can be obtained if so desired. I paid $350 shipped for the above combo and it's in excellent condition. I use this mostly for B&W as I process my own film, and then scan. I shoot some amateur models, and I like to mix it up with the Mamiya because, for some reason, their expression seems to change when I hold this camera up to my eye. I don't know why...maybe fear? (joking...of course). I really like the Mamiya and feel I haven't quite mastered the use of it. I'm sure the quality of images will increase in time. This camera has had the longest learning curve for me so far. But...I always like a challenge. :)

What track will you be shooting? I've been to most around Chicago. I'm 99% sure you won't be allowed in another car during a "hot lap". Even if you were, there is no way you'd get a decent picture. Too many G forces flinging you around. The best bet is to see if you can get to stand in a corner worker station. These are typically very close to the track, and out of harms way from where cars typically would go off track in a spin, or skid. Long, fast lenses are typically your friend. Practice panning at 1/125 to get the car in focus, but the wheels and background still showing motion. You may need to bump up your shutter speed slightly if the car isn't sharp.