rnelson

<p>Sorry for my delay in acknowledging your reply Joe. Yes, all your ideas make sense. No I haven't tried the PC cable firing the transceiver, but I suspect you are correct about a spring or contact not making proper connection. If it does work reliably with the cable I'll probably just say 'fine' and call it a day. Thanks!</p>

PS... I originally posted this question In the Nikon forum, but thought better about it and posted here in the lighting forum. Please feel free to delete the other posting, thanks.

I own a pair of Yongnuo RF-603n transceivers. I have used this pair successfully with a D90, D7000, and D300 to fire either a SB-600 or Yongnuo 560 speed light. I recently purchased a D700, and I can not get my speed lights to fire using my transceivers on the D700. I can fire both lights when they are directly connected to the hot shoe of the D700. My D300 WILL fire both flashes remotely. I bought the D700 used, with about 45k clicks. I suppose it's possible the 700s hot shoe is worn, causing a connection problem with the 603s. Thoughts?

I own a pair of Yongnuo RF-603n transceivers. I have used this pair successfully with a D90, D7000, and D300 to fire either a SB-600 or a Yongnuo 560 speed light. I recently purchased a D700, and I can not get my speed lights to fire using my 603 transceivers. I can fire both lights when they are directly connected to the hot shoe of the D700. My D300 WILL fire both flashes remotely, so I know the lights and 603s are working properly. I bought the D700 used, with about 45k clicks. I suppose it's possible the 700s hot shoe is worn, causing a connection problem with the 603s. Thoughts? Thanks, Randy -

Sorry for my lapse on this thread, but I'm studying the responses now. My follow up question at this point is this... Let's say a little rain, salt spray (not a lot, for example) , or a sneeze, lands on my Nikon lens, isn't the lens of significant quality so I clean it without harm to the lens? Just how fragile is front element glass anyway? Also, Someone earlier mentioned chamois as the best cleaning cloth. Best ways to properly clean a lens? FWIW, I knew an old school film guy who went digital, and sorta just dumped all his gear in a bag, and often didn't use lens caps, and often placed his camera down almost anywhere between shooting, and his images were great. I'm not saying this is the norm by any means, and runs against the grain of how I treat my gear and how I shoot. Thoughts?

<p>I was shooting a chair a while ago, using available window light (the look was right, and I didn't want to use a flash, opting for a slower shutter speed, etc. on a tripod). Took several shots, and upon LCD review noticed some ghosting. I couldn't figure out what was wrong, so I move the chair a bit, the camera slightly, and same thing. I was sort of new to shooting, and was puzzled by this, until I realized I had a UV filter on the lens (I was just starting out, and it was an inexpensive filter, btw). Took it off, got the shot- no problems. I decided to not use filters for any studio type shots, and haven't been for most events (concerts mostly).</p> <p>FOLLOW UP: The Lens hood on my 24-120 f/4 is very shallow, offering IMO little protection compared to the hood on my 70-200 f/2.8. Would a substitution be acceptable, and if so, what would I look for without compromising the way the lens "sees" light? (Of course I could just by a good filter!)</p>

<p>Good stuff... Thanks!</p>

<p>Can someone please tell me how to change my site email address that I use to log-in to p.net? My current email was hacked and is dead (a yahoo address, btw). I'm sure it's right in front of me... what am I missing?</p> <p>Thanks -</p>

I know this is going to sound pretty radical, but are there any event shooters who do not use uv filters for protection on any if not all of their lenses? If so, why?

Looking for recommendations for a good quality uv filter that won't break the bank. I need two 77mm filters. Thanks!

It does seem logical at this point to consider a few faster prime lenses. Now, I certainly resonate with the system redundancy suggested for lens focal lengths, a concept which I admit I completely overlooked! Thanks again to all for another great thread.

<p>WOW! Thank you all. I love this forum. I apologize for a delay in acknowledging everyones thoughtful and full-bodies replies! I have been buried with other obligations. I now have time carefully read them all, and ask follow-up questions if need be.</p> <p>BTW - I will be receiving a D700 early next week. Only 40k clicks. I really needed the advantage of a good viewfinder, and for me, having two bodies that are arranged and operate nearly identically was important for me. My thoughts were, the less I have to think about camera differences when trying to shoot seemed logical to me. I am going to see if I can free up a few more funds to buy another... we'll see.</p> <p>Regarding Photo.net = STILL imo, the best photography forum in cyberspace! I've learned so much here, and the info nearly always spot on.</p> <p>Kind regards,</p> <p>Randy -</p>

<p>Hello Everyone - <br> Recently I have begun to shoot more events than usual (concerts, corporate events, and several low-budget weddings) and less studio sessions. This is causing me to rethink my setup, which is currently:<br> (1) D300, and soon... (1) D700 (currently selling my D7000). This will give me two camera bodies that essentially operationally the same. (Please don't suggest I keep the 7000. It is a great camera, but just not for me for several reasons - thanks).</p> <p>My FX lenses are currently:<br> (1) Nikon 70-200 f2.8 VR G, ED<br> (1) Nikkor 24-120 f4 VR G, ED</p> <p>My DX lenses are currently:<br> (1) Tamron 17-50 f2.8 LD, XR Di II<br> (1) Nikkor AF-S 35mm f1.8 G</p> <p>The weakness in my setup is the 24-120 f4. I have used this lens in low light situations (several concerts), shooting iso 3200 with my D7000. I achieved acceptable results with low stage lighting, and then posting with NR in lightroom 3 (which will be upgraded to the latest version shortly). I would imagine the VR is helping me in these situations however I am aware VR does not help with subject movement.<br> I suspect I need to sell the f4 and buy a mid-range zoom. I can not afford the flagship Nikkor lens typical of pro event shooter, but I have been looking at this older model this:</p> <p>Nikkor AF-S 28-70 f2.8 D ED (about $800 avg.)</p> <p> True, no VR, but I'm picking up the difference between f4 and 2.8, combined with good iso performance of the FF body. But there is a Tamron lens with stabilization that is available, and I have been very pleased with my Tamron 17-50mm DX lens: </p> <p> Tamron 24-70 f/2.8 Di VC USD (for FX, approx $800-900) </p> <p> I would appreciate advice on a lens purchase and any other suggestions if you think I'm missing a bigger picture. The f/4 lens would need to be sold to allow for the purchase of another lens. My thinking is to invest in lenses rather than bodies, which can always be upgraded down the road. </p> <p> Thanks! </p>

<p>Good sources, Rich - thanks; now bookmarked for later use. </p> <p>I ended up ordering two tie-dyed look, muslin backdrops, size 10 x 20, from Cowboy Studios via Amazon. One red and the other brown. They ran about $56 each. I just received them and I'm pleased with them. Some reviews have complained about the color being different from the sample photo, however my two look very close to what was shown. The painted, tie-dyed effect is very even across the entire material, although a minority of reviewers on Amazon complained about the tie-dyed effect being very inconsistent. The material is not very thick, and won't be an effective light blocker if used near a windows or a sliding glass door, however I work in a windowless studio and I actually welcome the lighter material as it will a be a bit easier to work with. How long will they last? Probably not as long as the heavier muslin BGs, but these will live in the studio and hopefully with proper care will give me years of use. </p>