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John Di Leo

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John Di Leo last won the day on January 27 2019

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  1. just a short note to sing again the kudos for this lens. I just finished a shoot of camellias in a few camellia gardens in France and N Italy ( in the rain mostly) I have not worked on the images yet, but seeing the captures on the z8's LCD after shooting and I am wowed. What a lens! I have been lusting after the various iterations of this lens for years, but always talked myself out of it, mostly because I have the 55 from the 1980s, no slouch there either. But this lens's sharpness and color rendition is amazingly beautiful. I am so glad I got one for my z8, the z version of the lens. Those who may be on the fence as I was, i completely rec'd just get it.
  2. re read your response, Ok, I get it. Thanks
  3. So, just drag from the middle of the histogram to the right or left? I'm on the road now and can't play w it.
  4. That could be because even with the solar filter the sun is still very bright compared to the sunspots—two smudges near the center and to the LL—and the background sky. If I drag the right edge of the histogram to the right, to fill the hist window, all shadow detail of those sunspots are lost. I'm open to suggestions.
  5. just a bit more. Attached are two screen shots from Lightroom showing a z8 shot through the 1200 of a partial phase during the Oct 2023 annular eclipse along with the histogram. the three shots show the difference in frame coverage of the solar disk between 1200 and 32mm.
  6. @Ilkka I am not going to take any chances with my eyes (or my sensors), but solar glasses during totality would, without debate, cause a complete and utter blackout. You would NOT be able to see totality—or anything, at all. Totality is the only safe time during the eclipse to remove the glasses and filter. Totality is the star of the show. The ambient light during totality is that of deep twilight. Thanks for the info there is not a way to do what I propose. I'll use in camera bracketing, or manual, or maybe both. 4.5 minutes goes VERY quickly. It is a very exciting time, often beautifully emotional, during totality and fiddling with a camera is challenging because of the spectacle overhead. You want this as smooth as possible to minimize disruption. There are no do overs. @mike_halliwell@ilkka_nissila There is no right exposure during totality as long as not totally black or totally white. Multiple exposures are taken to show different things often over 6 stops in increments. The shortest exposures will show the solar prominences — flames at the sun's limb sometimes 10s of thousands of miles long, an orange red color usually and filimentary in structure. As the exposures get longer, more and more of the sun's corona becomes visible as its light drowns out the light from the prominences. Depending on exposure the corona, which has the form of streamers and is beautiful, will be more or less visible. Solar coronas can extend out multiple solar radii, like 5 or more. I don't think there is anything else in photography that is similar to shoot. The main thing is focus, f stop is usually fixed, iso is fixed, so the shutter changes to vary exposure. Anyone can do it poorly, but doing it well is a challenge I don't think the histogram will be helpful at all, it's not a landscape but rather a black hole, the moon, surrounded by the eerie white light of the corona, surrounded by the dark of the sky, bright stars and planets are visible. As exposure decreases, blacks will get blacker, less corona, and as it increases, whites will get whiter, more corona...nature of the beast. Some people try to capture shadow detail of the moon, but doing so will burn out the corona. However, a composite can be made from that to show both coronal detail and moon detail. Those pics are rare. The z8 will be mounted to a not very good (but owned!) 1200mm telescope and it will be on a clock drive. The d810 will be probably on my 24-70/2.8 on interval shooting, or maybe a 35/1.8? and taking a picture every 5 minutes for a composite of the eclipse. I did that for the annular eclipse last October and made a composite (attached). For this I will be shooting manual the whole time—unless I bracket. There is no reason or visual advantage in bracketing the partial phases; get a good setting and stick with it until totality. The filter comes off and the sequence is shot. In the past what I have done is just change the shutter manually, run it up to my end exposure and then shoot back down to the original, so full stops. Doing 1/3 stops probably won't show that big of a difference, and would result in more time on the camera rather than enjoying the sight—probably the last one in my lifetime. Seeing a total solar eclipse is a unique experience, leaving you wanting more, and should be on everyone's bucket list. Yes, I am a junkie. 😎 Thanks for the support and discussion! Clear skies.
  7. There are many sources for exposure recs, but typically one would shoot a number of different exposures to capture more and more, or less of the corona. You might shoot everything from 1/4, or slower, to 1/250sec more or less. Typically an ISO of 100 is used to minimize noise. Changing the shutter manually would require looking at the camera to change the shutter speed, that time would be spent NOT looking at the eclipse. It is widely rec'd to take time and actually look at the eclipse because it is beyond magnificent to view. That is why I would look to automate the process of exposures during totality, all of 288 seconds if we see it where we are planning to. I suppose I could set the shutter for 1/60 and bracket with 7 or 9 frames and then get 3 over and 3 under, but I was curious to know if one could set a sequence to start at one shutter speed and only get faster or slower. Sounds like no, can't do that. @Ilkka. yes, big time filters specially made for looking at the sun through a telescope visually, so a camera sensor would be fine. Solar filters go way beyond NDs and are made by astronomy optical houses. I am using 2 Thousand Oaks solar filters, one on the z8 and one on the d810. The filters stay on until nearly "second contact" (or C2) and that is when the moon completely covers the sun. At that time it is safe to look directly at the eclipse. Third contact, C3, is when the moon starts to leave the sun and the filter must be back on at that point, as well as eclipse glasses. Fourth contact, C4, is when no part of the moon any longer covers any part of the sun and the eclipse is over. This will be my 6th and every time it is VERY hectic during totality, so minimizing fooling around with settings is of paramount importance. This is a somewhat longer one being almost 4.5 minutes. Everything has to go like clockwork, there are no do-overs
  8. I will be shooting the upcoming eclipse. During totality lots of different exposures are called for to capture different parts of the sun's corona. I will probably use bracketing for that. I will be shooting through a small scope that has a fixed aperture of f/12 (1200mm). My choices are changing exposures manually, looking at the camera instead of the eclipse—not preferred— or do a 7-8 frame bracket changing probably 0.7EV with each shot, I haven't worked out those details yet. I will be at a higher shutter speed just before totality than what I will use during totality. Is it possible to program the camera or the bracketing so that the changes in exposure only go in one direction,to only increase exposure rather than a + and - arrangement, ie only +? I could do a bracket centered on a middle ground exposure and let the camera do the plus minus, but logistically it may be simpler during the hectic 4 minutes of totality to set the exposure and let the camera progressively increase exposure. Thanks in advance
  9. he bought a used 18-140 (I think) from KEH Thanks for the input, appreciated
  10. A bit of followup...since I updated the firmware to 2.0 and made the box perimeter thicker, I can see it much more easily. I may turn focus lock off and see how I like it now that the focus box is visible.
  11. I'm loving the more visible focus box with 2.0, ie the thicker lines. In my shooting it makes for a huge difference in ease of focus.
  12. Thanks for all the responses. I agree with all of the comments about the setup and the advisability of repair vs replace. Just get a better lens, golden opportunity. But, before I "spent his money" I looked for a second opinion. KEH has used ones also.
  13. I'm writing for a friend. He has a D5200 with the 18-55 nikkor. It was on a tripod and the tripod was knocked over. The lens snapped off the body. The plastic flanges on the lens mount have broken off. I tried one of my F mount lenses on his body and there seemed to be no problem with the body, so just the lens was damaged. B&H has this lens for about $250. Would it be cost effective to have it repaired at Nikon, or better to just replace the lens? He wants to stick with that lens. Anyone with experience with this type of repair? Thanks in advance.
  14. @Shun I think I have it. When I copied the bin file to the sd card, I think nikon said to put it in a certain folder. I first tried it in the DCIM folder—no go; then I put it in the Nikon...Z8 folder—still no go. I then just copied it to the folder "naked," ie, not in any folder, and it is recognized and updating as I write this. Thanks for making me persist!
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