blanston

<p>I have been using Elinchrom Skyport systems to radio remote control a number of large Elinchrom studio flashes, and have found them excellent, especially at their price point. I have also been using a Quantum Trio (both in bare-bulb mode and with the big wide-angle dome diffuser) for weddings and events, and liked it so much that I recently purchased a second one to use for ultra-portable, off-camera lighting.<br /> <br /> I plan to employ the two Quantum Trios off-camera in many instances. My Elinchrom Skyport transmitter can trigger my two Trios, but I am pretty sure that there is not QTTL functionality when triggering with Skyports.<br /> <br /> Does anybody have any experience with the Quantum Pilot? It appears to be a spendy item for what it does. Is remote QTTL the main thing the Pilot brings to the table for the money? (It's about five times the size and weight of the Skyport transmitter as well.)</p>

<p>Hi Helen,<br /> <br /> Yes--I really need to exchange this for a Trio (via Adorama, of course). The reason I went with the T5d-R instead of a second Trio was that the T5d-R boasted the modeling lamp option, which would have been at least occasionally useful (if it were an actual modeling lamp, versus what is actually provided).</p>

<p> </p>

<p>Edward, the flickering and the flashing in the video are what the naked eye sees when the modeling light button is pushed. The flickering and flashing are actually happening--it's not interplay with the video camera shutter. If anything, the light show is *less* pronounced on the video clip than it is in person.<br /> <br /> Gerry, thanks for that. I currently us a QFlash Trio on a big bracket and a Pilot when I want remote QTTL, so I think the answer for me is going to be to go for a second Trio and leave the T5d-R behind, at least for now.</p>

<p>The instruction manual that came with the unit indicates that the button I'm pushing in the video is called a "Modeling Light" (their words).</p>

<p>Interesting that a modeling light was designed to modulate wildly(?) Must have been an engineering choice between no modeling light at all, and that. I might have opted for no modeling light at all.</p>

<p>I say in the video that it sounds a little odd. Actually, I believe the sound, though not pleasant, to be normal. It is the flickering that has me concerned. This is a pricey little piece of kit, so I want to make sure everything is OK with it.</p>

<p>Just got this new piece of gear from Adorama. Please check this out and tell me what you think:<br /> <br /> http://www.flickr.com/photos/robertlinthicum/4197702644/<br /> <br /> Is this flash head defective, or is its modeling lamp feature intentionally designed to resemble an electrical storm? I believe the sound of the modeling lamp is normal (the unit uses a continuous strobe firing for its lamp), but I do not believe the flashing and flickering is normal while in modeling lamp mode. I would expect a relatively constant output.<br /> <br /> Might have to arrange an exchange . . .</p>

<p>Helen took the time to talk with a warehouseman, who took steps to ensure that the Avenger C-Stands would arrive undamaged this time. Received both boxes, reinforced, still sealed, and intact. I haven't opened them yet, but I am sure everything's fine.<br>

<br /> Thank you Helen & Adorama, who took the time for a personal touch--would that the larger company could (if you know what I mean).<br>

<br /> And Bogen/Manfrotto: Please beef up your packaging materials; the damaged shipments and subsequent returns are annoying resellers and customers alike.</p>

<p>Update: Adorama did so as well--credited the full amount of the items, including shipping. I am hopeful that I can re-order these items in some sort of protective packaging (via Helen at Adorama). Cheers.</p>

<p>Update: B&H credited me the cost of the damaged-at-point-of-delivery items I refused, and refunded shipping as well as a separate Visa credit. I'm sure Adorama will do the same.</p>

<p>Helen from Adorama: Thanks, and will be in touch on Monday.<br /> <br /> Michael: Great advice. I begin to wonder if, taking the example of these two 32-pound C-Stands, a shipping department person might think to perhaps run a couple of rows of packing tape around each box for reinforcement, or perhaps lash the two boxes together with tape and put more tape around that, or simply take bulk cardboard sheets and fold & tape those around the unprotected boxes.<br /> <br /> I know what I'm wondering aloud about takes time to do, but I have to imagine that it would be cheaper than the alternative, which is losing a sale, taking back a damaged product, and eating a big shipping bill, both ways (I paid about $40 to have these shipped to me from New York to Virginia).<br /> <br /> I am gratified that nobody (yet) has criticized the carrier (UPS, this time), because I don't think it is UPS's fault. Yes, they pretty much kick packages across the country, but we know that and should know to prepare the items we ship with them for such abuse.</p>

<p>I ordered two Avenger C-Stands w/Extension Arm sets from B&H a couple of weeks ago--both were shipped in the product boxes, and both boxes arrived open, full of holes, and both stands were damaged. I was fortunate to be home to refuse these items. I called B&H to tell them what happened and to re-order, but decided against re-ordering when I was advised that the replacement stands would be shipped in the same manner, i.e., without any protection beyond their thin, cardboard product boxes.</p>

<p>I ordered the same stuff from Adorama, and of course just refused both packages for the same reason. They also don't seem to grasp that heavy items with pointy metal ends might come through thin carboard, sans padding of any kind.</p>

<p>Are there any mail-order sources for this type of equipment that takes the time to protect such items for shipping? (I would buy these from local suppliers, but all said they would have to do as I did--mail order them.)</p>

<p>This is very useful advice, thanks to all.<br /> <br /> Alan Sparks, yes, that's exactly what I was thinking initially, that the protection/image quality balance favored ditching filters, but the much of the advice pointed out some things I hadn't considered.<br /> <br /> Ben, I am going to remember your "blink test"--brilliant. I plan to keep a filter or two around for such conditions.<br /> <br /> Frank Uhlig, is your use of "we" and "us" because you are our elected Photo.net spokesman? I would think at least a subscription would be a prerequisite for that!<br>

;>)<br /> <br /> But thanks for your advice as well.</p>

<p>@Jeff: Thanks, noted, and received. Good stuff.</p>

<p>@JDM:<br>

Not really.<br /> I just manage to encounter enough of what I call "unnecessary roughness" on Photo.net that it's likely a trend and not an anomaly (and I have noticed that most of that behavior seems to come from people who appear to spend most of their waking hours on this forum, which I personally find strange & sad).</p>

<p>Jeff, you just helped me remember why I don't "browse" here much . . .</p>

<p>JDM, limited time doesn't permit much browsing. Jeff, blood wouldn't damage any of the lenses I use, and I can get blood off the front element in seconds with a lenspen.</p>

<p>I have lots of nice Nikon glass, including two recent acquisitions, an 85mm f/1.4D AF Nikkor, and a Nikon 24-70mm f/2.8G ED AF-S Nikkor. I am enjoying both lenses immensely.</p>

<p>Shortly after I purchased the lenses, I dutifully purchased two 77mm Nikon Protection filters to "protect" them.</p>

<p>Last week, I was having a conversation with a professional photographer, who told me that I should take the filters off all of my lenses, as even the very good filters (B+W, Nikon, etc.) aren't as good for your images as no filter at all.</p>

<p>I took what he said to heart and, since I use hoods on most of my lenses & can't imagine how anything could damage my front element anyway, removed the filters from all of my lenses. I have decided to sell every filter I own.</p>

<p>It's too late to return the two 77mm filters, unfortunately, but I just put up a Craigslist posting with no less than 31 (thirty-one) Nikon, Hoya, and Tiffen filters of various types and diameters, and I am considering putting the two recent Nikon 77s up for sale on Amazon (as "used").</p>

<p>Comments, or advice? By the way, I am an eclectic, enthusiastic, and experienced (though not necessarily good) shooter. I use a D700 body with all that glass, and do all my post with Lightroom, so I can't imagine why I will ever need a filter again, except possibly a circular polarizer.</p>

<p>Thanks in advance for your comments.</p>

<p> </p>

<p>Markus, great thread link--thank you. Edward and Peter, thanks again.<br>

The Arca head and RRS plate have arrived, and the Arca is frankly a work of art. Can't wait to use it, and it is solid as a rock on top of those Gitzo legs.</p>

<p>The expectation of many tech-savvy, young brides and grooms is that there will be in their hands a DVD with 1500 to 2000 images for their perusal & for album selection, the minute they return from their honeymoon. I have a soft spot for film, but using film would make satisfying that expectation quite a hustle, and an expensive one at that.</p>

<p>Still shooting film at times; my backup body is an F100.</p>

<p>Great.<br>

The Arca head and RRS plate should arrive by the weekend, so I can't wait to actually put my hands on these legendary pieces of equipment. (Nothing like a highly engineered object, is there? Must be a guy thing, hence the automatic wristwatch thing. But I digress.)<br>

Will look on (hold nose) eBay this weekend for a nice, used RRS L-Bracket. Almost 200 bones for a new bracket, tightly engineered or not, is tough to take.</p>

<p>Thank you for preventing one of those dreaded purchase mistakes. I ordered an Arca Z1 from Adorama and a custom plate for my D700/MB-D10 from RRS. (Did so after reading another of your posts about plates.) Was considering an L-plate from RRS, but decided to see how the more conventional, custom plate works out first.</p>

<p>I recently purchased a big, honkin' Gitzo GT3541LS Series 3 tripod, legs only. I intentionally purchased more weight capacity than I need right now (Nikon D700 or D3 with grips and long glass). I have narrowed down my head selection to the following Gitzo heads:</p>

<ul>

<li>GH3780QR</li>

<li>GH3750QR</li>

<li>G1378M</li>

</ul>

<p>Which do you think is a most appropriate match to the legs I already have, and why? Thanks in advance for your advice. (In the meantime, I am using a borrowed Manfrotto 468MGRC2 with the legs, but the diameter of the Manfrotto's mounting plate doesn't come close to the edge of the rubber head base on the tripod.)</p>

<p>I ended up purchasing and reading for comprehension "The DAM Book". It was DAM good, by the way. (Couldn't resist.)<br /> <br /> After reading Krogh's book, my workflow is now 1) Bridge and Lightroom; 2) Photoshop, if necessary; and 3) Microsoft Expression Media, for cataloging.<br /> <br /> I can now find any digital product I've ever made (I have extended this methodology to ALL digital assets, not just photographs) in less than 15 seconds. Backups are now organized and easy.<br>

Thanks!</p>

I am about to embark on the arduous task of organizing, cataloguing, and backing up several terabytes of digital

images, and would like to get it right the first time. I have no idea where to start, other than the obvious (and

probably less than optimal) default method of my image editing software (I use several, and all have somewhat

different methods and philosophies in this regard).

 

It would be interesting and helpful if you would kindly blurt out the title of your favorite or most helpful book

or authority on this subject. Thanks in advance for the help.