richard_dulkin

<p>I have a larger cursor now, but not a thicker one. Charles told Bella about making the cursor or cross-hairs thicker for MAC, how do you do it for Windows 10?</p>

<p>I'm using Photoshop cs6 extended on a computer running Windows 10 with a monitor 1920 x 1080 @ 300 dpi. The problem is my eyes! Not only can I not read the text in the upper menu bar, it's the the cursor is so faint and small on my screen that I suspect I am spending 50% or more searching for the cursor rather than actually editing my images. If I could just make the cursor larger and bolder on the screen it would help a lot.<br> Anyone have this same problem and found a solution, please help!<br> Richard</p>

<p>Ellis, that is exactly what I plan on doing for each camer/lens. But first I have to know how to transfer it to 1) the camera, 2) and automated batch process. I have separated each of the files for each of the camera/lens/situation; so then the model holds up my gray card+color card at the start of each group then I can know that I need how I should change in camera/lens etc. to be right on for not only exposure (which I have) and value for White Balance that I need to correct.</p>

<p>Yes shooting RAW.<br> I was trained in photography when there wasn't a computer yet. And worked in color dye transfer labs and remember how difficult it was to get color on paper to a perfect state. But I remember the color correction filters I used to use in bright sunlight, light overcast, to shade with Daylight Kodachrome. Those allowed me to tweak the results in camera so the image would be correct. My filter did the trick. <br> Now in digital, I want that same tweak that those filters gave me. That's all, but this time from the corrected image to the camera or two the automated batch conversion.<br> Thanks for your help,<br> Richard</p>

<p>Tim, don't bow out. I want advice on information for change of WB back to camera FIRST. If not, automated batch in PHOTOSHOP next. I get a repeatable value that way. If that can be referenced back to BRIDGE would also work. If that can be referenced back to LIGHTROOM, and I can use the lightroom image information back to PHOTO SHOP, I can live with that.<br> As to four cameras, the d750 is the prime camera, 2 x d700 are for 1) in your face tight portraits, and 2) wide wide angles. The d90 was for overhead shots. Each of these different SD cards ARE processed to individual folders and therefore can be referenced back separately. This needs only the same grey card + color/grey scale for each camera body/lens combination, and I will have the different information in each file for each combination. (see picture I posed of chair with grey card etc.).<br> That is why I can program the basic info for each combination separately and therefore unique to each camera lens combination.<br> Richard</p>

<p>This discussion is way over the top and down the backside!<br> I have a Nikon d750, 2 x 700, and a d90. All of them have a custom white balance target setting graph. I have already determined the basic exposure to f/8 for the main and f/5 for the fill at ISO 100. That was easy. I don't have a color meter so I had to get creative. I thought I would take a few images and take them into PS6 and fix one of them. Once I had that image I tried to figure a way to take it back to the camera with the information from the image corrected in photoshop. Could not figure it out. If some know how to do that please tell me. If that can't be done, then the next best thing is to have that corrected image as the source for the white balance into a batch automation (script or action) so I can have a faster, easier, wonderful solution to correcting all the images (could be 700 to 1500 images) from the same shoot (Even though I could be using 4 cameras and 6 lenses for the single shoot.<br> I do not want to use Lightroom (I have it but don't want a different workflow that that would add to). I sleep at night and could have Photoshop doing everything for me while I was in dreamland.</p><div></div>

<p>and then batch process it to all the images of a series. Since I use a studio for all work, lighting is basically the same with same color temperature with Paul C. Buff Einsteins. Let's say I have 900 images from a shoot. I correct the first image white balance (that maybe off for all) and I correct the white balance and the exposure only. Now that I have that image, I want to reference this image to the rest of the 899 uncorrected images and correct them in a batch process. This saves me a lot of work each time. Don't tell me I could do it all in camera raw as it is not as accurate as it is in Photoshop CS6. Unless there is a way of referencing this image back from Photoshop to ACR. What would be the best solution: Is to be reference back from Photoshop to the camera, but I can't figure out how to do this.<br> Thanks, Richard</p>

<p>Picture attached of the Linhof 4 x 5 view camera I have. If anyone has a copy of the manual for this:<br> Linhof Kardan Color 45 S (as in picture attached).<br> That I could copy, get a copy of, or could buy for this camera only.<br> I would be over joyed as the one from Butkas is not the correct <br> Thanks, Richard</p><div></div>

<p>Butterfly lighting, in the past, was achieved with a large light modifier, such as a beauty dish. The light was directly above the camera position so as to be on axis with the model.<br> Now a new scheme is the clam-shell lighting. I use 5 foot round soft-box as the upper light above me, ceiling mounted, and towards the model. Then a 3' x 4' soft-box, raised slightly off the floor, shining upward towards the model. The light source can be any, I prefer studio strobes.<br> The ratio of light from the top is full, the lower light is 2/3 to 1/2. If you want the true butterfly effect under the nose, reduce to 1/4.</p>

<p>@Walker. Thanks so much, just bought an <a href="http://www.ebay.com/itm/221683840512?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT">Century 45° Ellipsoidal Reflector Radial ERS Stage Spot Light 1000w Leko 8"</a> on eBay for $80 with free shipping, says it is in working order!</p>

<p>@ Bill C. Thanks so much for your help. What about using a 10 degree hex honeycomb grid light modifier (maybe in a blacked out cone for the surround at the front of the Einstein unit)?<br> My original shot was with the Nikon SB-600 which I set up 6 to 8 feet behind a flat piece of lace about 3 feet in front of the model (which was a mannequin). Right off the bat it worked! But then when I tried to do it with a live model I could not get it to work again. The first had nice sharp impression on the mannequin, with the model, it was fuzzier than I had hoped. The flash tube on the SB-600 is certainly much closer to a point source light than the donut shaped circular tube of the Einstein. <br> Further, I have used a computer/DVD projector to cast all sorts of images onto a model. This works pretty well and the images are acceptable. What I am going for though is the main light from the Einstein casting the gobo onto the model and a second fill light from another Einstein giving a more illuminated (not strictly black on white) tough to the model.</p><div></div>

<p>I am using Paul C Buff Einstein's in my studio. They work great with soft boxes, umbrella, etc. for wonderful soft lighting. I would like to use one as a spot light (not with a snoot or hexgrid) so that I can project parallel light rays through such things as lace, mini blinds, lattice, etc. to achieve crisp edge patterns on a nude model. Any suggestions on a "Jerry rigged setup" to achieve this effect. I don't want to spend all the $$$ on actual spot lights, Fresnel if I can help it. The trough distance would be 10 to 20 feet from light source to gobo with gobo to model distance about 6 to 8 feet. I also have Nikon SB-600s available ( once was able to achieve the effect with this unit, but never a second time</p>

<p>Kent Staubus, are you talking about the Paul C. Buff Cybersync transmitter? Because I have those. I will email Paul C. Buff and ask about this....</p>

<p>I will look into the cybertrigger. This is what I am actually after: I am hand holding one Nikon, I release the shutter, a signal is sent from my Paul C. Buff transmitter to fire an array of Einstein 640's. At this point I would like to take advantage of that flash. If I have another camera on a tripod, that is facing at a different angle, could that flash, be picked up by a slave (such that one fire anther flash) be used to trigger the that second camera? Putting two cameras on a tripod and firing from a remote position is not what I am after.</p>

<p>can be used to set off one Nikon by taking a picture with another Nikon, or a trigger for a Nikon that will take a picture when there is a flash of light from studio strobes in a studio. I want to take a picture of a model from one vantage point at the same instant from another angle.<br> Thanks Richard</p>

<p>Thanks all for your help! Will do the f8 solution for my D700s and Thanks Barry for the suggestion about gaffer's tape I was trying to avoid the use of electrical or duct tape on my camera bodies but will get the gaffer's tape for the D750...<br> Richard</p>

<p>Thanks I will try the f8 function on the d700. Can another function button be assigned for the d750?</p>

<p>I own two Nikon d-700s and a d-750. All my photographic work is done in the studio (95%+) with strobe lights. These are Paul C Buff Einstein 640s six of them. The lighting in the studio is controlled by a commander unit for PCB also such that when the duties of these units are reconfigured the lighting always comes out for an exposure of 1/200 sec @ f/9. So all three of bodies with their different lenses start of at that correnct exposure.<br> Here is the problem, those pesky front and rear command wheels on the Nikon camera bodies get changed during the photo session with a model. It is done in handling the cameras and since I am not a pic peeper between each shot, the exposure gets changed. Is there a way to lock the exposure <strong>permanently</strong> on those Nikon bodies. I am from the old school with Rollie-Cords, Hasselblads, etc. that had EV locks on them. You had to physically change those settiings by design rather than by accident.<br> It would seemed that the digitally and electronically controls camera would have an area where you could permanently lock onto a predetermined exposure!<br> Richard, the Rad Rascal</p>

<blockquote id="yui_3_16_0_1_1420512658622_7012"> <blockquote id="yui_3_16_0_1_1420512658622_7021"> <blockquote id="yui_3_16_0_1_1420512658622_7019"> <blockquote id="yui_3_16_0_1_1420512658622_7015"> LEICA AND THE JEWS The Leica is the pioneer of the 35mm camera. It is a German product - precise, minimalist, and utterly efficient. Behind its worldwide acceptance as a creative tool was a family-owned, socially oriented firm that, during the Nazi era, acted with uncommon grace, generosity and modesty. E. Leitz Inc., designer and manufacturer of Germany's most famous photographic product, saved its Jewish associates. And Ernst Leitz II, the steely-eyed Protestant patriarch, who headed the closely held firm as the Holocaust loomed across Europe, acted in such a way as to earn the title, "the photography industry's Schindler". As soon as Adolf Hitler was named Chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany's Nuremberg laws, which restricted the movement of Jews and limited their professional activities. To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as "the Leica Freedom Train", a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas. Employees, retailers, family members, even friends of family members were "assigned" to Leitz sales offices in France, Britain, Hong Kong, and the United States; Leitz's activities intensified after the Kristallnacht of November 1938, during which synagogues and Jewish shops were burned across Germany. Before long, German "employees" were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of Leitz Inc., where executives quickly found them jobs in the photographic industry. Each new arrival had around his or her neck the symbol of freedom - a new Leica camera. The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers, and writers for the photographic press. Keeping the story quiet, The "Leica Freedom Train" was at its height in 1938 and early 1939, delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders. By that time, hundreds of endangered Jews had escaped to America, thanks to the Leitzes' efforts. How did Ernst Leitz II and his staff get away with it? Leitz, Inc. was an internationally recognized brand that reflected credit on the newly resurgent Reich. The company produced cameras, range-finders, and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz's single biggest market for optical goods was the United States. Even so, members of the Leitz family and firm suffered for their good works. A top executive, Alfred Turk, was jailed for working to help Jews and freed only after the payment of a large bribe. Leitz's daughter, Elsie Kuhn-Leitz, was imprisoned by the Gestapo after she was caught at the border, helping Jewish women cross into Switzerland. She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave laborers, all of them women, who had been assigned to work in the plant during the 1940s. (After the war, Kuhn-Leitz received numerous honors for her humanitarian efforts, among them the Officer d'honneur des Palms Academic from France in 1965 and the Aristide Briand Medal from the European Academy in the 1970s.) Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the Leitz family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the "Leica Freedom Train" finally come to light. It is now the subject of a book, "The Greatest Invention of the Leitz Family: The Leica Freedom Train," by Frank Dabba Smith, a California-born Rabbi currently living in England . Thank you for reading the above, and if you feel inclined as I did to pass it along to others, please do so. It only takes a few minutes. Memories of the righteous should live on. </blockquote> </blockquote> </blockquote> </blockquote>

<p>I have a Nikon D-700. It is slow to focus. The focus assist lamp seems to be off. I use the camera for studio work with off camera, non-Nikon strobes. Models tell me that the illumination light doesn't come on like my other D-700. I shoot with ISO 100 @ 200 sec. @ f/11 usually. Have I turned off this light some how? If not, can I replace the bulb, or must it be sent to the Nikon repair station?</p>

<p>I have a Nikon D-700, tethered to a laptop (win), running Nikon camera control pro 2.<br> Now from that lap top I want to send a signal to an external monitor that show to the model the picture of the pose I have just done, like a can do from the cameras rear screen. Is this possible? Am I running the right software or is there something that is better? I want to be able to set the focus point on the screen of my lap top and fire the focused camera! Then the image I just took, without all the camera information, to form a picture on the monitors screen (probably a 19" almost square monitor, so model can see the image right side up of that last shot.<br> Thanks for help, Richard</p>