BrettPrucha

<p>If you live or are planning to visit the east coast or midwest to enjoy the fall foliage I highly recommend <a href="http://www.foliagenetwork.com/">the foliage network</a>. The site reports fall colors based on actual data from volunteer foliage spotters.</p>

> But there are two sync cords and I only have one adapter...Do I have everything I need?

 

You need a multiple sync adapter if you don't plan to use the slave sensor or if it doesn't work reliably:

 

http://www.bhphotovideo.com/c/product/91965-REG/Samigon_CSA520_Multiple_PC_Terminal_Adapter.html

 

Or like the above poster said, use wireless flash triggers.

> But there are two sync cords and I only have one adapter...Do I have everything I need?

 

You need a multiple sync adapter if you don't plan to use the slave sensor or if it doesn't work reliably:

 

http://www.bhphotovideo.com/c/product/91965-REG/Samigon_CSA520_Multiple_PC_Terminal_Adapter.html

<p>See the following photo:

<p>

<a href="http://www.photo.net/photo/8285326">http://www.photo.net/photo/8285326</a>

Can you furhter explain what your desired results are? I'm not sure if you wanted to properly expose the background outside the window and balance the subjects face with that background or simply even out the lighting on the face maybe even letting the background go completly white. You also don't mention what type of flash you are using, popup, speedlight, etc.?

 

> I was thinking that I might have moved close to meter on her face, engaged AE Lock, then moved back to recompose pix, leaving the flash compensation at -1 1/3 stop. Would that have worked?

 

That would have properly exposed her face and would have added some fill flash. How much depends on your flash meter settings (TTL, Balanced TTL, Auto, Manual). The automated modes require a good understanding of how your flash meters different lighting situations which you can only learn through trial and error, especially in a heavily back lit situation like this one.

 

> With no flash her face was underexposed (at least 1 stop).

> In this instance, however, while her face was properly exposed, flash was the dominant light.

 

What ever metering mode your flash was set at it sounds like it properly exposed the center area and either ignored the bright background back lighting or tried to balance the foreground to a properly exposed background. Either way as expected the flash was the dominant light on the face because as you stated her face was underexposed by at least 1 stop without the flash making the flash the key light source. For fill flash to work you need to properly expose your subject to the ambient light and set the flash to underexpose the subject.

Brian,

 

I just got another idea. You could also buy a cheap CF card reader and cut the length of the pin that is suck in the CF card off of the card reader pin. You can then get the card to connect fully with the card reader and get the pictures off then you just toss the card reader and card.

Bernhardt,

 

What camera do you have? I wouldn't consider the standard USB connections as having "pins". They are short, flat,

flexible connections that sit flush to the inside of the adapter plug unlike CF connections which use many more

longer pins that are round, rigid and sit in the middle of the connector. I'm much less concerned about bending a

USB connector wire than a CF one. Also consider that if the USB connector stops working you can still fall back to

using a card reader. You will loose the ability to control the camera from a computer though. If the camera CF

holder gets broken you have nothing to fall back to unless you want to haul a laptop to remote control the camera all

the time.

 

As for wireless transfer you could get an Eye-Fi card and SD to CF adapter. Nikon also has a wireless trasmitter

though it's expensive and bulky.

Brian,

 

I would try banging the card against the edge of a table to try and dislodge the pin. You could also try getting a strong magnet to pull the pin out. Depending on how important the data is some company somewhere probably has the ability to take the card apart and still keep the data but will probably cost a thousands dollars or more.

 

I second Ronald's comment above. I have had to deal with a Nikon D200 plagued with card reading errors. After over two years and 6 trips to Nikon I finally got Nikon to give me a replacement camera. The card holder on cameras seems to be a very common point of failure. I used to always take the card out to transfer photos but after my last experience I now only download the photos directly off the camera and never touch the card. Hopefully I won't have any more card reading problems with my new camera.

If you scale down the G10 to 6MP I would say the noise between the two cameras is pretty much equal. You can still find Fuji F31fd's on eBay but they go for a premimum. Given a choice I would go with the G10 for build quality, handling, and better low ISO performance.

An overcast sky?

Marie,

 

<p>Did a quick search on Google for CRT vs LCD and this is the first link that came up:<br>

<a

href="http://compreviews.about.com/od/multimedia/a/CRTvsLCD.htm">http://compreviews.about.com/od/multimedia/a

/CRTvsLCD.htm</a>

</p>

 

<blockquote>

The primary advantage that CRT monitors held over LCDs was their color rendering. <b>The contrast ratios and

depths of colors displayed were much greater with CRT monitors than LCDs.</b> While this still holds true in most

cases, many strides have been made in LCDs such that this difference is not as great as it once was. Many graphic

designers still use the very expensive large CRT monitors in their work because of the color advantages. Of course,

this color ability does degrade over time as the phosphors in the tube break down.

</blockquote>

 

<p>While it is true many strides have been made in LCDs you have to pay many $$$ to get those benefits. With the

much lower cost of CRT monitors and if you have the space it is a no brainer as far as I'm concerned.</p>

If space is not an issue I would get a CRT. You get better rendering than most LCD's and at nickel and dime prices. You can often get a newer used one for $25 - free since everyone is dumping them for LCD's. You should only get a newer CRT though as over time the color starts to shift.

What about the Great Smoky Mountains National Park? Lots of great photo ops there.

I 3rd the 80-200 f2.8 push/pull zoom. I have used this lens for many years and have been very happy with it. The only draw backs are the weight and no tripod collar. I'm considering the 85mm f1.8 for when I want to travel light.

My advice would be to give up on the rating system. A couple of numbers is never going to give you the feedback you desire.

"We are a one-of-a-kind concept"

 

Doesn't sound like they are located anywhere else. I've never heard of them before.

 

The article says you can use their print kiosk without assistance for sizes 4x6 through 8x10 which is nothing original. Just about every Wallmart/CVS/Target/etc. have this. Assistance costs $40 an hour, ouch. You could by your own computer and use it anytime you want for allot less. Most photographers are willing to share their editing expertise for free. If I could have access to their Epson Stylus Pro 9600 without assistance now that would be original.

Haven't read the entire thread but agree with those that say settle the contract first then negotiate the RAW files.

 

I simply don't understand the argument that somehow giving the RAW files will result in bad publicity if the editing doesn't turn out good. They already have the high res JPG's. If they wanted to mangle your photographs, not having the RAW files isn't going to stop them from doing so. Since the groom is a photographer himself, if anything he will be able to get a better final result for what he wants from the RAW than with the JPG's (which is why he want's the RAW files). So if anything the end result will most likely be worse looking photographs if he doesn't have the RAW files.

Adrian,

 

What Alec said sums things up pretty well. How and if TTL works is very dependent on the combination of equipment you use. If the camera can determine the subject distance then the flash output will be very accurate. If it can't determine the subject distance then you have to know how the camera meters the flash pretty well so you can make adjustments for different scenarios. I'm not familiar with your equipment. Your manuals will tell you better than anyone how the metering works, what metering is used and under what conditions.

Linda,

 

For you portraits you appear to have a good ability to interact with your subjects and make them comfortable. To take them to the next level you really need to take control of the lighting. I don't see much thought being put into how the light is affecting your subjects. I also feel like most of you subjects look too posed. It is obvious that your subjects are aware of the camera and the image is hurting because of that. A portrait should show the person as they really are, not how they look when a camera is in front of their face.

 

For your landscapes you need to begin thinking about composition more. You want the viewer to be lead through the photo through the arrangement of objects. You also want to express a specific mood or feeling. To do that you really need to scout our your location and have an idea of what type of environmental conditions you want to have at that location to get your point across. This takes allot of effort and dedication, often getting up before sunrise and spending time traveling. The saying, "f8 and be their", is really true. What is often mistaken about that saying is that it doesn't mean you are lucky to be "their". Being their at the right moment takes dedication and rarely happens by accident.

Every year for Christmas I collect all of my favorite photos from the past year that I have taken of my family/friends and make 4x6 prints placed in a brag album to hand out as gifts. I create individual albums based on who I am giving the photos to. I keep a larger album for myself with all of the photos.

 

For my landscape work, I have made larger Giclee prints and framed them to hang on my walls.

 

I have also made 8x10's for friends if the subject has special meaning for them.

 

For any pictures that I like I make 4x6 prints from my inkjet and prop them up at work. I like to mull over my photos to evaluate them. It helps me decide if I want to switch from color to black and white or adjust white balance and learn how to improve my compositions.

I don't understand how a light meter will help at all if you are using CLS. The meter will only be useful if you are using your lights in manual mode.

I saw that SimpleViewer has a pro version for $45 which doesn't require the download link at the bottom but the terms of use for the pro version states, "may not be redistributed or resold to other companies or third parties".

Rob,

<p>

My main browser does not have the Flash player installed on it as I generally dislike Flash. As such the only thing that comes up is a bunch of text. I would recommend that you have a non flash version available as well to reach a wider audience.

<p>

I'd also like to point out that you web designer is using <a href="http://www.airtightinteractive.com/simpleviewer/">SimpleViewer</a> which is a free application. It doesn't look like he's done much other than add a logo and contact page. He has also violated the terms of use which state that "the SimpleViewer download link in the bottom right corner is clearly visible".

Would be helpful if we had a link to the website...

 

As for simple, simple is a plus for photo presentation so as to not detract from the images.

As an FYI part of the reason the Hong Kong stuff off ebay is cheaper is because the devices are not approved by the FCC. Could be a problem for professional assignments.