musubi1000

<p>It's probably a combination of light fall off from lens and light hitting the sensor at an oblique angle at the periphery. A lens will project a larger image circle at smaller apertures which will brighten up the corners as you so witnessed.</p>

<p>Thanks Larry! Anyone else? Anyone.....</p>

 

<p> Hi everyone,</p>

<p> I recently acquired a V35 enlarger and of course it doesn't have the neg carrier. Does anyone know of someone who has an extra other than Leica?</p>

 

<p> The Nikon D5100 will not do HDR in GREEN AUTO mode as well. You can set up a shortcut by setting custom function F1 to set the Fn Button to be the Hot button for HDR so you won't have to go digging through the menu to access it!</p>

Georg nice shot!

I finally got to play with one today and it's a fun little camera. It has a super slow mo video at 400 fps. We watched a coin spin on the

table in slow mo. You can shoot with AF at 10 fps@ full res. and it works!!! I had a person walk briskly towards me from about 40'

towards me. We were all shocked at how all images were sharp and only when we ventured beyond the min focus dist did we get

blurry results. The AF kept up better than any DSLR I've seen but with such little lenses I can see it possible. The cam can shoot at

60 fps@full res. Cool ideas anyone?

Isn't the 5D a little dated to be recomended so much in this colum ?What about the Nikon 700?

 

So does this mean that the pictures from a 5D will look inferior to a newer camera?

Back in the day having full frame coverage was a luxury when printing full frame negatives in a filed out neg carrier. It wasn't the end of the world but when you had unseen intrusions to an otherwise perfect composition it was a little annoying. It may sound minuscule to have a 5% disparity in your viewfinder but that is assuming that the unseen image is evenly spaced around the viewfinder. this may not hold true at all. I've seen cameras that were lopsided with their coverage.

So does the D2x never exhibit this phenomenon with the same lens?

David W has some good advice. Save today pay for it later. Everything in a wedding (flowers, venue, dj, food,ect.) is good for a day but the photos will (should) last for years.

It is simply a matter of the scanner needing calibration just as the monitor does. There are many hardware solutions to the problem like the eye one photo.

This is a good one. I originally thought 16 bit or maybe a smart object but a single layer psd doesn't come close with both on my 30d files. 16 bit 30D smart object = 96 MB. Chris, is there a lot of details in the image?

Wait a min. I just realized who you are Steve, you posted about redundant exposure modes. Even with all of the clear advise everyone gave you you still refused to see the point. I am certain this is a waste of time.

Well you checked the histograms but did you check the Highlight alert? did you get any blinkys? The screen on the back of the camera may look too bright but if they aint blinking you have perfect highlights. The D300 as well as any digital nikon DSLR has some of the most accurate metering systems on the planet. If the clouds were over head the contrast range should have been perfect. Did you have exposure compensations set? Was the meter calibration altered in the custom functions?

 

Eric did you know you can calibrate your meter in the custom functions on a D 2,3,200,300 and I think even the 80. So you won't have to set it to - 0.7

Did the book say rear sync? Not slow sync? Most of the time for rear sync to be effective the shutter has to drag a bit to allow for the ambient light motion blur. It doesn't guarantee a slow enough shutter to expose for the available light. Especially in P mode. Kelby uses Nikons and if you turn the camera to rear sync it automatically goes to rear/slow. Funny thing is with a canon all you have to do is put the camera in Av mode and it will automatically expose for the ambient light even with a flash on (perfect for your given situation but usually a bad thing for most occasions). No settings are necessary. (just make sure you haven't set the cust func for the 200th sec min shutter speed in Av mode).

 

This is actually one of the problems I have with Canon is no ability to set a floor shutter speed aside from 200th of a sec in Av mode. If you are hand holding in Av mode in low light the shutter may drag for seconds ruining any chances for a usable shot and locking your camera up for ? seconds. Your only option to expose the background is to to it yourself manually. If you expose the background manually you can set a hand holdable shutter to expose as much of the background as possible while the flash does the rest of the work.

 

You can use the sto phen without bouncing it off of anything. Just point the flash head up and shoot, but you have to be close. The

lumiquest boxes aren't really good in my opinion. They looked pretty harsh for a soft box.

This is one of the times when a girl wants a smaller package. Unless she is a photographer or you will be using the camera yourself manually spending the extra money would be a waste for features that will never get used. Plus she will appreciate the c-lux size to drop in her purse.

I used to roll 2 rolls of 35 onto a single stainless 35 reel with the films being back to back to save time when working fast. It should be possible to do this with 120 on a 120 reel but I'm gonna guess that this will be pretty tricky. Better be prepared for the dreaded half moons! It might be better to just develop it one at a time as I don't like having all of my work spoiled in a single developing session.

Santa Monica community. Great school! Cheap prices. Can't go wrong.

gottcha ;

try using a gradient map filter. In the layers palette press the filter adj layer button. The little yin yang looking button in case you don't know what I'm talking about. Find Gradient map. Once you press that double click the gradient preview. This will open a dialog of gradients. Click on the black-white gradient (third from the left) press ok. press ok again and you should have a 0-255 black and white conversion. I find this to have much more contrast than some of the more common methods I've seen.

When I was in school we used HC-110. It wasn't until a teacher suggested to me D-76 1:1 did I fall in love w/ B+W. Sharper, finer grain, and beautiful tonality. Henri Cartier-Bresson used the same combo as well I believe or was it Jean Loupe Sieff? I only used HC-110 for pushing T-max 3200 ever since.

Shooting on a white background with hot lights = underexposed and color cast.

 

If your savy enough set a custom white balance to clear the color cast in camera not in photoshop. To get proper exposure meter off a grey card or review the histogram if you know what your doing. Since you're shooting with hot lights your shutter shouldn't be any faster than 1/60-1/125 even @ f2.8. If you are shooting with the aperture wide open you will see light fall off in every lens. To reduce the fall off stop the lens down but only if you can hold a decent shutter speed.

Cindy do you mean like two tones only? One black and one white? No In-between shades of grey? Like a litho?

You turn the strobe on and immediately press and hold the transmitter trigger down for I think 3-4 seconds? The strobe should fire when it programs to the transmitter signal. This is all in the instructions. Check to see if the strobe has an antenna. I'm not certain about the compact r's.

I couldn't agree with you more William (you words speak as well as your images). How would anyone ever become a professional if they didn't practice?

 

Stephanie I must apologize to you as I do not mean to discourage your venture. I do believe you have a good sense of visual design (checked myself) and will do just fine. All the best.

 

Patrick, did you know that a bald eagle can float on water like a duck? I've seen this myself in Alaska. You may never see it but that doesn't mean it doesn't happen.

 

As for competition yes there are a few other photographers that charge upwards of 8k+.