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spf3million posted:If it's clear, it's most likely a lowly UV filter. The '1A' - rather than 'UV' suggests to me that it is a Skylight filter. Which, if I can remember correctly is basically a UV filter with a very tiny amount of colour correction in it (I *think* that is was a very slightly yellow tinge, but I may be wrong)
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Aug 27, 2010 14:01
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lllllllllllllllllll posted:On my EOS 500D there is a "exposure level indicator (ELI)" to make pictures brighter or darker (excuse my layman terms). When would I use this and what does it do? Is using this preferable to adjusting the ISO value? In fact, does it change ISO or aperture or both? It is the same as 'exposure compensation' and works where you think that the camera is getting it wrong. e.g. you use the camera in Av/Tv/P and the important part of the subject is too dark. So, you dial up +1 and it makes the scene 1 stop brighter. Basically, it works when the subject is lit trickily (eg against a dark/light background) or when the scene is not a neutral mix of lights and darks. The camera gets fooled and you can adjust. Snow is a good example. The camera meter sees a lot of bright white, gets confused (cause it is expected a neutral scene) and so the picture is dark. You add +2 to brighten back again. Look for articles on 'exposure compensation' to learn more
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Sep 10, 2010 12:31
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Tiny Fistpump posted:If I format the drive will the LR backup, upon import, have all my edited images exactly as they were? I know this is the point of a backup but I want to be sure before I format. All your edits are safely stored in the catalog.
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Sep 15, 2010 14:45
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evil_bunnY posted:NP. The worst that could happen is that you'll have to tell LR where the picture folders are if the path changes. And to add to this: LR is incredibly forgiving of your moving your photos around. You can move all the folders to a different driver letter, inside a different subfolder sand it literally takes about 5 clicks for LR to cotton on and sort it all out. Compare this to iTunes where simply changing the driver letter required about 4 hours of farting around, editing xml files, using undocumented commands and still losing stuff.
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Sep 15, 2010 17:27
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Ninja Rope posted:If you've plugged it into Windows, you should be able to format the CF card without the "quick" option selected, which should touch all the bits on the card and throw an error if some of them aren't functioning properly. No idea what the equivalent on OSX is. I'll bet money that this problem was not the card's fault and was either: a) one-off fluke or b) crappy card reader
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Sep 22, 2010 09:07
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HPL posted:I just tried out the trial version of DxO FilmPack. So. loving. Good. I probably shoot more black and white film than anyone else here and I can say that FilmPack gives you dead-on film looks and you can even adjust the grain qualities to match different film formats like if it were on 35mm, medium format or large format. I can't speak with as much authority on color negative and slide, but it does a damned good job of matching what I'm familiar with including Kodachrome. Just to add to this excellent tip: There are a bunch of free filters available for Lightroom that let you emulate the effect of various types of B&W film, with a simple mouse click. They work really well. Now you can relive the wars between the HP5 and FP4 fans from the good old days.
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Oct 16, 2010 11:27
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clam posted:I'm having trouble taking long exposure shots. I have have a Cannon EOS 50D. I set it to manual - set my shutter speed to 'bulb', but sometimes it won't let me take the photo (my camera is always on a tripod at this stage). Is it not letting me take the photo becuase there's not enough light? Is there a way to make it take regardless? Have you turned off the AF and are focusing manually?
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Oct 26, 2010 04:43
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xzzy posted:The lens should have a AF/M switch on it to put it in manual focus. The "M" setting on the mode dial just tells the camera you want to set shutter/aperture manually.. doesn't effect focus at all. Just to add a tip to this - when I take a night shot, the first step I do is to aim the camera at something far away that has enough light/contrast to let it obtain a focus lock, then flick the switch on the lens to 'MF' That way, you have your lens set to infinity focus without having to try to manually focussing through a dim viewfinder.
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Oct 26, 2010 05:26
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Ballistic Photon posted:Can anyone explain to me the reasoning behind covering your gear in black tape? I am sure that there are multiple reasons, depending on the individual, but I used to tape my stuff to prevent damage to it. And it worked: My P30 survived 10 years of use and when I removed the tape from the baseplate, it was pristine underneath. It would also reduce corrosion on screwheads (which sometimes seem to suffer)
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Nov 7, 2010 11:45
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Ballistic Photon posted:Is there any specific tape you suggest using? Extending the quality of the body is something I can totally get behind. I used black electrician's tape - the slightly stretchy stuff that you can use to tape up wires. A good quality tape will have an adhesive that is strong, lasts a long time, does not ooze under heat, yet removes cleanly without leaving behind any gunk.
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Nov 7, 2010 12:04
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pwn posted:The black electrical tape I've encountered in my life is the opposite of those things. Gaffer tape however owns. Yeah, I admit that it has been something of a struggle to find really good quality tape these days. I just bought some American-made tape and the adhesive is crap and oozes out. <old man> nothing is made as well as it used to be </old man>
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Nov 7, 2010 13:13
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jackpot posted:Lightroom 2 question: I've got duplicate RAW files on two computers (mac and windows) - can I make changes to some of the files on one computer, then somehow export those changes so I can pull them up on the other computer? option A - create a new catalog on the first computer, add/edit the photos, then copy that catalog file to the 2nd computer and open it. it should find the duplicate RAWs and apply the edits to them. option B - 'xmp sidecar' is the phrase you want to google (I am not familiar with the exact process)
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Nov 13, 2010 12:50
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Tshirt Ninja posted:I got assigned Annie Lebovitz to mimic as a photo project. No composites. <snark> that sounds like a contradiction in terms <snark>
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Nov 15, 2010 03:26
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zmcnulty posted:So what I'm trying to ask is, what's the purpose of all this? I can think of two answers to your question: 1) It is quite easy for your camera to be fooled and incorrectly calculate the correct exposure. e.g. the metering system assumes that it is looking at a neutral scene (18% grey) - but if you are looking at a snow scene, it sees bright white and so thinks the scene is brighter than it actually is and so it underexposes. In this case, you need to use the photographers brain to correct for the camera's incorrect assumptions. 2) Not all the scene has the same 'correct' exposure and only the photographer knows what are is the one that needs to be correctly exposed. e.g. person standing in front of a shadowed wall, in an area of light: What should the camera expose for? The dark wall, or the bright face? That is an artistic decision and so one you need a human for.
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Nov 22, 2010 07:41
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zmcnulty posted:So when someone says they want to buy a 50mm lens or 25mm lens or whatever, are they saying this primarily because they want that field of view provided by the lens, or is there some other consideration? Besides cost and physical aspects, as you highlighted. In this case, the speed of the lens is a compromise, right? People generally choose a lens length based on their need for a) field of view or b) magnification. So, if you need to shoot indoors, the field of view is the most critical aspect since you need to fit in as much as possible, with as little distortion as possible. Magnification is not an issue. If you shoot birds, you need as much magnification as possible and FOV isn't really a major factor. Of course, as FOV and magnification are inversely proportional, it is two sides of the same coin. quote:That sounds like a technical limitation. Let's say, one day, someone develops a metering system that matches the metering capability of a human eye 1:1. I can understand some exceptions where you want to exceed the human eye (extreme HDR and such), but for general photography, would you say the need for under/over exposure is inversely correlated to the capability of metering systems? Why hasn't anyone developed metering systems with like 4000 metering points (ala Xbox Kinect, albeit for a different purpose)? It is still the limitation that the camera designers can only assume that you are shooting a standard, neutral type of scene and so the meter must react accordingly. Snow will always be underexposed because reality differs greatly from the standard scene that the assumptions have been based on. There are only 3 solutions to this problem: 1) human overriding of the camera (exposure comp) 2) informing the camera that the scene is snow (by choosing a specific mode) 3) intelligent camera that can recognise the scene as snow and meter accordingly. 3) may be possible in the future to a limited degree, but machine intelligence is still going to get it wrong...what if you take a photo of a baker covered in flour and it thinks it is a snowman? Chances are, it will stil not be 100% right Nikon currently have 1,005 metering points: http://imaging.nikon.com/products/imaging/technology/d-technology/autofocus/01scene/index.htm It is hard to imagine that any more are required to meter correctly. EDIT: torgeaux posted:The human eye can also NOT meter everything within a scene at the same time to be "correct." Look at a scene with deep shadow and bright light together, you get one or the other clear. dammit, I wish I had mentioned this point too: the human eye does not have a super, super wide dynamic range...rather your brain is very clever at processing the image so that the area of interest is the one that is exposed for. Sure, it beats the camera sensor, but if you hooked a human eye up to your computer (yeuck), it still would have not have the same dynamic range that you think it has. spog fucked around with this message at 09:09 on Nov 22, 2010 |
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Nov 22, 2010 09:03
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geeves posted:Question about this - in Photo 101 in HS, our teacher said to meter read off of the skin of our hand or the subject's face or on the grass - I didn't plenty of snow photography by clearing a patch of snow off the ground and reading off of the grass with some success. This was with B&W film though - does the same hold true for color? Yes it does hold true.
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Nov 28, 2010 06:45
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They were worried that he could unbolt the wings.
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Nov 29, 2010 10:27
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Haggins posted:Allen wrenches maybe because they're pointy and metal? I really don't get why they'd take the wrench though, it's not really any different than an oval shaped bottle opener. As retarded as it sounds, spog has the best theory I've heard. Actually, I was being facetious. Small tools are specifically allowed: http://www.tsa.gov/travelers/airtravel/prohibited/permitted-prohibited-items.shtm#7
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Nov 29, 2010 11:13
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DreadCthulhu posted:are any small form factor cameras out there going to be any better in your experience? http://forums.somethingawful.com/showthread.php?threadid=3321133 (hint, the answer is in the thread title) EDIT: Curses, too slow!
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Dec 9, 2010 08:01
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Disharmony posted:I have the Canon 50mm f/1.8 II. I love the bokeh and all but let's say I want to make sure everyone is in focus and somewhat sharp -- can I do it with this lens? I've been toying with the settings for quite a bit and I can't seem to pull it off. One way or the other someone's going to be blurred. Smaller aperture: f8 should get most in focus http://www.dofmaster.com/dofjs.html
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Dec 13, 2010 11:11
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wiru posted:Not sure if this is the thread to post in for this question but here goes - Nightime? Definitely the 20mm.
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Dec 20, 2010 17:44
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wiru posted:Awesome. How bad would the variable-zoom lens perform, compared to the fixed for nighttime shots/etc? Is it just a case of lowering the shutter speed to get equal quality or is it rather more about how either lens works? The important difference is that the 20mm will let you take photos at f1.7, while the zoom will be stuck at f4. That's a big benefit in low light, where you need to get as much light as possible into the camera snd try to use the lowest ISO possible. It is even more important for the Panasonic, which has a relatively small sensor and so noise can easily become an issue at higher (800+) ISOs. If you were to set the zoom to 20mm f4 and the 17mm prime also to f4, they would be roughly the same in performance*. The biggie here is that the pancake has another 2 stops of light available to you, and in this situation, they are very useful stops. (* not true, actually. The prime is optimised for one focal length, the zoom is a compromise to get the best performance across all focal length. So, side by side, the prime will be sharper, have better contrast and less distortion - but the downside is that you lose the flexibility of the zoom.)
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Dec 21, 2010 04:36
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mexecan posted:I'm having some issues and I'm not sure if it's my camera or my SD card. I shoot a Canon S90 with a 4GB Sandisk card. When I imported the last set of shots a few came out looking like this: Are you using an SD card reader? If so, that is my first suspect.
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Jan 2, 2011 08:40
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mexecan posted:No, I use the SD slot on my Macbook to import. Any other guesses? Really hoping it's not the sensor or something on the S90, I've had it for barely more than a year. Try connecting a USB directly to the camera and import that way.
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Jan 2, 2011 09:07
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Greybone posted:Wait, is this bad? No, it is not bad. In fact, there are some who promote formatting as better than deleting. I personally don't think there is much in it. Read errors seem to be almost entirely the fault of the card reader. (Unless you are running CHDK in which case it will wipe that out)
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Jan 3, 2011 11:49
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Martytoof posted:But we're encouraging formatting to reset the filesystem, something that moving files won't do. It has nothing to do with whether you're using a card reader or the camera to read the card over USB. Just curious, but has anyone ever heard of a problem caused by the filesystem? I've seen many of the half-corrupt images (like posted previously) and they were all solved by replacing the card reader, rather than formatting. That said, I tend to format, but then I also have a rock to keep away the tigers.
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Jan 4, 2011 05:39
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RangerScum posted:A helpful tip: don't bring your camera to the office Christmas party. I respectfully disagree: photos of the boss and his secretary helped me get my promotion.
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Jan 7, 2011 16:34
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downtown_man posted:I feel like a total idiot, but I bought some matte photo paper (Canon mp-101) and I can't tell which side is the photo side. One side is feels slightly slicker than the other side. I may have printed my first 13x19 on the wrong side of the photo paper! Any help would be appreciated! Kiss it. Well, stick a corner in your mouth, top lip on one side, bottom lip on the reserve. Your lip will stick to the photo-sensitive side. Plus, for some of us, it may be the only bit of french kissing we get all week.
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Jan 17, 2011 04:19
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Erfsom posted:Should I have my Color Space set to Adobe RGB or sRGB? I usually process my pictures in Lightroom, and by process I mean usually just fix the poor white balance. If you have an aRGB monitor and an aRGB printer and you moslty plan to print them out, then set it to aRGB If not, then sRGB is better.
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Jan 17, 2011 15:00
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brad industry posted:Adobe RGB is not a device color space so it doesn't really work that way. Yeah, but my point is that if your monitor is only capable of displaying the sRGB gamut only, editing an aRGB image is going to be a bit tricky. And if your printer only can print out the sRGB gamut, unless your end use is to have images only viewed on your aRGB-capable monitor, rather then printed out, then you would be much better working in sRGB. EDIT: to clarify my clarification: aRGB does have benefits, but you have to have the right setup to take advantage of it - otherwise you will most likely end up with some icky aRGB-sRGB conversion that screws things up. sRGB is the safe choice that will always work. spog fucked around with this message at 04:17 on Jan 18, 2011 |
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Jan 18, 2011 04:10
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Ballistic Photon posted:Maybe I should just pack lightly on other things and take all the cameras?? argh Well, if you don't take any change of underwear, the weight saving is about equal to the Rollei and the lightmeter. So, you have to balance 20 days in the same set of underwear against the nostalgia of the Rollei. Tough call.
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Jan 20, 2011 16:40
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Ballistic Photon posted:Or I could bring a couple more rolls of film by bringing no underwear and just chafe my way around Europe! First time I read that, I thought you were proposing to make underwear out of film. Ouch.
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Jan 21, 2011 05:34
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Jimmy Thief posted:I live in MN and want to shoot the US Pond Hockey Tournaments today and tomorrow, but it's fricken' -11 here today and supposed to warm up to -5 tomorrow. I think this is the third time this question has appeared in the last couple of weeks. There must be a lot of cold fingers this time of year. You should be fine just keep the batteries in your pocket to keep them warm. Before you go back into the warm, put the camera and lens in a ziplock bag. Then, bring them indoors and watch the condensation form on the outside of the bag (and not on your precious electronics). Give it a few hours to warm up before you unwrap it.
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Jan 21, 2011 18:50
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xzzy posted:Maybe a battery grip would have fewer issues? Not sure. But I think in sub-zero temps, tucking the camera into a coat when not shooting will help its performance. I've heard of some people swapping out batteries a lot. i.e. they keep one in a warm pocket and every hour swap it for the now-cold one in the body. If I did it, I am sure I would probably drop one of them in the snow and short it out.
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Jan 22, 2011 07:34
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macx posted:Really? Why is that? Too much power through the contacts can fry things inside the body
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Feb 10, 2011 17:02
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GWBBQ posted:Copy the pictures and catalog files to a portable hard drive, import them back into Lightroom You don't need to 'import' them...you can just open up the existing catalog. If the catalog/photos are stored on a different drive letter from your old laptop, you'll need to show LR where they are, but you only have to do that for photos in the foot folder and it will magically find all the subfolder photos. Just make very sure that you copy the catalog file to the external HDD - by default it is tucked away under your docs folder.
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Feb 18, 2011 03:50
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jackpot posted:I guess I haven't done it in Windows for a while. If it's just an Adobe thing, then kudos to them for making it so damned easy. I'd say that it more a case of Adobe, surprisingly, not being dicks for a change.
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Mar 1, 2011 04:11
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psylent posted:I'm going to Japan in a couple of weeks and I'm trying to decide if I'm going to risk just taking my Sigma 30mm, or take the 10-20mm and 85mm along as well. I spent a couple of weeks in Japan and used the 30mm probably 85% of the time. The 10-20 would be good if you plan to spend a lot of time inside the back streets or inside shopping malls. Or sushi bars...hmm maybe you might want to take it too....
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Mar 3, 2011 15:10
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I light fires posted:I work for a non-profit .... they want to pay as little as humanly possible which rules outs renting a pro ..... Are they paying you for the use of your personal equipment for business use?
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Mar 16, 2011 03:02
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aricoarena posted:So if every photo recovery software I have tried either cant even see my flash card, or finds no recoverable files on it should I just format the card and move on with my life or is it worth putting more time into? Can your OS see the card? Because if it cannot, you cannot use it.
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Mar 19, 2011 08:55
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