Amazon Kindle Unlimited Offer: 1-Month For FREE!

Activity : All Comments


...Read More
  • You'll need a slower shutter speed, generally 1/30 or less, and prefocus is easiest. The more blurred the BG, the sharper the subject is is contrast.

    The eye's easily fooled. Most panned shots aren't as sharp as they seem; by having a very blurred BG, a non-blurred subject seems much sharper than it is, by comparison.

    To get a long shutter speed, you'll need to set a narrow aperture. Naturally the tight aperture results in plenty DOF. So focus is not an issue at all. No worries!
  • These days most slideshows are built using jQuery, which can be pasted into DW CS4's code window.

    Google "jQuery slide show" and you'll find dozens of them. "Lightbox" and "Cycle" are typical jQuery plugins.

    Best of all, most jQuery plugins are free, too!
  • Real lith material was smooth, but not as shiny as a true gloss paper. The closest in inkjet would be a fairly thin gloss. The important thing is that the blacks are absolutly black, and the whites are clear, no greys at all in between. It's more a factor of the printer's capability than the paper.
  • I've got to put in a good word for ThinkTank; I've used it everywhere, even while shooting bicycle races from the back of a motorcycle, and there's nothing handier. Well made, too. Can't go wrong.
  • The Fluor will be green, so you'll want a magenta filter, somewhere about CC30 strength.

    The Sodiums will be VERY yellow, so a blue filter is in order.

    This type of situation is more manageable with a digital and set two custom white balances, one for each light source.
  • Is it ok to poach on another photographer? I found this a very good explanation why people get upset:

    Imagine when you go into work tomorrow you see someone in your work area doing some of your duties. Your boss tells you that this is an unpaid guest worker that will be taking some of your work away from you. Cool! I don't have to work as hard. Yeah, real cool. What your boss didn't tell you, but which you will find out about at your next payday, is that while the guest worker isn't getting paid by the company, your paycheck has been reduced for the work that you used to do but are not doing now because the guest worker took it away from you. The company says "We're not going to pay you for work that you don't do. That's only fair, isn't it?" What really irks you is that you weren't even asked if you wanted to give up that work. If you knew that you were going to lose some income you certainly wouldn't have agreed to do it, but...nobody asked you!
  • I can see here shutter speed and aperture might be useful, perhaps even lens focal length (although you can usually SEE that close enough if you just LOOK at the photo!) but camera model?

    Come on - do you want to ask a painter which make of paint he uses? Does that matter, or have anything to do with what the painting looks like? Yikes.

    The camera has little or nothing to do with it, otherwise all the best photographers would have the huge advantage of one particular camera that's best. There's no such thing, get over it. It does not matter what camera you use.
  • When I'm shooting sports or news, I always use JPEG. It's not like the light's going to change every second. You shouldn't need to do much adjustment if it's shot properly in the first place. However did we manage with trannies before digital, right?

    When I'm doing commercial location work, there'll be mixed lighting and other issues. In that case the time spent is worthwhile, and RAW makes final adjustments easier.
  • What ISO setting are you using? One advantage of powerful lights is that you can use the minimum film speed/digital sensitivity, so there's no noise or grain.

    I use a 2400J Bowens pack, and while I can turn it up and use F22, there's nothing stopping me from turning it down 4 or 5 stops. At minimum power and 50 or 100 speed, wide apertures shouldn't be a problem.
  • Weapons of mass destruction? Photoshop CS? You've inspired me!

    See my Bomarc pic (which I admit I could've done in Elements, just not as quickly.
  • I agree, the camera is nearly irrelevant. It's like wondering if buying a Stradivarious will make you be able to play like a symphony musician, and thus be able to land a record contract or world tour.

    The goal is to win a WHS site bid. The way to achieve that is through photos that communicate well, with a message. That has everything to do with the way the instrument (camera) is played, and little to do with the instrument/camera itself.

    Hire a musician, or at the very least a good music teacher, so to speak. The instrument is secondary.
  • 300/2.8? Certainly it's hand-holdable, as you can use a very high shutter speed with that much light coming in. But you don't want to hand hold one for long, it's just too heavy...the solution is a monopod. It would be that much worse with a 400/2.8 and larger.
    I chose it for shooting sports, where you need a fast shutter speed AND long reach AND are often in low light, for example inside a stadium, or an indoor ice rink, or even outside on winter grey days. Unless you need at least 2 of those factors at the same time, save your money (and muscles.)
  • I'm sorry, sir, we don't actually have any cheese.
  • It's nothing to do with the iMac...Photoshop works the same on all computer types.

    I agree with the last poster, it's all to do with learning to use Photoshop.

    Fortunately there are dozens of sites full of tutorials (and bookshops full if you like reading paper better) about Photoshop.

    It's fun, and a world all its own to explore. Enjoy the journey!
  • If you have access CLOSE to the cyclists, do take your flash, and use your camera on MANUAL.

    Use a very high ISO setting (400 or more) and a moderate shutter speed, like a 60th, and pan (follow the motion) of the cyclists as they go past, squeezing the shutter gently while not stopping you follow motion.

    Be prepared to take quite a few test shots varying the aperture until you balance the amount of available light with the flash's output. When you have the aperture setting determined, leave it be, and just concentrate on framing the cyclists as they go past.

    Whilst this is an outdoor shot, the principle is exactly the same: Click for Cycling Photo
  • I'd have your D60 checked by Canon, Amber. I used a D60 extensively, shooting ski competitions and bicycle racing, among other things (see my portfolio) and while the AF wasn't as fast as the very high end $$$ bodies, it certainly was quite usable!
  • Just drag guides from the rulers to where you want the cuts to go.

    Then with "Snap to Guides" turned on, you can exactly choose each section with the rectangle marguee tool.

    Then just cut and paste into 9 new documents.
  • Canon's S9000, and it's successors the i9100, and now the i9900 are all A3 printers, and are MUCH faster than their equivalent Epson models, as well as having somewhat more accurate colour (by lab measurement, not just my opinion.)

    They do not have as many archival ink/media options, on the other hand, so the choice depends what is important to your particular situation.
  • You can always cheat by refilling all the cartridges with black ink, but that is a long-term commitment, as it is impractical to change back and forth between Colour and B&W.
  • Noise Ninja is excellent too.
  • Ah, I simply typed it wrong. This should work better!

    The Action is on the right side, about the 3rd article down.
  • There's now a free plug-in at
    if you have Photoshop. It upsizes in 10% increments. Lots more info. Hadn't heard of Bearded Frog. I'll have to check it out.
  • Er, Mac OS X is UNIX. Perhaps with a different inerface and a lot easier to use, to say the minimum, but there is UNIX inside.
  • I have to wonder - why would the quality be any different when taking a nature shot as it was when taking a still life the day before, or a portrait the day before that? If the picture's different, it's not the camera that's changed. It's up to the photographer.
  • There's a website dedicated to discussing this entire topic;
    with comments and discussion forums about the various enlargement software.
  • Unless you have a very specific reason, I'd be so bold as to say NEVER sharpen in-camera. If you do so, you can never undo that sharpening, and it will look terrible if you end up changing the image size, which would want a different amount of sharpening.

    ALWAYS sharpen after the fact, usually after you have made the image the final size it is to be printed.

    Here's a fairly thorough discussion of sharpening that you might find useful: Sharpening Discussion

    High Pass and USM sharpening are both valid methods; USM scares most people, but when they get used to the concept that they should over-sharpen (because the image gets blurrier when printed, because ink diffuses) it soon seems right.
  • By shooting a Colour Checker using InfraRed Ektachrome, you can compare the result to normal, and find out which colours are dramatically changed and which ones stay fairly constant.

    With that info, it should be no trouble to alter or even reverse the curves on the colours with huge shifts, and use "selective' or "replace" colour on the others.

    Here's an idea:

    If you've done it once, saving the curves and then doing it all a second time while on "Record an Action" will let you create a push button that will apply the IR effect to any image instantly.

    You could even sell it.
  • You see all kinds, don't you...I've had teachers who were incompetent and unqualiified, but I've also learned from industry "gods" who are indisputably the best around, yet many of them have never been to photo school, so are "unqualified" on paper. I know who I rather learn from, paper be damned. (-:
    Which isn't to knock the many fine folks who are formally educated and are thus well qualified on paper as well as in real life.
  • Not at all Stan; just thought it would be fun to press the point if that's the way the thread was evolving.
  • On the right hand side of the front page, you can email them for info about the discount:

    - S-Spline 2 at $80 CND (57 US Dollars),
    regular price is $69 Euros.

    - Pro version $160CND (114 US Dollars),
    regular price is $129 Euros.