J A Y M O R R
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USB connection from computer to camera.
Use the Canon software that comes with your camera.
You can then use Adobe Lightroom if you have it to import all of your photos live and view them instantly in LightRoom.
I bought a USB cord and extension at Walmart. My cord is 15ft and works great. Get the gold tip connections.
While I shoot Nikon, this thread will offer some help on the setup:
http://www.scottkelby.com/blog/2008/archives/1207Scott offers a step by step walk through.
I hope that helps.
I used the term snowglobing as just that Tim (to make an image look like something inside a snow globe).
I guess I need to google some of these terms before I post them in the future , ROFL!
I find this rather bizarre…
TS Lens’s are an expensive tool and designed with a purpose – Infinite Focus along a plane.
Matt,
I agree with you about the “Commander Control” built in by Nikon. I use it all the time. I have been mounting my flashes to tripods and using the Nikon commander mode to control my flashes. It is also nice to hand hold or have someone else hold an off shoe flash with this setup. The down side to this is that you have to have the built in camera flash up or another speed light attached to your camera body in order to use this mode. If I want to eliminate having flash on the body there is no way to trigger my off shoe flashes. Having the PW’s will give more flex and range. They are def. on my list this year.
PS.
What a let down….it’s not even white! I guess it lacks the “L” factor. Hey look on the bright side, the lens color is just a shade or two off from being correct 😉 Ziiiiiiiing!
Looks like a giant hair stacker!
Will, I started using Camera Pro 2 with Lightroom. I love it for the macro work! I just went with gold tiped USB connections. It has been a lot of fun the last couple of nights!
Kurt thanks for the reply,
In all honesty I never shoot in high ISO’s. The highest I tend to go is 800. Anything past 800 ISO is going to have some grain (although I see very little noise up to 1200). I guess I could go in and noise ninja some of that stuff out later but most of my shooting does not require anything past 800. 😉
Just to clarify on Nikons Noise Reduction….it is an option that can be enabled or disabled. I have mine turned off. It also has low, medium and high options 😉
The 700 has ISO up to 6400. It is not likely it will ever get used.
Kurt, Thanks for the clarification….I failed to mention:
“ADR = Advanced Dynamic Range or … Adaptive Dynamic Range.
Nikon calls it “Active D-Lighting,” which makes no sense. I’ll pass on Nikon’s words. When you read “ADR,” you’ll only find it in your D300, D700 or D3 menu as “Adaptive D-Lighting.Kurt, do some google searches on “Nikon Adaptive Dynamic Range” and there are plenty of references made using this terminology. While I am familiar with Ken Rockwell’s site and information I have also heeded the advice of one of our local Pro’s here in UT Doug Barnes and take Ken’s advice as a grain of salt. Some of his stuff is funny/good but I do not agree with everything he states.
If there was confusion I apologize.
Also, Active D lighting is done during the shot and I have never seen increased noise, but I have seen increased protection against over exposure of highlights.
Normal D lighting is done during post processing and indeed boosts noise.
Kurt, do you shoot Nikon or Canon? Just curious. I see no noise increase in Active D Lighting. I can’t say the same when I shot with Canon using their Tone Priority. A very different type of image would turn out.
I shoot with others who shoot Nikon and I know a few of you on this board that shoot on camera bodies that use ADR.
One more shot as an example in color: Straight off the camera no post process edits other than watermark, etc.
Again, I think this is a direct result of ADR. I turned the ghosting into my advantage with this one and purposely composed the shot to ghost the rays into the angler.
Mark,
Shots like this used to be very difficult for me prior to switching platforms. There always seemed to be a trade off between loss of highlights or shadow details. Nikon’s ADR helps to address both of these issues in high-contrast situations. You still need to expose for the portions of the frame that are key to the image, but in-camera digital dynamic range is more film-like with ADR.
ADR is a huge techological improvement than most people realize. I also feel that it does not get much publicity. Digital has always had trouble with dynamic ranges and it still does not equal film. Almost any film has a very broad dynamic range. But Nikon figured out how to allow a camera to interpret a scene like the one above. It preserves both the highlights and shadows. It does a great job. I am very happy with the results straight from the camera. The shadows and highlights are clean to begin with and can even be addressed further in post process for more of an extreme effect. An example of that can be seen below:
Notice the ghosting in the image. Some photographers do not like this effect. This came from the polarizer filter on the camera lens. But I think it is a nice little touch with the sun flare.
No flash. Thanks for the feedback. I enjoy shooting in RAW+JPG because I like to shoot in monochrome using firmware camera settings. I use filter tints. When I import into LR the RAW gets saved as a color and my JPG is saved as the monochrome setting used in camera. I can then go in and do any additional toning if needed in LR or CS4.
I mention “ADR” because I am not only impressed with the results in low-light situations but also when shooting directly into the sun. The detail is still pulled out in my subjects where their backs are facing the sun light.
