John Bennett
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if you could load some limited software on the iPad id likely buy for use as a portable photo manager/limited editor. Instead will wait to see what comes out down the road.
As for Apple. iPhones, iPads etc are gadgets, they come and go.
Im now on a Mac and while it’s taking some getting used to it kicks windows butt (imo). Ive long since gotten sick of windows. Hemmed and hawwed over going mac for a long time. Don’t know why I waited so long.1450 with dividers.
Haven’t flown with it, so cant help there.It is about perfect for boats and can carry quite a bit if you pack it smartly.
The only knock I have with it is it’s too large for my kayak ( fine in a canoe) to fit betoween my thighs for easy access. Difference being is the yaks just a little narrower.
I just picked up my Mac last night.
The first thing I did was get on the net and DL the trial version.then copied my archive over from my external.
god theres a lot to learn while I wait for CS5 for mac to arrive.crossing over from windows is going to be a headache but atleast I
ll have LR to start learning on.Pretty much Zack but its usually cheaper (and more versatile) imo to buy a good lens fast lens with a longer focal length. Its also why PnSs make decent macro camera’s. Really what it boils down to is more DoF for smaller sensors all else being equal. Also keep in mind that the separation between your subject and the BG plays a big role.
The tulips here are about 1 foot into the BG
BG here is about 3 feet away
and here about 100 feet
So really when going for shots that throw the bg way out.
focal length, f/stop and distance to subject determine DoF.
BG distance *from* subject also Quality of glass also plays a big roleAll of the above were shot with the 85 f1.2 wide open.
Less FoV than a 50mm but better separation/isolation of the subjectThats why I’ll likely never buy a 50mm and stick with my 24-70 at f2.8 when I want to throw the bg out, or now the 85 f1.2. On my 1D bodies (1.3 or apc sized sensor). 100mm (or greater) macro lenses are also fantastic for these kinds of shots.
Ben can you email me the DMCA request and any pertinent info, I’ll send my own.
jrdben@rogers.comAnd if you dont mind I’ll copy that last post to the photo sharing site where I was notified.
Thnx
JI dont mind 1024 x 750. Not useable for print but it does leave itself open to this kind of theft.
the problem I find with 750 is it doesnt give viewers who have a critical eye ( buyers) enough at a quick glance. Alot of ADs are frequenting my site now and often use a quick preview.
I myself find that photos can look good as 750s, but are starting not to hold up at 1024, and would not be something Id submit full res.
Either way I think your right Zach and the safer coarse would be 750 or 800px on the widest.lol no kidding Kurt.
Im lucky in that I have been able to borrow/test some fantastic lenses from friends. Virtually all my lens purchases have come as a result of playing with a friends first. No one I know has a 50 1.0 though.Re fast glass.
Yeah Im sore addicted to it.
What I like about the various 50mm and 85mm primes is that beside being very versatile lenses, we as a consumer can buy the slower options first. Use them for a few years (or more) and discover for ourselves whether stepping up to a faster cousin is for us. I used the 85 f1.8 for 5 years before deciding to pull the trigger on 1.2 and wouldnt hesitate to recomend it as a good fast lens to anyone.I shoot wide open often with fast glass and longer focal lengths which translates to less DoF. 500mm at f4 is razor thin when shooting close to the mfd etc
Yes it takes getting used to and yes sometimes you *blow* a shot when you don’t have time to take it, then quickly preview it, however the pay off of having lenses like these can’t be understated imo. They do things, or open doors that are otherwise not there.
Not to mentioned *gag* ( I hate the term) “Bokeh” afforded by these lenses. Lots of “fast glass” will render area’s oof, but the aestetic quality of the “Bokeh” can be night and day.
So no, not all fast glass is created equal.
Optically Id say the 85mm f1.8 and 85 f1.2 are “close” however when it comes to less tanglible things like “bokeh” and as Cory said “feel” the f1.2 smokes the 1.8 (which is now collecting dust)
Would love to play with a 50 f1.0Going to echo what Zach said about beginners and great lakes steelhead. If you could find a river where you wouldn’t have to contend with crowds…between the fish possibly humbling him, and crowds possibly leaving a sour taste….
If you can get info of a place thats a short trip Id try to find a Brook Trout Destination. They are aggressive, less concerned about presentation, etc, etc and really for most beginners they associate FFing with trout and at least up here, few species conjur the imagination than Brookies on the fly for beginners.
Very nice neal.
I’m liking CS5 so far and I’ve barely scratched the new features.
Content aware fill is “nice” but it’s not the next thing since sliced bread. I’ve taken some old photos that had problem areas that were too difficult or time consuming to “fix” and tried using CAF.mixed results. Sometime it’s intuitive and does a decent job, which I then had smooth out and other times it’s does a bad job entirely.
One feature I’m liking is the grid that appears when you open the crop tool.
Matt its a tough one.
My last two major lens purchases were used. Both were from wedding photographers. On one hand I know they know how to care for the lenses, on the other they *use* the lenses hard.Thinks to look for.
Dings and scratches to the finish wouldnt bother me all. I look for obvious signs of abuse to the glass. A scratch, or physical damage (say from a fall) to the front elements or rings.Hi Neal, yeah thats the onboard flash. There was no light to speak of, the shot was taken while it was raining hard as the Laker was released. My guess is its about 2 or 3 feet under the surface.
I know in another thread it’s been mentioned that strobes arent neccessary but every single serious UW photog Ive brain picked have all said they are no matter the depth. The problem with on board flashes besides their limited range is “backscatter” which is abundatnly evident in the above shot.
So it’s not unlike trad photography and getting your flash off the body and off the axis of the lens. An off board strobe reduces backscatter.
To look into this lake with the naed eye it looks crystal clear (visibilty even on this day was about 5 feet), but the camera (and flash if you use it) picks up all the crapRight now Im just using the propeitary housing with an eye on the fisheye fx complete setup.
For now UW stuff is mostly just for fun, largely due to the waters I fish here. They aren’t clear. Whether it’s sediment and debris in rivers or suspended material and algae in our lakes. So I don’t want to go out and drop a wad of cash on something that will in all likely hood never amount to much more than fun thing for personal shots.
despite fishing a clear cold lake this weekend with what a person might call good clarity
Steve I had my dslr in a Pelican that sits between my feet and came out only when I needed it. So basically it reside safe in the Pelican, I take it for a shot or two than stow it once done. I also use my S90 in its housing for other shots.
Kyle the best time to get those kinds of shots are at first or last light or on overcast days. The problem is how to slow the SS enough, without over exposing the highlights, which can be everything from the water to the skies.
The most obvious thing is to reduce your ISO as far as possible, and stop down atleast to f14…if not more if your lens can handle it and add a CP that further reduce the light getting through by another two stops.Even with all that, acheiving the look you want on a sunny day is going to be near impossible unless you also add a some form of ND like constant 5 stop, or a variable ND that allows you to reduce light by 1 to 8 stops.
Without all those save that kind of shot for overcast days where theres a drizzle or at first light..and if possible/needed compose your shot to remove the sky from the scene.
Overcast day
iso 50
f16
1.3 seconds
2 stop Circ Pol mounted
held braced on a log
fairly bright day
iso 50
f14
1 second
2 stop Circ Pol
6 stop reduction via variable ND
2 stop graduated CP (hand held and feathered)total light reduction upper part of frame 10 stops, 8 stoprs lower
