gizmo_pony: Nice #1 and #4 from the snow series and the Minolta 50mm shot was a nice moment! From the beercan series #4 has the best focus. I also like #2, #4 and #5 from the second beercan set - that's the classic beercan for you.

What you shoot with the beercan, that's Minolta color from the JPEG.

tanjq87: If you only hear it during long exposures then it must mean this is the first time you've ever noticed SteadyShot.

achew: Whoa at the bridge shots! And yes, a telephoto can be used for landscapes (and sometimes, the results are better!)

noellee69: There is something interesting about the tree shot but I can't figure out why. I like #2, very unconventional.

zstan: There are Hartblei Zeiss tilt-shift lenses in A-mount:

http://www.dpreview.com/news/0903/09032403hartbleizeiss.asp

I also had a Vivitar 24mm F2.0 DIY Tilt-shift. I've disabled the tilt-shift capability though.
http://www.glaringnotebook.com/Default.asp?id=1052

lwliam: I don't quite get what you mean by your problems with the Minolta-designed vertical grip.

There are Lensbabies in A-mount - I've tried them myself. I prefer the older Lensbaby 2.0/3G mechanism, oddly.

The Lensbaby is not a tilt-shift though as you can't get technically clear shots from it.

Hooray for the inside shots, I like the black and white ones!

Uzumaki NaruTo: Nice wallpaper!

cjlai: Well the mPE-65 is manual focus only LOL!

Kul | Mo0: Gear stripping is not the same as focus clutch problem yo!

Mikeshashimi: Adjusting the color balance is a different thing altogether - I've got a review unit of the X-rite Colorchecker Passport and the differences are quite stark!

Some colors just glow more, before or after calibration, even after the exposure is matched.

I like the first guitarist shot. Well done!

alpha_company: The A850 is 1/3rd of a stop weaker than the 5D MkII and 2/3rds of a stop weaker than the D700, when working with RAW files.

tmj: The Sigma 17-70mm F2.8-4.5 DC Macro is a 1:2.3x macro only. The new Sigma 17-70mm F2.8-4.0 DC Macro HSM is a 1:2.7x macro.

destfull: Long time no see!

linkinstreet: Thank you for the closeups!

signither: Nice moody processing! Did you go for the demolition? I was there around 10pm.

SpawnX: Okay what. I like the cat shot though you could probably make it a bit brighter. #2 with a tele could be real nice.

soket: Remove your lens and turn it on - if there's no vibrating, then your kit lens has gotten gear stripping.

terence88: The second shot is quite a familiar pose. Nice!

lwliam: The email notifications are spotty and I've been busy at work so I don't remember to check even if the notifications are not coming in.

Also, I've never had that problem - in fact I always felt C to be a bit more than A-B.

signither: I saw people carrying away brick souvenirs! Then their friends were going "eh tak nak lah ada hantu beb!"

zstan: What is under repair?

tanjq87: The sound gets higher pitched with longer lenses and longer exposures. Try different focal lengths to see if it affects frequency.

mastering89: Get a step-down ring.

lwliam: I don't have a vertical grip, but I've never had any problems whenever I got to hold one.

It sure beats holding a vertical grip which is shaped like a long brick (and there is no consistency between the shape.) Plus different versions of the Canon battery grip for the 40D (I don't remember which) have different 'inclinations' at the front so one is more trapezoidal from the left projection.

hiansitt: The F20 only commands on the A850/A900.

gizmo_pony: In terms of customization, yes, but in some ways it is slower:

Going from on-camera fill flash to off-camera wireless flash and back:

1) flip the lever on the SB-900
2) dismount flash
3) change from MASTER to REMOTE
4) raise pop-up flash
5) dive into the menu to enable CLS (I don't have a Nikon with me so I can't detail this step, but it is quite deep!)

To mount it back on:

1) mount flash
2) lock lever
3) change from REMOTE to MASTER
4) dive into the menu to disable CLS

If you forget steps #3 and #4 your flash will not fire.

On a Sony Alpha:

0) Go to Flash (under Fn) and change to wireless (you can keep it at wireless even when the flash is mounted; exception being the A700/A850/A900 with F58 in CTRL/CTRL+ mode). If you're using a F58 change it from CTRL group to RMT or RMT2 group.

1) press the flash release button on the flash
2) dismount flash
3) raise pop-up flash

To mount it back on:

1) mount flash

For the A700/A850/A900 with F58 in CTRL group, you need to change it to RMT or RMT2; an off-camera F58 in CTRL group will ignore your wireless flash.)

Step #0 only needs to be done once; after that, whenever you dismount or remount you can skip it.

Uzumaki NaruTo: Nice! I like the vibrant color.

zstan: They usually only talk about MLU (Mirror Lock Up) but not MLD.

ieR: Work and missing notifications heh.

LOL about the cars triggering SU-4!

Funny - in my tests before with the F56, F58 and SB-900; the SB-900 detected signals as well as the F58 did. As long as the flash sensor is in shade, it will detect. If you leave it facing the naked sun then it won't detect.

A GN of 58 meters ISO 100 at 105mm F1.0 means that using a F1.4 lens ISO3200 105mm, it will reach 58m * SQRT(32) / F1.4 = 232 meters. However haze and air pollution will very often give you a full-blown white sky before you even light any buildings!

F1.0 to F5.6 is 5 stops not 4. F1.0 F1.4 F2.0 F2.8 F4.0 F5.6. F5.6 ISO3200 would yield the same power as F1.0 ISO100.



More here:
http://www.glaringnotebook.com/Default.asp?id=855

gizmo_pony: Good CATch!

zstan: Same result what. I just worded it differently.

Reach = Guide Number * square root of (current ISO/ISO 100) / F number

So reach = 58 meters * square root of (ISO400/ISO100) / F4
= 58 meters * square root of 4 / F4
= 58 meters * 2 / 4
= 29 meters

Nice ones on #2 and #3!

zstan: No issue what. It's very rare to find those Sigmas with old chips (the 400mm F5.6 non-APO is one).

3rd party lenses are reverse engineered from OEM lenses.

shootkk: They ARE reverse engineered - that's why Sigma took so long to get HSM on Sony/Pentax mount.

Also, Sigma lenses do not ask for new Lens IDs from Sony - they take existing Lens IDs. For example my Sigma 17-35mm F2.8-4 EX is reported as a Minolta 24mm F2.8. This causes a problem if the camera has in-built backfocus/frontfocus correction for the 24mm F2.8. I know the A900 onwards introduced correction for the backfocusing 50mm F1.4 - if any Sigma/Tamron/Tokina uses the same Lens ID, it may be affected by the correction table stored in the firmware.

boyzone: Your camera's hotshoe has dirt on it; the looseness is not the problem. Refer here:
http://www.glaringnotebook.com/Default.asp?id=1196

ieR I don't think you understood zstan's uncle's statement LOL.

http://www.fredmiranda.com/forum/topic/135604
http://www.dyxum.com/dforum/will-the-sigma...post573467.html
http://www.photoclubalpha.com/2009/03/06/s...e-quick-rechip/

Older teleconverters may also cause complications with the chip, AF at certain distances and focal lengths - my beercan never worked well with my Tamron 1.4x MC4 teleconverter despite the manual saying it works fine. At shorter focal lengths it would disengage, and at closer focus it would disengage too.

zstan: The A700/A850/A900 vertical grips have almost all the settings.

wingster: You won't get better AF with a different viewfinder. You'll get a different MF experience, though. However MF Check LV means it does not matter what viewfinder screen you are using!


My new camera!

lwliam: Of course I am! This was only what, RM104?

5564321: It's right there! mastering89 knows what it is.

It's got to be one of these:



hiansitt, you are right on the money!

fas29: Don't sell the F58 - it's the one thing that makes dSLRs still very useful.

mastering89: Took me exactly 1 hour. Eh the price stated there.

I ran a roll of Kodak Gold 400 (because it was the only film I could find in Berjaya Times Square) and now there is a roll of expired Fujifilm Superia 400 in it. Haven't picked up my first Kodak roll yet.

Superia 400 is my absolute favorite! I love its color. Never really liked Kodak Gold or T-Max. I love Kodak BW400CN and Fujifilm Neopan - both very subtle black-and-white films. Lucky 100, a Chinese film, is quite glowy in a nice way.

lwliam: I usually develop and scan to CD for RM12 (color negatives lah) at Leos Trading Ampang Park.

zstan, this is probably the best site to explain the different formats:

http://www.terentius.com.my/snapshot/basics.html

Sadly not much is explained about how a rangefinder works.

The TLR would not have less grain - it depends on the film. Noise is a product of digital sensors and digital TLRs are unheard of (plus it would make sense to just read off the sensor - that removes parallax error.)

TLRs do not have a moving mirror, so if you meant noise as in the mirror, it does not make such a sound.

lwliam: The one with the bellows is the Polaroid Land Camera Automatic 104. Very cool zone focusing mechanism.

The M8 is a 1.3x digital rangefinder; the M9 is a full-frame digital rangefinder, and everything before that used film. There is no burst speed because rangefinders are used very deliberately. Besides, you won't be shooting sports when the longest lens you can use is a 135mm.

The M6TTL (not the M6) has metering; everything before that, did not! So you'd have to know your Sunny F16 or bring a lightmeter around.

ianho: Not mine LOL.

mastering89: WAH! Fujifilm Superia 400 can go down to RM7 in some places lah. At least you get to choose F7 - the Gakkenflex is fixed at F11 1/150s!

The A900 has pretty darn good dynamic range - that's why I kept the Minolta Dynax 7 in the dry box.

lwliam: Yes the film advance lever is on the right of the thumb. I am not aware of a motorized film winder attachment for Leicas - but that honestly would defeat its current purpose in the hands of a luxury hobbyist.

The M6 has a brighter viewfinder, is a bit lighter. If I remember right the M3 sounds quieter. Not much changes, really - that's Leica for you. The Summicron 50mm F2.0 on it however is old and does not have the thumb dial on the focus ring.

MechaHerc: You can buy tungsten-balanced film; most common is daylight-balanced film.

However if you want to use tungsten-balanced film in daylight, you need to put an orange warming filter so daylight becomes tungsten.

If you want to use daylight-balanced film in tungsten, you need to put a blue cooling filter so tungsten becomes daylight.

There is also a FL (Flourescent) filter which is magenta-colored to use daylight-balanced film in flourescent light.

Red filters are used with black-and-white film to darken skies and increase contrast. Green filters allow more green light allowing for brighter trees.

That said, the sensor only has one native ISO and WB - the other WB settings are just adjustments on the color curves.

This is why a 2500K M9 shot can appear much noisier - it's trying to pull non-existent blue light out. You'll get a cleaner shot (but slower shutter) using a blue filter.

d4rkholeang3l: Well honestly... your picture isn't done well. You chopped off the bridge on the right. It is quite irritating to see it that way.

mastering89: White dots are because you turned off Long Exp. NR so it cannot perfrom Black Frame Subtraction.

mastering89,

If you only take long exposures (more than 1 second) once in a while, leave Long Exp. NR on.

If you are going to take fireworks it would be more practical to leave it off. That way in between shots you're not waiting.

For "black frame subtraction" - you'll have to take one shot with the lens cap on, which will give you just a black picture with white spots. You then subtract this picture from all your other fireworks pictures so the white spots are gone! Google will help you with the rest.

Also - try cropping your landscape to the bottom-right quarter. That's a more interesting picture.

d4rkholeang3l,

It happens. Sorry lah but the bridge being cropped was really a turn off even though the exposure is nice and the colors were vibrant. Some simple shots may have a lot more meaning.

I've judged a competition before (with some other judges) and I was surprised to see this very plain shot win in a particular category. Everyone has different tastes. I don't even agree with the judges' picks sometimes over at the Alphanatics competition.

freddy manson: They are Sony Alpha NEX cameras. Note the Alpha logo, albeit in a different color!

mastering89:

If your shot was divided into 4:

1 2
3 4

I would like a crop at 4.

Sakurako: In manual mode, is your shutter speed too fast, causing underexposure? Try dismounting the lens and putting it on again. You should see the Aperture value (F5.6 for example). If you see "--" then it means the lens is not mounted properly. Try cleaning the contacts at the back of the lens with a blue eraser.

gizmo_pony, congratulations! I love how #2 has small people behind you!

noprob: I like shadows and lines like in #3. Show us more of that if you see that.

kopitiam: Niiice! It's just very slightly blueish but still nice lighting.

e-jump: That's just prime!

kakz1989: Of course you can. They even suggest you pick up a film camera to learn black-and-white processing.

Did you look at the syllabus? There is no need to have fast FPS or better noise or speed.

As far as I know, a real photography course teaches you how to see, how to compose, how to make art (and the technical details of ISO/aperture/shutter speed.)

kopitiam: I can't tell what my laptop screen's temperature is, but I've run the Windows 7 calibration wizard. It used to be colder.

Mikeshashimi: The cup shot, less tight, might work.

kakz1989, they are just being fanboys and gearheads.

As far as I know photography courses are not about buying gear! It is an ART course.

http://www.jnevins.com/photo1syllabus.htm



http://ms.ryerson.tripod.com/begPhotoSyl.html



And here's what UiTM's site says:
http://ad.uitm.edu.my/index.php/programmes...reative-imaging