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Photography QnA: All About Photography

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Category: All About Photography

Interested in learning art photography? Want to become a master photographer? The following questions and answers are divided into two main groups - digital imaging and traditional, film-based photography. Learn the techniques of both here. If you want to learn more about how to make great photos take Jed Manwaring's Getting Started: How to Make Great Photographs online photography course.

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Photography Question 
Michael Yoder

member since: 8/29/2001
  15031 .  My Perfect Travel / Backpacking Camera
I am looking for a small, sturdy camera with excellent optics and a SLR viewfinder for composition and some zoom capabilities for on the spot flexibility. Quick to use, unobtrusive, lightweight...yet still have some control and get high quality.

Also I am tempted by digital, but worried about sturdiness, battery life, and other problems that could be encountered in a backpacking environment.

Opinions?

8/29/2001 4:58:48 PM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  IMO a manual focus, mechanical shutter SLR offers some advantages for backpacking. Even though a battery is required for the TTL metering, you can continue shooting without any batteries by estimating exposure.

All of the following are sturdy, well-made workhorses with systems that have excellent lenses. If you want macro capability you can use a set of extension tubes on, although they tend to work better on prime lenses, not zooms (focusing is harder). I've listed the OEM zoom lenses for them that span a modest wide-angle to a modest telephoto. I recommend looking at the 35-105mm and the 35-135mm (if one was made for it) zooms. My one zoom is a 35-105mm and have found it more versatile than a 35-70mm even though it's a little bigger and heavier.

Many of these camera bodies use the old PX-625 1.35 volt mercury cell for the metering. Using the 1.5 volt alkaline replacement is not recommended. There is a zinc-air version of the PX-625 specifically made by Wein for cameras and light meters. There are also adapters for using smaller zinc-air hearing aid cells, and an adapter that drops the voltage of a 1.5 volt #357, SR44 or MS76 silver cell to 1.35 volts. If you need more information about these workarounds, just ask. I have two camera bodies that were made for the mercury cell and they are running just fine on silver cells in the voltage-dropping adapter. Using the wrong voltage can throw metering accuracy off, sometimes by quite a bit.

Hope the following list helps you out some.

-- John

--- Nikon (AIS) ---
FM2n
FM3A
Nikkor AIS 28-85mm f/3.5~4.5
Nikkor AIS 35-70mm f/3.5~4.5 Macro
Nikkor AIS 35-105mm f/3.5~4.5
Nikkor AIS 35-135mm f/3.5~4.5

--- Olympus (OM) ---
OM-1 (cannot use motor drive)
OM-1 MD (can use motor drive)
OM-1n
OM-3
OM-3ti
Zuiko 35-70mm f/3.5~4.5
Zuiko 35-70mm f/3.6
Zuiko 35-105mm f/3.5~4.5 ("close-up")
Zuiko 35-80mm f/2.8

--- Canon (FD) ---
EF
FTb
TX
F-1
F-1n
New F-1 (1/90 & 1/125 - 1/2000)
FD 35-70mm f/2.8~3.5 SSC
FD 35-70mm f/3.5~4.5
FD 28-85mm f/4
FD 35-105mm f/3.5
FD 35-105mm f/3.5~4.5

--- Pentax (K) ---
K1000
MX
KX
LX (mech. 1/75 to 1/2000)
28-80mm f/3.5~4.5 Takumar A
28-135mm f/4 SMC A
35-70mm f/4 SMC A
35-70mm f/3.5~4.5 SMC A Macro
35-105mm f/3.5 SMC A Macro
35-135mm f/3.5~4.5 SMC A Macro

8/29/2001 9:42:08 PM

doug Nelson
DougNelsonPhoto.com

member since: 6/14/2001
  As a photographer and backpacker, I can only enthusiastically agree with John L. Too many times I have seen photographers in the damp, cold mountain air with their all-electronic cameras shut down. I tried the plastic very lightweight Canon T-60 SLR, only to find I had to remove the batteries and wipe them off for each shot. It now sits on the mantel for when the grandkids do something cute. I use an Olympus XA, a backpacker cult classic, pre-autofocus, because the sharpness is OK, I can forego tele capability, and it's no bigger than a tiny digital.

8/30/2001 7:58:03 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Bought one 35mm SLR body in particular because it has a mechanical shutter and uses the same lenses for which I have bodies with electronic shutters.

Reason? Doug brought up a good point about batteries, albeit with condensation. Having done some Winter landscape and architectural shooting (including at night), electronic cameras die quickly in severe cold even if the batteries are dry. Battery voltage drops when temperatures drop below about freezing (water). At about +10F to +20F the voltage drops enough that electronic shutters won't fire, motor winders bog down failing to wind on completely to the next frame, and AF lens focus motors can become intermittent. It will recover when brought back to room temperature, but that doesn't help out in the wilderness.

BTW, batteries can last up to several years in most cameras that use them only for the metering. They're also very small compared to the Lithium monsters required to drive some current AF/AE bodies with integral motorized winders. I never go anywhere without spare cells.

-- John

8/30/2001 1:18:27 PM

Jon Close
BetterPhoto Member

member since: 5/18/2000
  John L., great advice as always. Your list of suitable Olympus cameras excludes the OM-2000, a current model that is very inexpensive, but has metal body, mechanical shutter that can shoot at all speeds (1 to 1/2000 sec.) w/o batteries, DOF preview, and spot metering. Just an oversight, or is there a problem with this model?

8/31/2001 9:14:36 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  I thought about the OM-2000, the Nikon FM-10, and a Canon FD mount equivalent (T-60 ??). There *may* be a Pentax version also (P30T ??). Decided to leave them off the lists because the question mentioned backpacking and the need for sturdiness. The ones listed in my first reply are hardier bodies, albeit perhaps a little heavier.

The OM-2000 its cousins under the other names are all made by Cosina for the major big-name badges. The bodies are decent for their pricing, but not as hardy as an FM-2n, OM-1[n], or Pentax K-1000. IMO: If hardiness for backpacking was not one of the criteria, and they would reside in a more sheltered environment, they could be an alternative.

-- John

8/31/2001 7:42:50 PM

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Photography Question 
Rene 

member since: 1/30/2001
  15032 .  Print vs. Slide (or Transparency) Film
What is the difference between print and slide film? Is slide film the same as transparency film? I bought some tungsten film, and the clerk asked me which I would like... I went with the print, because I was too embarrassed about my elementary knowledge to ask him about the difference.

8/28/2001 5:14:59 PM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Rene,
Slide film is (more properly called) transparency. It's also referred to as chrome, diapositive and reversal. A slide is a transparency mounted in a small frame, usually for projection. Reversal is the general developing process for the film and is different from processing negatives. In 35mm size it is usually returned from processing in plastic or cardboard slide mounts (unless archival sleeving is specifically requested). The transparency in the slide mount is the film that was in the camera.

Transparency film is noticeably less forgiving of exposure errors. Prints can be made from transparencies. It's a little more expensive, but a properly printed slide has a look to it I have not seen duplicated using negative film. Many fine art (gallery) photographs are made using transparency films. It's also preferred by stock agencies and magazine editors. The image on a transparency can be looked at and evaluated much easier than the image on a negative.

-- John

8/28/2001 11:48:42 PM

Mark A. Braxton

member since: 5/2/2000
  Hello Rene,

First of all, I'd like to say that John was correct. For instance, if you take a picture of something and, it comes out too light or too dark you will see this on your slide. With a negative the print may be lightened or darkened to help hide this fact. Most people that like picture (prints) prefer negatives while people that photograph for art (or are trying to learn photography) prefer slides. It lets you see what you actually did, instead of a correction of what you did. This helps you know for future references what you need to look out for. Also, it shows you the changes in your photographing techniques that you need to make in order to take good pictures. Then you won't have to wonder if they all will come out in most situations. This way when you take family pictures or candids you can use print film and feel confident about the outcome. Special events (weddings, etc.) are usually on negative films (print films) also. Thus, after practicing with slide film you can feel confident in telling the bride and groom you can do their wedding when you are asked. You won't feel so worried about how the finished products will look. Of course, practice makes perfect. Good luck and hope you enjoy your hobby as much as I do.

9/5/2001 7:44:46 PM

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Photography Question 
Brian Wood

member since: 8/25/2001
  15033 .  Multiple Exposures with a Nikon F70/N70
I have a Nikon F70/N70 with a Tamron 28-200mm lens. I've been in a couple of situations where I would like to have been able to do double exposures but reading through the manual hasn't helped on how to do this. The camera always autowinds to the next frame after a shot and I can't find a way to wind it back one or stop it doing this.
I sent a request to Nikon for the info and got no response.
I'm really just an amateur at this, haven't even been game enough to get out of the auto modes and into full manual yet but I'm slowly building confidence!
Looking forward to your replies!!

8/27/2001 11:25:49 PM

Jon Close
BetterPhoto Member

member since: 5/18/2000
  Multiple exposure is not built-in feature of the N70/F70, but I have read that there is a work-around solution.

(1) While holding the back firmly closed, slide the back latch down as though to open the back, take the first shot. Then release the latch button and take the second shot. The camera is fooled into not feeding the film when the latch is open. Make sure the back doesn't open.

8/28/2001 11:46:36 AM

Brian Wood

member since: 8/25/2001
  Jon,

Thanks for the fast reply and advice! Guess I can see why Nikon wouldn't want to tell me that in case I got upset when the back sprung open!

I have no excuse not to be experiementing with that one now I suppose...

Thanks again!

8/28/2001 12:35:12 PM

Andrew R. Reimisch

member since: 9/9/2005
  Just found this post from Google, and this has workaround has solved a problem for my class; of which I have the assignment due next Wednesday.

Otherwords, I am confirming this technique. It Works!!

Thank you Jon C. And again, make sure that you hold the back closed, it does just like you said. !!

9/9/2005 2:01:18 PM

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Photography Question 
Amber Mizer

member since: 6/18/2001
  15034 .  Best Film for Portaits - Portra vs. Reala?
Ok, so I've heard conflicting recommendations about these two films and am wondering what you all recommend, personally...

I am shooting with a Minolta Maxxum 300si and will be using a strobe flash. I'm shooting school portraits and will be sending the film to a pro lab.

Kodak Portra 160 NC is what I've always been told in the past, and I know the lab I use recommends it and prints with Portra paper.

What's the difference between portrait films, really?

Thanks!!!

Amber

8/27/2001 9:45:30 PM

Jeff S. Kennedy

member since: 3/4/2002
  If your lab prints on Portra paper then I would say stick with the Portra film. There isn't any significant difference between the two films. It's a matter of taste and experience. If you took a killer shot on the Portra you'd feel good about it and say it's the best of the two. It's more a matter of picking a film and sticking with it. Learn how it responds under different circumstances. Be the film, grasshopper.

8/28/2001 1:26:44 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Amber,
Portrait films are geared for both portraiture and wedding use with the principle subject being people. They are optimized for accurate skin tones, have very wide latitude to retain detail in both white wedding dresses and black tuxedoes, and restrained saturation to pick up subtle color gradation. They are also more forgiving of slight exposure errors.

Films that fall into this class are Kodak's Portra NC and VC (slightly more saturation than NC), Fuji NPS 160 and NPH 400, and Agfa Portrait 160. The most popular among those I've talked to seems to be Portra NC, either 160 or 400, although some like a little more saturation which VC has. A local friend uses Agfa Portrait 160 and likes it. Which you choose is a matter of personal preference about the differences among them which are not all that great. Ultimately you may want to try a little of the Fuji NPS or NPH and Agfa Portrait just to see what they do.

Fuji Reala is an excellent, extremely fine grained, general purpose film. It is more saturated with higher contrast (less latitude) than a portrait film while maintaining decent skin tones. This means somewhat less subtle color gradation and it's easier to lose detail in pure white and/or pure black clothing. You probably would not run into too much trouble with the school portraits unless there are children wearing pure white or pure black. I don't recommend it for a wedding though because of the narrower latitude.

I've used both Portra and Reala. The color rendition of Portra is softer compared to Reala because of the difference in their saturation and contrast.

-- John

8/28/2001 2:20:04 AM

Ken Pang

member since: 7/8/2000
  By the way, Fuji just released a new film called 160 NPC. As you might have guessed, it's a portrait film with a bit more contrast to it. I'm looking forward to using it.

8/30/2001 6:32:05 AM

Mark A. Braxton

member since: 5/2/2000
  Hey Amber,
Glad to hear you have an interest in photography. I'm just a hobbyist much like yourself but, I'll try to pass on some professional advice. First of all, your reala is actually an early attempt at portrait film. It is mostly a professional general purpose print film with a fine grain. It might not be bad outdoors when your trying get the background in along with a subject to catch school events. But, just remember it has an iso of 100 meaning your shutter speed will be slightly slower than the portrait films at 160 and 400 iso.
My cousin is an advanced amateur and he was used to using reala. I talked him into using NPS 160 for my wedding. He was impressed with the colors of the prints. I must say the grain was tight along with the colors.
My real advice is try the Kodak and Fuji portrait films. Unless it's homecoming or some event where someone is dressing wild, I'd stay away from the VC and other heavily saturated films. If someone has on some clothing with wild colors you might be upset with how it brings those colors along with your subject. Remember these are going to be memories of teen years when impressions and peer pressure are their heaviest. Then too years down the road no one wants to be joked about the outfit they had on because the film helped exaggerate it. Good luck and happy shooting.

9/5/2001 8:06:33 PM

Gilbert Chatillon

member since: 5/5/2002
  Hi Amber,
Personally I prefer Kodak Portra NC, or VC for that matter, over Reala for portraiture.
I disagree with other reviewers describing the VC version as highly saturated. It is not. The difference between the two is in fact quite small for most subjects. Besides, people like accurate skintone rendition but they don't like bland, lifeless pictures. Only the students with darker complexions may come out a little too ruddy. So just to be on the safe side, I would go with Portra NC. If it can be of interest to you, here are my favorite portrait films from best to worst:
Portra NC
Portra VC
Fuji NPC
Fuji NPS
Agfa Portrait

5/9/2002 9:58:15 PM

Gilbert Chatillon

member since: 5/5/2002
  Hi again Amber,
I forgot to mention one thing in my answer to your question. It's that everybody is right when they say that it's a matter of personal preference. Do like I did, gather a few friends or family members and try a roll of each film, you'll know right away what you like.
Have fun.

5/9/2002 10:19:42 PM

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Photography Question 
Amber Mizer

member since: 6/18/2001
  15035 .  First Studio Set-Up for Preschool Shoot
Ok, I'll start from the beginning, again...

I'm shooting a preschool next month. I've been doing some extensive research and have gotten some excellent advice from this site and from a major distributer of studio equipment. This is what has been recommended and I'd love to hear from all of you to see if you agree...
Keep in mind that I'm just starting out...

A Minolta AutoMeter IVF and a SP 1600 Excalibur lighting kit (which includes a stand and umbrella.) And, I plan to just go out and buy some fabric to tape up for the backdrop. What do you think?

I obviously want this to be as professional as possible, but it doesn't have to be state of the art right now. I had planned to buy a pro backdrop system, but wasn't aware of how much the flash meter would set me back.

I'd love to hear what you all think... I need to place this order soon so I have time to practice before I shoot.

Thanks!

8/27/2001 9:35:35 PM

Jeff S. Kennedy

member since: 3/4/2002
  Sounds great. How many lights come in the kit? Or is it just one? Backdrops are easy to make and much cheaper than buying the pre-fabbed ones. I can give you some pointers if you are interested. You can make your own and then all you need is a stand.

8/28/2001 1:30:11 AM

Amber Mizer

member since: 6/18/2001
  Thanks! I was hoping you'd say that! lol

Just one light, unfortunately, but I think it will be okay since this isn't a "real" professional shoot.

Absolutely would love pointers on making backdrops!!!

Thanks, again!

8/28/2001 9:23:24 AM

James Miotke
BetterPhoto Member
BetterPhotoJim.com
Owner, BetterPhoto.com, Inc.
  Hi Amber - Jim here...

I just did a shoot of a 30-year high school reunion. In addition to doing some digital shots for their Web site, they allowed me to set up a portable studio in a corner. I charge people for portraits, had a great time, and made good money... anyway...

First, you can rent a light meter. I did this for many years and the 10 bucks or so is much more manageable than the high price of buying one. Once you know you like doing this kind of photography, I highly recommend that Minolta AutoMeter IV F - I love mine.

Even though this is not as professional or formal, get as prepared as you can and treat it like a pro shoot. I can't tell you how much I recommend at least two lights. One light will look way worse, unless you have an assistant with a reflector (and this is much trickier than simply using two lights). Again, if you can, consider renting the second light.

Lastly, go for muslin as a nice backdrop material. You can dye it if you would like a little color. Then hem the edges and sew a loop into the top end. You can then stick this through a pole to hang it. Many backdrop support systems use such a pole - it will look a lot better than taping or pining it to the wall. You can also get white seamless paper and tape that to the wall but I am weary of recommending it considering your subject. The kids will likely be very active and they could easily wreck a paper backdrop in a matter of minutes. (Gotta love the little tickers...)

By the way, I also rented my backdrop support system - $10 for the weekend from Glazer's in Seattle. Calumet, Samy's in LA, and Gassers in SF also rent.

Hope that helps!

8/30/2001 7:20:16 PM

Amber Mizer

member since: 8/30/2001
  Thanks for the great advice!

Couple of questions... First of all, where can I find someone to rent met his equipment? I've looked online, but it seems most companys rent locally, and I don't believe there are any equipment rentals where I live...

As for the lighting... how would I position the lights and why would I need two? Also, could you recommend a lighting kit?

Backdrops... this may be a stupid question, but where would I hang it? I'm shooting at a preschool and I'm not sure where they're going to have me...

Thank you so much for your input... it was greatly needed and appreciated. I really need to place my equipment order next week so I have time to practice...

Amber

8/31/2001 8:37:05 AM

James Miotke
BetterPhoto Member
BetterPhotoJim.com
Owner, BetterPhoto.com, Inc.
  Hi Amber,

I wish I could get more into it with you but another project is on the front burner.

Those are tough problems that come up each photo shoot. While the rental shops do mostly rent local, I seem to remember Glazer's in Seattle shipping out an order from time to time. It all depends on where you live.

I really like the PhotoGenic lighting kits - great strobes at a good price.

The backdrop is a tough one that only you can scope out. But address it you must if they want that kind of picture. If they are just after a group portrait, the classroom as the background may be fine. But if they want individual portraits, I would set up my backdrop in some corner or just outside the room (it does take up a lot of space...). Even if they say "any old background is fine," I shoot with the backdrop - they always like the results better than a cluttered, distracting background. And you are the expert, after all...

Read my article on Digital Studio Techniques for more. It's geared around the digital but a lot of it will help you with film-based shooting, too.

Cheers,

9/6/2001 1:16:02 AM

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Photography Question 
Tom W. Hauber

member since: 8/17/2001
  15036 .  Trees in Foreground are Black
 
  Tiger head
Tiger head
sunset
© Tom W. Hauber
 
I shot this photo in Missouri at a family reunion. There where several of us taking shots of the great sunset, and I stuck around after everyone else packed up and left. That's when I got this shot. My question concerns the composition of this shot - should I have not included the trees in the foreground? Do they take away from the shot, or do they add to it?

8/25/2001 9:24:19 PM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Tom,
Aren't you glad you stayed around for this one?

Sunsets and sunrises will almost always silhouette the horizon if the sky is properly exposed. This is normal and expected in these types of images. Exceptions can include urban skyscrapers which may be illuminated some by the "afterglow" in the sky (also quite normal).

Including the horizon in a sunrise or sunset anchors the image and gives the viewer a point of reference or orientation (where am I looking). Omitting the horizon should have some very compelling reason to do so (possibly an abstract, but the sky requires something very, very unique about it to stand alone and work). In addition, placing it very low as you have is quite common. The subject is the sky and you only need enough of the horizon to anchor the image across the entire bottom.

BTW, you did an excellent job of getting a level horizon (a common error).

-- John

8/26/2001 1:15:30 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Oops . . . let me clarify the last sentence:
You want a level horizon (which you did well). The common error is not having it perfectly level. Even very slightly tilted is easily noticed in a print, but is harder to detect in the viewfinder.

-- John

8/26/2001 1:21:59 AM

Tom W. Hauber

member since: 8/17/2001
  Hi John,
Thanks for the input, I am slowly learning to be more aware of the surroundings and I must admit, I spent a great deal of time getting the horizon to look level while framing this shot. My tripod is now my favorite piece of equipment!
Tom

8/26/2001 10:12:56 PM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Tom,
Yes!
It is called "seeing" or what Ansel Adams termed "visualizing." Developing the skill of being able to envision what the photograph will look like in your mind is one of the first steps toward embracing the concept of "making" photographs.

If you do not have a leveling bubble on your tripod head you can get one that slides into the camera hot shoe at a major camera store. Look for one that can be used to level the camera whether it's turned horizontal or vertical, and put it into the hot shoe carefully so that it's aligned well. Makes it much easier, although it's still very wise to check the viewfinder. Take care with thinking about composition and setting up your shots, and you'll eventually begin to automatically scan things such as viewfinder edges for alignment with vertical and horizonatal lines.

-- John

8/30/2001 12:41:00 AM

Debbie Groff

member since: 5/25/2001
  I love my tripod as well, there is just one thing, and it may be my imagination, but when setting up my tripod I always look to be sure the bubble is aligned. I have found that not all landscapes or subjects are level to the ground I have my tripod set on. Is this amazing or am I just seeing things?

8/31/2001 2:29:34 PM

Tom W. Hauber

member since: 8/17/2001
  Hi Debbie,
Actually, the trees at the bottom of the photo where running in a diagonal line away from my position, so the camera was not level with the ground (or tree line). That's just a forced perspective. I have found the bubble on my tripod to be pretty much useless, and rarely even glance at it. I will usually frame the shot, then take many shots of the subject, and make a few minor adjustments along the way. I carry a stenographers notebook with me and make notes on just about every shot I take. It drives people crazy, they think I'm nuts, but I have some great photos for my effort, and a stack of notebooks I have used for reference many times.

8/31/2001 3:50:56 PM

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Photography Question 
Pieter J. Roelofse

member since: 8/20/2001
  15037 .  No Shutter Speed Reading for Low Light Photography
Dear Sirs
I want to take landscape pictures in very low light situations. I want my pictures to be crisp and clear (ISO 50 or 100) and correctly exposed. I open my aperture as far as possible, yet, the light is so low that I don't get any reading on shutter speed. What do I do? I would like to try out really long exposures such as 1-4 minutes or even longer. Any advice?
Thanks

8/23/2001 2:44:53 PM

Jeff S. Kennedy

member since: 3/4/2002
  What kind of camera do you have and how low a light are we talking? You could override your ISO and set it higher and then compensate the resulting reading down to your actual ISO. For example load ISO50 film and set your ISO for 400. Take a reading and add 3 stops. Or you could get a low light exposure guide and experiment. Kodak makes such a guide as well as Black Cat.

8/23/2001 8:22:48 PM

Ken Pang

member since: 7/8/2000
  Another thing you could try is to do the math in your head manually, (or on a calculator) and then use the bulb setting on your camera. Being a little off won't make much of a difference.

The thing you have to worry about is camera shake, especially with long lenses, heavy cameras or bad tripods. Even the slightest wind will cause the photo to be then unsharp. I had a 70-200mm f/2.8 set up, which was quite heavy, sitting on a cheap tripod, and almost every photo I took over 1/2 a second was unsharp.

I'm considering investing into a Manfrotto Carbon Fibre Extrodinare.

8/24/2001 1:21:47 AM

Jeff S. Kennedy

member since: 3/4/2002
  One thing I forgot to mention is that you must also correct for the recriprocity failure of the film. Check the spec sheets on the film for recommended filtration and compensation.

8/24/2001 11:33:12 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Ken mentions a Manfrotto tripod. If you are in the U.S., Manfrotto is sold under the Bogen name with a different numbering scheme for the models of tripods and heads. As Ken mentioned, you want a tripod that is *very* sturdy and with a solid head as well as the legs. I've used a Bogen 3221 for night cityscapes. It's heavier than the one Ken mentions and wouldn't recommend it for mountain climbing, but can still be carried fair distances (day hikes). Manfrotto's web site (not the Bogen one in the U.S.) has a conversion table that shows the Manfrotto and Bogen model numbers together.

For very long exposures using chromes, Fuji's Provia 100F (RDP III) has one of the best I've found; it's good to 128 seconds without any exposure compensation or color correction. Fuji's Astia 100 (RAP) is good up to 32 seconds, which is still very long compared to the other chromes. By comparison, Provia 400 is good up to 4 seconds which is more typical.

-- John

8/25/2001 2:43:42 PM

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Photography Question 
Liz M. Kenny

member since: 8/1/2001
  15038 .  Sepia Coloring in Photoshop 6
I am looking for advice on the best way to produce the sepia color effect in Photoshop 6 for both b/w and color photos?

8/23/2001 12:14:59 AM

doug Nelson
DougNelsonPhoto.com

member since: 6/14/2001
  Change the Image Mode of a B&W to RGB Color. Go to image-Adjust-Hue/Saturation. Check the colorize box, move the Hue slider to about 40, the saturation to 25, and the Lightness in the middle, or to your liking. You could use this adjustment to completely desaturate your color image, then set as above. As is everything else in PS, there are 25 plus ways to do anything.

8/26/2001 12:41:17 PM

Jarrod 

member since: 10/2/2001
  Change the Image Mode to Grayscale to remove any possible conflicting colors. Then, change the Image Mode to RGB Color. Next, create a new layer (Layer-->New-->New Layer). Use the color picker to pick a dark orange (I use R: 238, G: 130, B: 0) and fill the layer with that color. Finally, change the opacity of the layer until the desired effect is achieved.

10/2/2001 4:59:10 PM

Damian P. Gadal
BetterPhoto Member

member since: 4/22/2002
 
 
  4 Effect
4 Effect
Playing with Duotones...
 
 
The way I do this is to change the Image Mode to Grayscale, then Image Mode Duotone, mix the image colours to my liking, then change the Image Mode back to RGB (in order to save the image as a JPG) - all done... Typically I save the image with a new name in order to revert back to the first image to play with if I'm seeking a series of different effects...

hth

9/29/2002 10:47:27 PM

Damian P. Gadal
BetterPhoto Member

member since: 4/22/2002
  Forgot to add: If you're trying to make an image look old, you can also add dust and scratch effects, as well as blur the image slightly.

hth

9/29/2002 10:56:07 PM

Paul 

member since: 12/29/2002
  Change the image mode of a B& W to RGB. Then, in Color Balance, highlights, slide to +25 Cyan/Red, -5 Magenta/Green, and -10 Yellow/Blue. You may prefer some other mix, but I like this. If you do this in the midtones, the effect is softer but flatter.

12/29/2002 8:00:33 AM

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Photography Question 
Bryan P. Sullo

member since: 8/21/2001
  15039 .  Slide or Print Film for Publication
As an amateur/beginning photographer, this may seem a little ambitious, but eventually I would like to publish a book of photographs of particular New England landmarks. Seeing as it will take me years to amass a large enough collection to publish, I would like to know before I get started and have to redo my work, what kind of film I should use: slides or negatives? Or does it matter?

Will a publisher require a particular medium, or can I just use what I feel comfortable with?

8/22/2001 4:32:54 PM

Jeff S. Kennedy

member since: 3/4/2002
  It is easier for publishers to use transparencies (slides). With advancements in digital imaging and scanning it may be that in years to come any medium will work but for now slides are the standard and preferred. That's not to say negs won't work (or even prints) but slides are still the way to go.

8/22/2001 5:53:15 PM

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Photography Question 
Martha Meier

member since: 9/8/2000
  15040 .  Best Film Choice; Speed/Brand
I am planning a trip to Peru. I will be going into the Amazon and may need to take action shots, sometimes at night or early morning. I will also be in bright sunlight at places like Machu Picchu and Lake Titicaca. What film speed and brand do you recommend for these settings?

8/20/2001 9:46:15 PM

Ken Pang

member since: 7/8/2000
  I read that the new series of Fuji Press film is quite good. Both the 800 and 1600. I was very dissapointed with Fuji Press 800 about a year ago, but the magazine said there was "marked improvement".

I do know that NGH II 800 is also very good.

In the bright day light, you may have to stop down to get a realistic shutter speed. However, this more than makes up for the flexibility of being able to shoot early morning/night, without long exposures.

8/24/2001 1:40:34 AM

Jeff S. Kennedy

member since: 3/4/2002
  I see these questions all the time. My answer (and many other's) is the same. Use what you would normally use. A special trip like one to Peru is no time to be trying some new film that you aren't familiar with. Besides that you haven't told us what you are going to do with the pictures and what kind of equipment you will be using. How big are you planning on enlarging? How fast are your lenses? Will you be using a tripod? Will you have time before the trip to get accustomed to a new film?

8/24/2001 11:37:46 AM

Martha Meier

member since: 9/8/2000
  Thank you for your responses. I realized after I submitted the question that I hadn't given enough information on my camera. I only have a 35mm camera with no special lens features other than a manual telephoto lens. I was told to just use 100 speed as it would give me better clarity with enlargements (10x12 or 11x14). I was also told that I could shoot pictures in the "night mode", but that once I used that setting I would have to use that setting for the entire roll. Does that make sense?

8/24/2001 7:12:47 PM

Jeff S. Kennedy

member since: 3/4/2002
  For most situations 100 or 200 speed film is more than more than sufficient and will provide greater image quality than faster films. I am not familiar with "night mode" but the only time you would have to worry about shooting a whole roll a certain way was if you were pushing the film. I have never heard of a camera that has an auto mode which pushes the film for you. If you do push the film you must tell the lab so they can adjust the development.

8/24/2001 8:47:27 PM

Martha Meier

member since: 9/8/2000
  Jeff - What does "pushing the film" mean exactly?

8/24/2001 8:55:18 PM

Ken Pang

member since: 7/8/2000
  I agree with Jeff that you shouldn't try a new film in a "once off" trip like Peru, but I strongly disagree with Jeff's evaluation that 100 or 200 speed will be sufficient.

Martha's mentioned she'll be using film in low light, action shots on a telephoto lens. Unless that lens is ridiculously bright, I doubt she'll be able to get the shutter speeds she needs for the action shots - if she can even hand hold the camera under those conditions.

Pushing film means that if you know the film has not received enough light, either intentional over rating of the film, or unintentional under exposure, you leave the film in the developing chemicals longer. The image then becomes more visible, but also more grainy and contrasty.

Some people use it artistically, more people use it to recover images when they didn't have fast enough film to cover the situation they wanted.

8/24/2001 9:01:22 PM

Jeff S. Kennedy

member since: 3/4/2002
  Pushing a film means to rate it at a higher ISO than it normally is. For example, say you are out shooting and all you have is ISO200 film but you need to shoot in low light and can't use a flash. You can push the film to 400 and shoot the roll that way. Once the roll is done you take it to your lab and tell them it needs to be push processed for ISO400. It's good in a pinch but the results are generally not as good as they would have been had you used actual 400 speed film.

8/24/2001 9:05:21 PM

Martha Meier

member since: 9/8/2000
  Thank you, now I understand what it means to "push" the film. Just so you know, I have a Vivitar TEC155 with auto focus, zoom lens 35-70mm f3.5-6.7
I have 3 modes from which to choose: auto (camera selects proper exposure,automatic flash if needed),daylight (feature in which you can "flash fill" a subject when the sun is behind the subject or when you are shooting in the shade), and non-flash(lets you take pictures without the automatic flash feature; useful for evening scenes, shooting in museums which do not allow flash, or available light situations in which you want to preserve a more natural lighting effect.)

8/24/2001 9:40:13 PM

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