Good case, but how do we get both of them in court at the same time?

Look at a Manfrotto 222/ Bogen 3625. I don't belive they are made any more, but there are several on ebay. It is a pistol grip on top of a ball head. Very effective on monopods, just tighten your grip and the ball head will let loose, release your grip and the ball head locks in place. I use it with a Nikkor 200-500, it is sturdy enough, don't how well it would work with heaver set ups.

If you can find one, the manfro #222 is great ball head for monopods. I wouldn't use my monopod any other way.

See the link ejones0310 posted. Then when your left hand (elbow down) supports the camera, have the camera resting on the palm of your hand with the thumb to the left and the fingers to the right, the palm is on the bottom. It is the solid support of the arm through the palm that steadies the camera. People frequently have the palm to the left with the thumb below the lens and the fingers on top. The thumb provides little if any support.

572.97

I have been reading UHH now for a while and I don’t recall seeing any posts on perspective. Perspective is quite often not an issue, but it is sometime the critical issue. As an extreme example (to really show the point) I recall a picture in one of the photo magazines back in the 60’s of a bikini clad woman silhouetted in the sun. Her height fit perfectly into the disc of the sun. For this to happen the camera needed to be approximately 630 feet from the woman. (The sun subtends an angle of just over 0.5 degree, for a 5.5 foot tall object to subtend an angle of 0.5 degree the distance is 630.26 feet.)

As food for thought:

1)The format of the camera doesn’t matter, 4x5 view camera or cell phone it needs to be 630 feet back.

2) The focal length of the lens doesn’t matter for the relationship of the sun to the woman.
Shoot the picture with a wide angle the silhouette is same, however with the wide angle it’s just a spot in the center of the picture, probably
not useable, bit it’s there.

3) You now need to select the correct focal length to appropriately fill the frame.

4) If perspective is important, you can’t “zoom with your feet” you set perspective with your feet, you zoom with focal length.

5) It will take a big chunk of telephoto for this picture. With full frame (24x36 mm) a 1000 mm lens covers about 2.5 degrees, and since the
subject is 0.5 degrees you might want even more telephoto, or you just use your longest lens and crop.

6) There are many examples of where perspective is important (but not as extreme as in the example).

7) Portraits are an example, when you get to close you get the large bulbus nose (people think of this as wide angle distortion, but it’s not, it’s
perspective. To get the whole face into the frame a wide angle lens was needed.)

I throw this out as a starting point for any comments on perspective.

Sure is, weekends start on Monday.

MY dad used to tell me "Son, learn to drink your coffee black and your whiskey with water, it makes life a lot eaiser". He was right.

“Sunny 16” is not a rule or an approximation, it is the original definition of ASA (now called ISO). ASA was defined as the reciprocal of the shutter speed that at f/16 yielded the correct exposure on a bright sunny day. I think the original definition specified sea level, latitude, time-of-day and perhaps day of the year (solstice or equinox.) But it is true BY DEFINITION.

Back in the 70's NOBODY had them, no such thing as autofocus (at least not in the early and mid 70s, might have been in the very late 70s).

Could they have been changing the viewing screen. Putting film under the prism doesn’t seem reasonable, but changing the viewing screen does. Back in my Nikon F days, I used to use several different screens depending on what I was shooting.

Develop the film yourself. You don't need a darkroom, just load the film onto the reel and put it in the tank in a changing bag, the rest is done in room light. Once developed, scan the negatives and go from there.

Use your viewfinder as a “picture previewer” not an ”aiming device.” For example: Notice the tree growing out of Uncle Harry’s head in the viewfinder rather than later when looking at the picture.

I am like a lot of you, retired. Have been a serious hobbyist photographer sing the early 60s. I have been reading UHH for some time now and have great respect for several of you regulars and not so much for a few others.
I decided that I needed to join UHH so I could chime in on rmalarz’s excellent series of posts on Exposure and How It Works - A Beginner's Guide. The water flow model is right on and should give the beginner a good “feel” of what is going on.
It is however missing one piece. The flow of water through the opening is a function of the pressure of the water the valve is holding back. The higher the pressure, more water will flow through the aperture in a given time. If you have an opening and time that just fill the glass, it won’t be the same if the water pressure changes.
The water pressure is the equivalent of how much light is on the subject. The pressure gauge on the water supply is equivalent to the photographer’s light meter. The shutter speed and aperture vary based on the brightness (pressure) of the subject.
Now for some comments not based on rmalarz’s posts.
It’s a funny triangle that has four sides. The exposure triangle looks at the three controls in the camera; aperture, shutter speed, and ISO. The fourth side and every bit a significant is the amount of light on the subject. Sometime the photographer can control this, sometimes not.
I’ve always like to think of it as 1) How much light do we have (light meter reading), 2) How much light do we need (ISO), 3) what combination of shutter speed and aperture will give the correct exposure (and have the best side effects, motion stopping and DOF) The old fashion light meters made this easy since when you dialed in the ISO and Light reading they showed all of shutter speed, f stop combinations that worked. You could just look and see them, you didn’t need to do the mental calculations. Once you had taken a few thousand pictures the calculation became second nature, but seeing it really helped the novices. With meters built in the cameras you only see what is correct, not as helpful for learning.
If you don’t like the options, change something (put more or less light on the subject, change the ISO). Don’t forget the fourth side of the triangle, use a flash, use a reflector, move the subject closer to the window, get the light source behind you,