Not sure about canon, but Nikon had a neat little gadget for you polarizer that was a special filter drawer, that held the CPL and it had a knob on the outside of the drawer that let you rotate it. Of course Nikon had some competition to offer in this area too. http://nikon.com/about/feelnikon/recollections/r16_e/index.htm

I would have to go digging through manuals to see if the video format is different between the D90 and the D7100. I did notice with my D5300 i needed to use a different video player in windows and on my android tablet. For windows i think there is an update that can be applied to windows media player. I am not a big fan of that, so i use another product altogether VideoLAN VLC player. http://www.videolan.org/index.html

I have found this to be pretty typical on Nikon cameras if they have been used much at all. The pin fit in the mounting flange on the camera is not precise, and really can't be terribly precise since that pin needs to be able to move freely up and down in the hole. back in the olden days when just about every Nikon had a stainless steel lens mounting flange, this was less of an issue. now they seem to be brass or aluminum on the newer cameras. Lots of lenses seem to have softer brass in the bayonet, or have plastic mounting flanges and this too does not respond well to the quick turn to engage the bayonet. It sounds cool and is reassuring to hear that click, but this action is beating up the mount. It's a camera, not an M-16, not every click needs to be loud and clear. The flange on the camera and the holes in the flange on the lens tend to get deformed into an oval and that accounts for that radial slop in the connection. it's unnerving, but does no real harm since almost all the lenses use electronic settings and not an exact position to read the aperture setting from the lens.

Comparisons always have a great deal of subjective input. I tend to agree on the feel of the D7100. I spent so long with a D200 i was really disappointed that the replacement for it is still 5 years old. (D300s) and i was not going to drop $1700 on a camera that was not in the current generation for chipset and sensor. The 7100 is a fine camera and for those who like it, awesome, go use it. The fit was off just enough for me i elected to save $350, and get a D5300. If it's not going to feel right anyway, I might as well go all the way and ended up with what amounts to Nikon's latest generation of chipset and sensor, it weighs much less than my D200 does and since most of my lenses are modern AF-S anyway, I have lost nothing. I don't care about potential. that is the reviewer's job to point out all the cool things you CAN do with a camera, i worry about what i WILL do with the one i buy so most of the added features of the D7100 are bullet points on a list, not things i need.

If you are not using a FF sensor camera you might not even notice the distortions. One of the positive aspects of crop sensor cameras is that a lot of the older lenses, if your system can still use them, that many of us wrote off for vacation pics and random stuff that was not for sale or publication, are perfectly good now since the crop sensor cameras are only using the central portion of the glass. I have an ancient East-German made 300mm f4 lens for medium format Pentacon Six. Single coated on about half the elements, something like 17 blades in the aperture and it weighs too much. with a simple adapter this lens which was OK for medium format, is a pretty remarkable lens for my crop sensor digital cameras now. I need to drag that thing out and take some moon picture with it one of these days. bad part of this lens is that if you are shooting in daylight, that poor coating on the glass earns some pretty spectacular ghosting and flare.

Those extra parts and screws were used to hold things together in shipping right?

Sort of. you sign up and then get an invitation e-mail. links in this e-mail take you to a login screen where you sign in and you have access to a web portal where you can check the status of your account and there is a tool you can download that is essentially an update and license manager, then you can add whatever software you are entitled to from there as well as the http://creative.adobe.com web page.

Really nice work. I'm not sure you need us at all, you just need to get out more.

I have a few. One of the weirdest was at a wedding I was shooting. For a change one of our other partners was the lead photographer and he had the 'blad' and i was carrying my Contax RTSIII. After the ceremony the guests were dismissed to the reception and we did all the usual arranged shots while everyone was still dressed up. We finished up while the bride got bustled and the wedding party moved to the reception. We had used all the magazines for the blad so i was helping reload those and get them ready for the cake-cutting and reception, we moved out and i was rewinding my camera on the walk and got stopped by one of the Grandparents asking questions. That little delay cost us a shot to remember. I was dropping the fresh roll of Ektachrome in the RTS as i rounded the corner into the event hall and the bride's father was spanking her. Neither of our cameras were ready. i don't think any of the guests had a camera at the time either. It seems the wedding day was also the bride's birthday and after some teasing daddy decided to give her her last birthday spanking. I am pretty sure there was some alcohol involved in that decision, but alas, there is no evidence.

that kind of aberration as consistent as it is, makes me wonder if one lens element has fungus or some kind of residue on it. getting caught in the rain, or carrying a cold camera around with the lens in your warm hand can get condensation inside the lens. also if that lens was in a household with someone that smoked or used an e-cig, there can be residue that finds it's way into the innards of the lens. a separation between elements in a lens group can cause significant flare too. you can clean the front and rear lens elements easy enough but if an internal element gets dirty it has to go to the shop. I think i recall that lens from the EOS film days and it is a decent lens, but it was still a kit lens in it's day. Useful, but not spectacular.

So, about the flare. Crud on lenses, like crud on the windshield of your car can cause an overall reduction in contrast and sharpness. whenever incident light falls on the offending surface, then the flare gets worse. like the car windshield, you may drive for miles and not notice how gross the glass is, until you meet another car with their bright lights on and that dust on the outside or fog on the inside acts like a diffuser and now it is not just bright headlights, but a bright windshield illuminating the entire car interior.

Indoors, you are taking images in lower light, likely using the flash on the camera so you are creating the light for much of the exposure and there is very little incident light falling directly on the lens. when you get outdoors, the bright sky, or any sunlight falling directly on the glass in the lens serves to exaggerate this internal reflective layer. if you look into the lens while it is on the camera and wide open, shine a bright flashlight into the lens and you will probably find one element in it that seems to trap light while the others are perfectly clear. compare it to one of your other lenses that seems fine and see if there is a difference.

I am often wrong, but this is probably worth looking at because if true, it's a simple explanation. sadly the fix means a trip to the shop.

I use this bodypod idea when I am at airshows. I use a monopod only long enough to fit the foot in a pocket attached to an old military web belt, and the shoulder support is modern military LBE straps. Since you are shooting almost straight up most of the time it is almost impossible to get support for a big tele lens long enough to get under it.

For your face brace idea, I have a suggestion. If you or someone you know uses a C-PAP pump to sleep with, those face masks come with all kinds of braces and fixtures with form-fitting gel and silicone rubber pads. parts of the forehead brace section of one of the "mini" masks might be a comfy adjustment to your design. since most of them are polycarbonate plastic they are pretty tough, and if you need to make a better spot to attach it to your bracket, use a little steel wool or something to burnish the surface, and then try epoxy putty, like that gas tank patching stuff, and attach to the cpap frame and you can embed t-nuts or later drill a hole and push a wellnut into that.

Since these things get thrown away every 6 months to a year, some of your friends might have a couple laying around they keep for spares, or you might find a connection at a nursing home or medical supply company that could get a few examples to play with.

just an example c-pap mask: http://www.cpap.com/productpage/respironics-comfortfusion-nasal-cpap-mask-with-headgear-fitpack.html

I may have missed it here, my apologies if it has already been mentioned. The D5300 has a reasonably good wireless app for android or iPad. I use my Asus memo pad 10" table to control my D5300 and can download images on the fly. so you have it in two places very quickly and with social media you can upload directly from the tablet to the cloud if you have a cellular aircard, or a mobile hotspot like the "jetpack." This feature includes live view, so you can see on the tablet what you are about to shoot. Teathering with camera control pro would offer more features and perhaps be faster, but this comes with a free "gee whiz" factor because many of your clients will not have seen this sort of capability before. you can add an overhead video grip to the camera and that handle will also serve to help you lug around the camera still attached to a light tripod. so it is even easier to lug the whole kit around the property and move from room to room with minimal interruption from fiddling with gear.

For your depth of field, smaller apertures and smaller sensors work to your advantage. F2.8 and a full frame sensor seem to both be counter to the stated need. Much of my past work was products for advertising and architecture for brochures and corporate reports. Those were film days, and we used 4x5 inch frame view cameras for some jobs because of the ability to shift lens axis to correct for perspective distortions. Shift lenses for SLR cameras are expensive and the utility is somewhat limited because it is rare to find one that is truly a wide angle, and the direction and amount of shift is often limited.

In that bower. Samyang, Rokinon family they have a 10mm that is not bad and is intended to be a rectilinear lens for cropped sensor cameras, and for full frame they have a 14mm that seems to be getting some good press. There is an 8mm, but that one is a fisheye lens and has lots of distortion that may be undesirable.

Since almost none of my modern G or AFS lenses will work correctly with my N90s film camera, I have to use my much older lenses. That particular camera was perhaps a little too sensitive. Fluorescent lighting and television screens would visibly make the meter jump all over the place. Later bodies included a dampening feature added to the meter so it would ignore some of the technology we seem to be surrounded by now. While industry and photographers strive for finer resolution, faster response, and better sensitivity, it *is* possible to go too far.

A very nice restoration. I have its little brother from the 1930's I have tweaked to use as a pinhole camera. An Ansco "Readyset Rainbow." It was made for 620 rollfilm, so have to re-roll 120 onto the 620 spools.

In an earlier post, I added a link to a smallish protractor that would do the same job you are doing with the string. For the $10 that cost, it might be handier. they are plastic of course. but good enough I used it on my Cambo for setup and it also got used a lot to transfer angles for setting up radio controlled cars and helicopters. Starrett makes some fancy machinist versions, but the plastic one seems good enough and I don't cry if I drop it.

This is mostly for Mogul:

On older cameras that lack scales, a gadget like this has been really helpful to me in the past. http://www.homedepot.com/p/Empire-Polycast-Magnetic-Protractor-36/100165800

Wooden field cameras are difficult to lock in measurements because the wood is inherently unstable and flexible. in the name of weight savings, a lot of the brackets are light metal as well and the act of tightening them moves the camera frame as well. lots of people have enough issue with this that to put them in a tripod, they have to use large metal tripod plates so the bed of the camera is well supported. I have seen folks with really big field cameras use a "plane table" that would have been built originally for a land surveyor to directly plot readings from an alidade.