I believe the ultra-wides require a 'thin' filter ring to avoid vignetting. One solution, if the 5000 has it in the menu setup like my D70S, is 'vivid,' which gives a polarizer effect. Other solution is in post-processing with PSE or PS.

are you selling these lenses? What about the 200, or the70-180?

Congrats on new iMac, I too just got mine-upgraded to 16GB Ram and it is fast! I also am looking at editing/archival programs to share with other volunteer photographers in a community-service organization. This would be a software on a pc platform however. Looking at Lightroom 4, but thankful for UHH members input.

Excellent idea! When you are done you might check with local colleges, or even a local gallery that might be willing to display your results. Great idea, I may even borrow on that idea myself-here in Kansas. Thanks for sharing.

I am more interested on how you mount your digital camera to your view camera? I haven't done any research into what is available, and how well does it work. I would love to hear what you've found and how well it works for you.

My suggestion is not to shoot from a canoe-dangerous for the equipment! Hope you had protection for the gear, but on the plus side you get angles you wouldn't from the shore.

I've always liked the quote (don't know who to attribute it to though) "Know the rules, so you can break them." Great photos can often be viewed as the ones nobody else has shot.

Very informative list, thank you for posting. I haven't been on HH long--have you been analyzing each of the twelve, (re:#3)?

I almost always use hoods to reduce/prevent flare, sometimes even positioning myself next to building, tree, fence-whatever I can use to 'sanitize' the light as much as I can. Cinematographers use deep bellows/matt boxes with their lenses, probably because of their critical shallow depth of field shots. Unless you are trying to convey an feeling-like heat in Death Valley-why would you want lens flare?

Macs are almost the industry standard for video and photo pros. Final Cut Pro, an Apple editing platform has also been the industry favorite, although the jury is still debating their latest transformation. iMovie, included with most computer packages may be enough for your needs.The key is to get the most memory you can possibly get as HD video sucks it up. iMac's-I think-merit consideration.

The thing about any stands with hot lights are that they be air-cushioned, or you take a strip of gaffer tape (not duct tape that leaves nasty residue) to secure extended sections. This is so as not to break bulbs when the section collapses. This can become expensive. Also, sandbag each light stand to prevent knowing them over--breaking something or injuring someone. Think quality, for yourself and a higher resale value when you do get rid of them.

It is not unusual for these crews to spend a half day setting up lighting. I've been on a '48 Hours' set and it is a lighting directors dream-pulling out all the subtle tricks to create interest. Color and focus is critical, they keep the lamps and books far in the background so DOF keeps them soft and non-competing. Notice how backgrounds tend to be 'warm' colors? Dress is important for the talent too--solid pastels are recommended, not whites, reds, or fine print fabrics. These crews use Chimeras with eggcrates to control DOF. The goal of good lighting is to make it look 'not lit,' making you think it is natural.

What kind of a DLSR do you have? The Nikon 5100 has video capability, has a mic input, and produces a HD 1080 video. I know this is a new realm, but it presents excellent options. If you go the camcorder route- I would make sure it has a mic input. Good lighting and camera handling are always critical.