thank you for actually what I was trying to say with exception to the 1/1000 sec. you mentioned. I shoot usually lower than the speed especially when the stadium lights come on initially. My Sigma 100 to 400 usually works much faster auto focus than my Nikon 100 to 300.

As far as I know they are all monitors these days as the inputs in the rear are set up for either type of input either computer or DVD or digital TV tuner etc. Only time it matters is if your input tells you on screen it is an improper or wrong view screen. My Security DV recorders both tell me if I have hooked them into a screen that will not display properly and then it won't display other than the message about it not displaying. I am sure the curvature of the screen will be improper if someone wants to adjust for camera distortion. I have seen the curved monitors and hated the fact while looking at them when you walked away the image became distorted and lost. My audio/video degree editing was always done with flat monitors. My Photo degree was done using enlargers. Since photographs are flat I would think the best display to edit would be a flat screen. No one who has shots in catalogs has ever used those camera distortion routines in Photoshop these days. Those catalog shots used to be done using 4x5 view cameras and my training on them was to correct in camera not in post.

I never tried the BBF method. Probably because it required me to reset a button to do that and that meant one more button to use before I pulled the trigger. I have read about it and just know in My D7200's I will reset the focus by repressing the shutter occasionally until I feel the lock on occurs with focus in AF-C. I usually have more than 9 focus points. As for light I can usually get an f8 and with the Sigma 100 to 400mm the bottom is f5.6. When the stadium lights finally come fully on f8 usually works with either ISO 12800 to ISO 25600

next time put a snoot on the flashlight and it will allow you more control on the light as it will narrow the beam of light

Quite a messy job to work on a printer. I had an Epson once that finally on screen said it had to be returned for an overhaul due to it's age. It was quite old and was still working until I got the screen message telling me is was to old to work any longer. I laughed over the message and just replaced it. Funny how we get used to our gear and just want it to last forever. I think that feeling comes from film days when a great camera if sent for a yearly cleaning and repair when necessary was all we needed. Now these days a yearly cleaning sometimes seems not to be the case with cameras and out automobiles. Too many digital parts that seem to fail when you need them the most while repairs cost a fortune and buying new is usually cheaper in the long run for cars and cameras and printers.

Nice shots but have you tried painting with that flashlight during one of your timed shots? I have done the painting with light for quite a few shots in my early days of photography. You could also use a flash gun unattached from the camera as a light source to fill in areas that have no light in them.

I Love the shot but I think using the blue from the water until it reaches the top of the shot could enhance the shot. To me the color as it moves up to the top of the shot should be blue and not the color you have now that fades into the blue. Nice shot either way.

Sure is you just have to make a few adjustments if need be.

Why not just name the file in windows and then edit it saving it under it's new name when done editing. I usually find the shot I want and then name it using a part of the DSC name so I can reference back to the DSC name and then open in Adobe Photoshop do my editing and if I want I rename it then with a letter like A or AB to show it was an edit shot from the original. If light room cannot do it I think doing it before it gets into LR is easiest solve to a simple problem.

I set to neutral so that the studio can enhance if it wants to. The other camera settings such as vivid seem to me to be just settings for those who will never use Adobe or any other digital photo program to edit shots with.

If you keep your finger on the button the camera may not refocus on the second or third shot so you will have all shots out of focus. The camera focuses when you are holding the button down half way and if set to AFC it will follow focus and refocus if you release the button to half way and then shoot again. Sometimes you may need to refocus during a shot that is moving away from you. Yes keep the VR on especially if you wan't to reduce vibrations from handholding and such. A monopod helps too.

I shoot sports regularly but I think the 70 to 200mm is a bit like swatting flies with a stick because of it's limited focal length only going to 200mm. I bought a 100 to 300mm Sigma to beat that short lens option. Since my D7200 can go up to ISO 25,000 I find the cheaper Sigma works great especially with VR added to it. My Sigma was bout at B&H and is supposed to full frame so I am supposed to be getting a little extra length past the 400mm range. I know my lens bottoms at around F5.6, I think because I do not have it in front of me, but since the D7200 goes up in ISO as high as it does I can still use the Sigma lens when night fall hits and the stadium light go on. I do year book shots with it a lot. I would advise to go to at least 400mm since the parents I meet and talk to have grown to dislike the short range of the 70 to 200. Sigma also has a 70 to 300mm lens with a f4.5 to f5.6 I have also used.

Print head clogging is why I turned to Canon from Epson. My canon is also used to print a few color and B&W documents from time to time to avoid the clogging issues.

Meter watching is what I did to solve this problem before I asked about the problem. I was just wondering if anyone knew of settings in camera beside histogram and meter that could make the view screen more accurate. Apparently there aren't any settings to fine tune the camera view screen. I guess Nikon and Kodak did not think of that possible need. In video you calibrate your monitor before you start shooting any video at all. Your monitor becomes your final print sort of. Your video then plays well on most all video screens afterwards. There are standard setting in all video monitors meant for video as well as settings in video cameras that allow you to calibrate the monitors as well as controls on the monitors for calibration of not only color but brightness and contrast.

Now that sounds like a fun trip