I'm guessing he's reading the "Wanted: Good Owners" ads? ;-)

Cute!

Three possibilities come to mind, and I haven't a clue whether they'd work. It'll depend as well on the part that is scratched--is it plastic or coated metal?

The first is black rubber cement, applied thinly, allowed to fully dry. My guts tell me this will rub off, but if that's true than you don't have to worry if it doesn't work well--it'll come off! :-D
The second would be black modeler's enamel paint or similar.
The third would be a carefully applied dose (because it's thick stuff) of that dip-it plastic goop used to cover tools' handles.

Cheers!

Very pretty, yet lonely (or perhaps, just alone)... ;-)

I really like your stark contrast, while keeping the nice complementary tones in the background.

Another old hippy...

I have the BenQ SW271. Like it a lot, middle of the road in price, good size, nice controls, etc.

I currently am using darktable (and I only recently got seriously into doing this as well) followed by Affinity, which I got for free because of an X-Rite purchase. As I spend more time with darktable I use Affinity more for printing only.

darktable actually has nice online resources for folks to use as well as a number of technique videos made by others using it.

It does take time, but I'm patient.

Well, it certainly explains the Timex on his wrist.

I'm using the Flashpoint FP-RRC with a D750. Haven't tried to do anything fancy (timed shots, etc.), but so far no complaints, no problems.

I'd second an approach from the opposite direction. While I like a macro like many others, I also am always looking for an environment where the 16mm end of my 16-35 can be used with a pretty specimen or grouping in your face at several inches, surrounded by the glory of the garden. I need to play with settings to allow the right balance of underexposure vs. good (minimal in this case) depth of field, but it lends itself to nice images...

Hmm. I thought he was illustrating exactly the power of being able to post-process an image, even a poor one. It addresses in part the OP's question. The result is one that someone Will buy at a store because they like the intense colors and distinct 3D-ish nature of the parts working together. That's art at work.

Since I wasn't with him at the time I don't know what led to the particular RAW exposure, though I'll hazard a guess that a UV filter could've helped. I'm very much an amateur and am discovering a wonderful number of ways to do things wrong. It's fun!

Our brains work in fascinating ways. I see cool things through my lens. The camera records for me what was really there. Changes afterwards help me relive the original experience. ;-)

I have a Feisol CT-3342 with a Kirk BH-3 ball head. Haven't used them a whole lot yet (Christmas presents, and I haven't retired yet...) but like how they work.

Tripod is quite stiff and comes with a nice bag, etc. No complaints.

My answer is to pick up a Nikon 1 J2 and its associated housing (the WP-N1) on Ebay or similar. Grab an extra O-ring and battery. Learn how to use the preset WB (use a writing slate for your white), and you're off!

(The last one below had not had the WB corrected. Post processing took care of that. This was the original.)

Have fun (with whatever your answer is!) !!

Bonaire with a filter


Lonesome in Guanaja


Nurse shark, Guanaja

Perhaps trying something a bit slower than a car would help. I suggest getting a friend/kid/partner to run past your setup at an appropriate distance so you can try various things that others may recommend.

I don't know if you will get exactly what you want. Is there provision for using a flash here? Would having that fire at the end of having the shutter open give you more of what you want?

Be sure to have some goodies for the helper!!

I currently use a ball head, but have limited experience so far with it. What I have had so far, I like. Once one gets the friction set for their rig, it is pretty easy to make whatever kind of motion you wish working simply with the camera's body itself. I find the turning and tilting become simply extensions of the legs(s) and ball working together, responding to the push of my hands. Since my hands are constantly on the body/lens I have little concern for things slipping.

In other words, you figure out the system just as you will have to with a tilt/pan setup. It's not hard, just different.

Thanks to all of you for the replies! I look forward to being on both sides of topics here...

(Guess what I'm saying is exactly what was being demo'd with the cat... sorry! But I do believe that the 50mm lens, with that understanding, is a great choice!)