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Posts for: Drmgoblue
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May 14, 2012 16:18:01   #
MtnMan wrote:
Huh. Most suggest fixing aperture and adjusting shutter speed because by changing the f-stop the changing DOF induces blur.

Can you share some examples?

nikon_jon wrote:
In manual mode, just leave the shutter speed alone and manually dial the aperture to the underage and overage you want. Of course, you have to be extremely careful not move the camera when you make the changes. And you need a 'real tripod' and not one of those little wimpy toys they sometimes send you when you buy a camera package deal.
Huh. Most suggest fixing aperture and adjusting sh... (show quote)


I agree with MtnMan. I was bought to adjust exposure by adjusting shutter speed with fixed aperture. Note:
http://thehdrimage.com/learn-hdr/
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May 14, 2012 15:20:07   #
nikon_jon wrote:
deanna_hg wrote:
ziggykor wrote:
If you're able to include the full dynamic range of the scene being photographed using three bracketed exposures, it would be sufficient. Conversely, if the scene has a dynamic range that requires more, then more need to be made.

The best way to know is by reviewing the histogram to determine if highlights or shadows are still being clipped. Then continue exposing at + or - one stop to eliminate the clipping.


My D90 will bracket up to 3 but I'm not sure how to go about doing more than that. Can you tell me how to go about it please?
quote=ziggykor If you're able to include the full... (show quote)


I use manual mode and a tripod, but of course, the tripod is a given. In manual mode, just leave the shutter speed alone and manually dial the aperture to the underage and overage you want. Of course, you have to be extremely careful not move the camera when you make the changes. And you need a 'real tripod' and not one of those little wimpy toys they sometimes send you when you buy a camera package deal.
quote=deanna_hg quote=ziggykor If you're able to... (show quote)


I'm confused. when doing manual bracketingI was taught to use Aperture Priority or Manual modes and adjust exposure by adjusting shutter speeds to ensure that DOF did not change across exposures. Agree that a solid tripod is critical and I like to use a cable or other remote release. :?:
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May 14, 2012 14:47:04   #
unyang wrote:
Thank you, all. I have a Manfrotto ball head and a 3-way head. They cannot support the weight of my camera with 180 mm macro lens. I need something which could support the heavy equipment.

Thank you again.


Look at the Wimberley Head II (gimbal head). Not cheap but as smooth as butter and easily handles my 150-500mm and 150mm Macro OS Sigma lenses, both of which are quite hefty. I have it mounted on a Manfrotto 055CX3 carbon fiber tripod. The Wimberley uses the Arca Swiss quick detachment system that is extremely strong and stable, although not light. :-D
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May 14, 2012 14:26:55   #
Not even close! Other than the articulating sensor the 7000 wins in every dimension. Great low light capability is a huge positive. :lol:
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Apr 30, 2012 14:47:37   #
I have a D90 and love it. I think it is adequate for the majority of low light situations. Faster lenses would help if you don't mind sacrificing DOF. With the high ISO adjustment in the menu I have good pictures up to 1200 ISO although I start getting noticeable noise in enlargements. However check out the new D7000. Several pros I know compare its low light capabilities to those of pro cameras costing 4 times as much, and superior to the D300 semi-pro body. I saw some amazingly clear low light shots at 3200 ISO. There are several good reviews online.
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Apr 14, 2012 13:23:33   #
Some other thoughts. First a polarizing filter works best if you are 90 degrees from the light source ( e.g. Usually the sun) . Second this filter can be used to increase definition on foggy days. Finally, when you think of reflective surfaces remember that it can have a dramatic effect on fall leaf colors.
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Mar 25, 2012 17:34:47   #
senad55verizon.net wrote:
"... this phenomenon is precisely the argument that some use to justify HDR with scenes that have both bright spots and deep shadows, an effort to make the resulting image more closely resemble what the naked eye can see."

It's actually an effort to bring the image to a range that the monitor can display and, through that, what the eye can see.

The monitor is the range limiter, not the eye. Think about it.


Good point. I should have added "...within the limitations of the monitor and/or printer."
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Mar 25, 2012 16:27:56   #
designpro wrote:
Understanding Dynamic Range...

One of the most incredible things about your eyes is the range of light they can see in.

When your eyes are completely adjusted to the dark they can detect a single photon of light. You can take those same set of eyes into bright day light and completely focus on details on brightly lit objects.

Your eyes are designed to see a huge range from dark to light all at one time. This is referred to as Dynamic Range and your eye has a dynamic range of around 18 to 20 stops worth of light. On the other hand, a digital camera has the dynamic range of about 10 to 12 stops of light and maybe even up to 14 if you're lucky.

What does this mean and why is this so important to remember...well, your eye can see almost double the range of light to dark that your camera can capture. Just because a scene looks a certain way to your eye, that doesn't mean your camera will be able to capture it!

For example, if you were standing under a grove of shade trees on a bright sunny day and there was a large opening in the trees canopy above with ample sky and sun light shining through, my eyes would have no trouble seeing detail from beneath the shaded trees to the bright sky above.

Now when I point my camera at the scene and take the shot, you will end up with a very dark exposure from beneath the trees but the sky will be bright!

Why?
Your camera does not have the dynamic range required to capture the whole scene the way your eyes were seeing it. By default your camera will meter the scene to preserve the bright areas exposing for the sky and leaving the rest of the scene plunged in darkness so, you over expose to brighten the scene beneath the trees but now, the sky is over exposed with no details and blown out to complete white.

Conclusion, there's no way you can shoot this type of scene and capture the Full Dynamic Range that you can see with your eyes. When your in this type of setting you'll have to decide if it's the shadows or the highlights that's more important and expose accordantly.

Expectation of a scene based on what your eyes see will lead to as many bad photos as technical skill.

You see a scene, you capture the photo and you expect the photo to look like the scene because it looked fine to your eye.

Learn to recognize a scene that has more dynamic range than your camera can capture then make the appropriate exposure adjustments.

End...
Understanding Dynamic Range... br br One of the m... (show quote)


Not meaning to bring back a recent contentious subject but this phenomenon is precisely the argument that some use relative prists to justify HDR with scenes that have both bright spots and deep shadows, an effort to make the resulting image more closely resemble what the naked eye can see. I'm not saying this is right or wrong. That is now and has always been an unanswerable conundrum like "what is art (and what is not)".
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Mar 24, 2012 16:38:23   #
pigpen wrote:
Drmgoblue wrote:
pigpen wrote:
Drmgoblue wrote:
I have the Tamron 70-300mm f4-5.6 VC lens and have found it to be quite sharp (see attached). It was recommended to me by a camera shop guy I know and respect to replace my Nikon 70-300mm non-VR. I have found it to be comparable to that lens in sharpness (at a fraction of the price for a new Nikon VR lens). I like having the vibration control for hand holding at the lower end of the focal length spectrum I usually use a tripod or support if possible in the 200-300mm focal length range. The ostrich was shot with a fence support at 300mm f5.6 1/400th.
I have the Tamron 70-300mm f4-5.6 VC lens and have... (show quote)


I used to own this lens, but sold it for a better lens. I will say this, the VC is amazing!!! You can actually see the image freeze in the viewfinder. I didn't have a problem with the sharpness, it was an exposure thing. Strange, actually, as I never had this happen with any other lens nor have I heard it from someone else. If I would hold down the shutter, and burst off several shots, the exposure was a little different (sometimes a lot) on each shot, almost like I had my camera set to bracketing. It happened under several different enviorments and lighting situations, that's why I got rid of it.
quote=Drmgoblue I have the Tamron 70-300mm f4-5.6... (show quote)


Interesting. I've never had that problem. Almost sounds like a lens/camera connection issue. What did you replace it with?
quote=pigpen quote=Drmgoblue I have the Tamron 7... (show quote)


Canon 400mm "L". I realized a zoom was a waste for me as I was always at 300mm. Also had the Sigma 150-500, did not like it at all. Got rid of both and got the "L". I am happy with the decision.
quote=Drmgoblue quote=pigpen quote=Drmgoblue I ... (show quote)


Do you have the 5.6 or the 2.8? I would love to have a fast 400 but a 2.8 is a little (lot) pricey for me.
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Mar 24, 2012 08:45:10   #
pigpen wrote:
Drmgoblue wrote:
I have the Tamron 70-300mm f4-5.6 VC lens and have found it to be quite sharp (see attached). It was recommended to me by a camera shop guy I know and respect to replace my Nikon 70-300mm non-VR. I have found it to be comparable to that lens in sharpness (at a fraction of the price for a new Nikon VR lens). I like having the vibration control for hand holding at the lower end of the focal length spectrum I usually use a tripod or support if possible in the 200-300mm focal length range. The ostrich was shot with a fence support at 300mm f5.6 1/400th.
I have the Tamron 70-300mm f4-5.6 VC lens and have... (show quote)


I used to own this lens, but sold it for a better lens. I will say this, the VC is amazing!!! You can actually see the image freeze in the viewfinder. I didn't have a problem with the sharpness, it was an exposure thing. Strange, actually, as I never had this happen with any other lens nor have I heard it from someone else. If I would hold down the shutter, and burst off several shots, the exposure was a little different (sometimes a lot) on each shot, almost like I had my camera set to bracketing. It happened under several different enviorments and lighting situations, that's why I got rid of it.
quote=Drmgoblue I have the Tamron 70-300mm f4-5.6... (show quote)


Interesting. I've never had that problem. Almost sounds like a lens/camera connection issue. What did you replace it with?
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Mar 23, 2012 09:13:08   #
I have the Tamron 70-300mm f4-5.6 VC lens and have found it to be quite sharp (see attached). It was recommended to me by a camera shop guy I know and respect to replace my Nikon 70-300mm non-VR. I have found it to be comparable to that lens in sharpness (at a fraction of the price for a new Nikon VR lens). I like having the vibration control for hand holding at the lower end of the focal length spectrum I usually use a tripod or support if possible in the 200-300mm focal length range. The ostrich was shot with a fence support at 300mm f5.6 1/400th.


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Mar 23, 2012 08:42:16   #
I have mixed feelings about this subject. All digital images require some degree of "processing". If you shoot JPEG the camera starts the process, if you shoot RAW you must do it in some type of PP application to get a printable image. It is no different from the darkroom processes in the film era that used variations in development times and solutions, the use of various filters etc. for specific effects. The greats including Ansell Adams used these "processing" techniques unabashedly. But there must be a line somewhere where the process evolves from trying to optimize the image to more closely reflect what we actually "saw" (no digital camera can hope to equal the human eye or the subjective side of what an individual "saw") to creating an artistic image with a particular effect. Perhaps specific techniques like HDR Or panoramas warrant a separate category, that seems doable. But where you draw the line between "minimally processed" and "heavily processed" or between " processing aimed at "naturalizing" (for lack of a better term) an image vs. "special effects"? This dilemma has challenged photography since its inception. Perhaps others have an answer. :?:
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Mar 14, 2012 08:29:09   #
Great lens! May drop a bit in sharpness at 500, but with a good tripod it is barely noticeable (I use a Wimberley gimbal head). Rarely try to handhold at 4-500mm unless I have a rest and shutter speedof1/1000th or less. Slow in low light, but a 400mm 2.8 is outside my current budget! :lol:
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Mar 11, 2012 10:32:00   #
jjestar wrote:
Nikonian 72 is the macro guy but I am sure he would recommend Nikon 105D or the newer G model.


I've looked at this lens but want a little more reach for macro and the versatility of using it was a midrange telephoto (with or without a 1.4x or 2.0x teleconverter). Not sure what Nikonian 72 would say.
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Mar 11, 2012 10:23:36   #
docrob wrote:
Drmgoblue wrote:
I am looking macro lenses. I want a long focal length lens for the reach as I like photographing insects. I have pretty much narrowed my candidates to the Sigma 150mm f2.8 or the Tamron 180mm f3.5 (the Nikkor 200mm is getting out of my price range at $1400+). Both lenses get great reviews on image quality. The Tamron has no image stabilization and gets some negative reviews on autofocus (wouldn't just use it for macro on a tripod)but still gets good reviews. The Sigma has OS but is $400 more. Any of you have experience with these. Advice? :?:
I am looking macro lenses. I want a long focal len... (show quote)


see if you can find a used Nikon 200
quote=Drmgoblue I am looking macro lenses. I want... (show quote)


I have looked but haven't found one yet at a good price. Gets great reviews for sharpness but is f4 vs. 2.8 0r 3.5 and gets panned for its bokeh. Thanks.
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