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 on: Today at 10:42:39 AM 
Started by Nick Walt - Last post by Nick Walt
allegretto, I mostly used aperture priority on the Olympus and set the ISO manually. The exposure compensation dial adjusted the shutter speed. When shooting high contrast scenes I would change to manual mode and set everything.

When handling the 6D and exploring the features I did also find the camera to be very intuitive. Much more so than the Nikon, which was disappointing. I expected more from Nikon on the usability side of things, but then I realised how much they don't put in because, I imagine, of marketing and creating demand and movement of customers upward within their model hierarchy.

Seeing this comes back to the whole reason for this thread. Looking at not only the camera and system, but the commitment to bringing good design to customers that exists in the company ethos, or not - as in the case of Nikon to some degree.

jjj, that is pretty cool that Canon had something like eye tracking for AF point placement. I don't see why they couldn't bring it back when they finally go mirrorless: hold down the AF button to engage eye tracking and bring up the focus point that moves to where you are looking. The camera focuses and then you press the shutter button to take the image.

 on: Today at 10:39:32 AM 
Started by johnnyamsterdam - Last post by swencarlin

do you still have the bellows magnifier for sale?

Is it the version with the 2 magnifiers which can be screwed onto each other?

Thanks a lot!

Best regards

 on: Today at 10:39:07 AM 
Started by armand - Last post by armand

 on: Today at 10:38:53 AM 
Started by Isaac - Last post by john beardsworth
You're missing the point, Kevin. What is causing the problem is not nature's colours or any saturation adjustments. The scene may well have contained amazing yellows and oranges, but the absence of the colour profile is sending those colours way beyond believability. You need to review your Save for Web process and ensure you embed the profile.

 on: Today at 10:31:18 AM 
Started by tsinsf - Last post by duane_bolland
Those white bushings are the worst part of a Gitzo tripod.  Glue seems like a good option, but I suspect you will have trouble getting the bushing to stick to the glue.  I'd look into something like dual-component epoxy.  Maybe you could add a lip (with epoxy) to the top part of the CF tube that prevents the bushing from sliding off the top?  A last-ditch option would be to carefully drill a hole through the joint and stick a pin in it thereby permanently locking it in the extended position.  It would at least work that way.  I know a pro who has an old aluminium Manfrotto with one joint that won't lock.  She just uses the tripod without trying to extend the joint, so in effect it only goes about 3 feet high.  That would drive me crazy, but she gets by. 

 on: Today at 10:30:39 AM 
Started by armand - Last post by armand
I went to see some falls but I probably missed them by half a year

 on: Today at 10:30:38 AM 
Started by Isaac - Last post by Dave (Isle of Skye)
But doesn't Steve Goslin mainly go for the really dark mono grungy look and Joe Cornish is/was an ardent fan of the super saturated velvia colour film look? - Hmm, could be an interesting article about the appropriate use of colour in photography methinks  Smiley  I am not against either of their styles or work BTW, just wondering how their processing methods would fit into a discussion about colour correction?

Looking out of my window in Kyleakin (Skye) right now at the weather you guys are having to work under today and I am not envious, not envious at all, it is truly atrocious out there. Sorry Skye is being so cruel to you all, but hey, that is what Scotland is all about, active weather and stunning scenery, trouble is, when you get too much active weather, you can't actually see any of the stunning scenery - but I do wish you all the best of luck guys for the rest of your stay and that things do get better for you and as I said in my earlier post above, a few wee drams in the pub tonight might help the situation  Wink


 on: Today at 10:30:32 AM 
Started by Isaac - Last post by jeremyrh
Sounds like a great idea, Kevin. That will be very instructive - thanks.

 on: Today at 10:18:57 AM 
Started by Dan Wells - Last post by Some Guy
The part that could most likely be bad is the dampner and feed assembly that comes as a unit in the 3880.  It also has the control valve for the switchover MK and PK blacks, all the ink feed lines, and the assembly that holds the ink tanks.  About $150.  The pump you replaced prior should have affected the other colors as well and not just the blacks as it is common to all ink carts.  They probably sold you one and did some ink cleaner and power flush from their service software.

Here's the part:

I've ripped mine apart last week for some plastic tabs that broke off the print head's carriage causing it to drag over the print, wipe ink off the roller area, and actually cut into the paper on the right side.  Probably a bad head strike on some edge curl paper.  It is reassembled and it is workign fine, even quieter than the other that I used for K7 inks.  I just took a lot of disassembly notes along the way and photos.  Took me about 3 days, and maybe only day going back together once I figure it out.  I could now probably change the above in one day.  First time is the ordeal, but I had nothing to lose and maybe learn something of these beasts along the way too.

If the print head is shot, then you are looking at $950 or so and it is cheaper to go with the above and pitch the printer for a new one with rebates.  Epson clams the print head is good for 12,000 prints and mine was only at 1,200 (It's in the printer's LCD screen someplace.).

Good luck.


 on: Today at 10:17:35 AM 
Started by Isaac - Last post by Kevin Raber
I'll tell you what.  When I get back from the damp and wet Scotland trip I am presently on I will pull the original raw and do a small article on it.  The image I used was tiff file I made a while back.  Let's look at the file and see where the color really was. Yes, I do saturate sometimes but my recollection is that this scene didn't need much saturation.  I opened the shadows in the rocks and foreground.  Let's all take a step back and I'll be happy to go to the original RAW and go from there.  So, be patient for a week or so until I get back. I can tell you though the color was pretty overwhelming.

I am sitting with Joe Cornish and Steve Gosling who are well known for photography in this region.  Their feeling is that the yellows are acurate but maybe the way I opened the shadows is causing some illusion. Their suggestions is to pull the saturation in the shadows.  But the garish yellow everyone is claiming to be inaccurate is looking correct based on bright sun and the time of year it was shot.

So, I will revisit this and ask Joe and Steve to contribute to the article with me.  As they both tell me, here in Scotland color and light go from one extreme to the other.  I will ask each of them to process the same file in their way. 

How about that as an idea?


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