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  1. #21
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,546

    Red face Meanwhile, back to the New Jersey marsh ...

    EXT NEW JERSEY MARSH - SHACK


    Frank wanders back to where the shack is sitting. His remote beeps as he steps up, but it is ignored by the depressed photographer. Frank kneels down, begins to help adjust his tripod, then stops and shakes his head dejectedly.


    FRANK:
    I can't do it. I can't do this alone.

    RYAN (OS): Don will always be with you.

    Frank looks up to see the shimmering image of DR4GON.

    FRANK: Ryan! Why didn't you tell me?

    The ghost of DR4GON approaches him through the muck of the marsh.

    FRANK: You told me Panorama’s were simple and uncomplicated.

    RYAN: Your A100 can only do so much. It suffers from the dark side of the ISO-FARCE. An A700 offers a much higher ISO and with version 4, it can offer excellent HDR opportunities with a shot like this. When that happens, a good shot will occur. So what I have told you is true... from a certain point of view.

    FRANK
    (turning away, derisive): A certain point of view!

    RYAN: Frank, you're going to find that many of the truths we cling to depend greatly on our own point of view.

    Frank is unresponsive. Ryan studies him in silence for a moment.

    RYAN: I don't blame you for being angry. If I was wrong in what I said, it certainly wouldn't have been for the first time. You see, what happens with your A100 is SONY’s fault.

    Ryan pauses sadly.

    RYAN: The Minolta 5D was a good camera.

    Frank turns with interest at this. As Ryan speaks, Frank settles on a guardrail, overlooking the marsh, mesmerized.

    RYAN:
    When I first knew saw a Minolta 5D, it was already a great camera. But, I was amazed how strongly the FARCE of its creation swirled about it. I took it upon myself to try and deal with Minolta’s failing business. I thought that I could hang on, and wait for SONY to make it better. Well, I was wrong. My pride has had terrible consequences for the Photoworld.

    Frank is entranced.

    FRANK: It's still a good camera.

    RYAN:
    I also thought as you do. Unfortunately, it couldn't be done. The A100 is more prototype than legitimate camera. It simply lacks all the features.

    FRANK:
    I can't do it, Ryan.

    RYAN: You cannot escape your destiny.

    FRANK: I tried to buy an A700, once. I just couldn't do it.

    RYAN: The salesman humbled you when first you tried it, Frank ... but, that experience was part of your training. It taught you, among other things, the value of patience. Had you not been so impatient to replace the A100 then, you could have finished your training here with Don. You would have been prepared.

    FRANK: But, I had to provide for my family.

    RYAN (grinning at Luke's indignation): And did you help them? It is their love that supports you, too. You achieved little by rushing back to the camera store, prematurely, I fear.

    FRANK (with sadness): I found out the A100 and the A700 are miles apart in ISO performance.

    RYAN:
    To be a good photographer, Frank, you must confront and then go beyond the dark side - the side your A100 couldn't get past. Impatience is the easiest door - for you. The A700 is enticing.

    The A700 is a powerful solution, but you have held firm to the A100. You're no longer so reckless now, Frank. You are strong and patient. And now, you must attempt to get the A700, again!

    FRANK:
    I can't buy the A700.

    RYAN:
    Then, the dark side has already won. Your having that camera was your only hope.

    FRANK:
    Don spoke of another.

    RYAN:
    The other he spoke of is the SONY A900.

    FRANK:
    But, I have no need of a full frame camera.

    RYAN: Hmm. To provide adequate ISO support against the dark side of photography, these cameras were ignored when they were introduced. SONY knew, as I did, if A100 were to have any improvements, they would be difficult to price properly. That is the reason why the A900 remains safely over-priced.

    FRANK: Wait … $2,000 might be fair!

    RYAN:
    Your insight serves you well. Bury your feelings deep down, Frank. They do you credit. But, they could be made to serve SONY.

    Frank looks into the distance, trying to comprehend all this.

    RYAN
    (continuing his narrative): When your A100 was created, SONY didn't know if or what Minolta’s A-mount would do in the market. Your fellow Minolta users and I knew they would find out, eventually, but we wanted to keep Minolta alive as long as possible. SONY's DSLR sales are currently climbing in marketshare and is right around 9-percent, while Nikon and Canon have dropped to 39% each. So, I told you that the A100 was good enough ... and we all watched as others picked up the A900 for evaluation.


    Frank is overwhelmed by the truth, and is suddenly intrigued by the lure of the A900.

    FRANK: But, I can't get that camera, now, Ryan. My budget will not permit it.

    RYAN: The A900 is a quantum leap forward in your photography, Frank ... but the FARCE of it all is that it is a strong move in your craft, as it is with all of the Minolta/SONY family. There is no avoiding this need. You must rework your budget and get either an A700 or the A900!

    (This is all meant with humorous intent and none of it is to be taken seriously.)
    Last edited by DonSchap; 02-01-2009 at 12:43 AM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  2. #22
    Join Date
    Dec 2007
    Posts
    2,562
    You said it was sinking not floating away.LOL Nice job you are good.

    Frank
    Sony A77
    Sony A580
    Sony A 100
    Maxxum 400si.
    Sony 18-70 Kit Lens
    Minolta AF 35-70
    Minolta AF 50 f/1.7
    Tamron 70-300 f/4-5.6 Di LD
    Tamron 60mm Macro
    Tamron 17-50 f/2.8
    Tamron 2x Converter
    Sony HVL-F42AM
    Quantaray 70-300 4.5-5.6 Macro
    Slingshot 200 Bag



    http://www.flickr.com/photos/22083244@N06/

    http://s305.photobucket.com/albums/nn219/sparkie1263/

  3. #23
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,546
    I added that for the dramatic ... can't you just hear the inspiring song (<- click here) playing in the background?
    Last edited by DonSchap; 02-01-2009 at 08:17 AM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  4. #24
    Join Date
    Dec 2007
    Posts
    2,562
    There is something wrong with you. LOL

    Frank
    Sony A77
    Sony A580
    Sony A 100
    Maxxum 400si.
    Sony 18-70 Kit Lens
    Minolta AF 35-70
    Minolta AF 50 f/1.7
    Tamron 70-300 f/4-5.6 Di LD
    Tamron 60mm Macro
    Tamron 17-50 f/2.8
    Tamron 2x Converter
    Sony HVL-F42AM
    Quantaray 70-300 4.5-5.6 Macro
    Slingshot 200 Bag



    http://www.flickr.com/photos/22083244@N06/

    http://s305.photobucket.com/albums/nn219/sparkie1263/

  5. #25
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,546
    Cripes ... just a starving movie-maker, I suspect. LOL

    Unfortunately, I am still awaiting my A700 .. and then Sean got bored and took me on this tangent. LOL I thought we could have a little fun with it.

    Anyway ... on the topic of the HDR ... I was wondering if you were interested in repeating the infamous "marsh shot" (weather permitting), tripod mounted & taking three exposures (-2EV, EV, +2EV) in the two-position panorama (to eliminate the billboard, again)?

    You would need to use your best lens (or rent a good one) and make sure the tripod does NOT move during any of the exposures (for the sake of sharpness). Try an make sure the camera is level and the horizon is at the same point in every shot (that allows for less loss of the lower and upper frames of each one.

    We can make a very powerful image given a good and solid exposure series. Idle hands, Frank ... not good.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  6. #26
    Join Date
    Dec 2007
    Posts
    2,562
    No problem tell me where you want the images taken from. I will borrow my friends Canon D5 Just kidding. It is going to be warm tomorrow so give me my assignment and I will try to pull it off. I tried to do this when it snowed but couldn't get it. by the way you seem to have alot of interest in my shack and you talk about me. Anyway give me my mission. I am waiting to see my friend he was going to print me a few of the pano's 30x10. I was going to surprise you and just send you one. I couldn't keep it a secret. I hope to see him in a week.
    Frank
    Sony A77
    Sony A580
    Sony A 100
    Maxxum 400si.
    Sony 18-70 Kit Lens
    Minolta AF 35-70
    Minolta AF 50 f/1.7
    Tamron 70-300 f/4-5.6 Di LD
    Tamron 60mm Macro
    Tamron 17-50 f/2.8
    Tamron 2x Converter
    Sony HVL-F42AM
    Quantaray 70-300 4.5-5.6 Macro
    Slingshot 200 Bag



    http://www.flickr.com/photos/22083244@N06/

    http://s305.photobucket.com/albums/nn219/sparkie1263/

  7. #27
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,546

    Cool "The Pano-Project"

    Frank, you were the first in the forum to have actively complained about not being able to achieve what you had want to with your "shack." At that point, it became a challenge to get the overall shot looking as desired (minus that annoying billboard). So, yeah, in a way you got the creative process going ... and I would like to see it improved upon. If you are happy with your current results, then we are done with it. Personally, I saw it as an "evolutionary step" in creating a more refined image, once the technical bugs were worked out ... and the fact that you could do this at your leisure.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  8. #28
    Join Date
    Dec 2007
    Posts
    2,562
    I said I was ready to go. It is going to be 47 degrees tomorrow. So where do you want me to take it from?

    Frank
    Sony A77
    Sony A580
    Sony A 100
    Maxxum 400si.
    Sony 18-70 Kit Lens
    Minolta AF 35-70
    Minolta AF 50 f/1.7
    Tamron 70-300 f/4-5.6 Di LD
    Tamron 60mm Macro
    Tamron 17-50 f/2.8
    Tamron 2x Converter
    Sony HVL-F42AM
    Quantaray 70-300 4.5-5.6 Macro
    Slingshot 200 Bag



    http://www.flickr.com/photos/22083244@N06/

    http://s305.photobucket.com/albums/nn219/sparkie1263/

  9. #29
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,546

    Lightbulb Shoot guidelines

    Just repeat the same location ... maybe a tad further to the right, with the second position. The idea is still to crisscross the lines of sight ... and do not change the focal length, once you have settled on it. (Psst ... tape the lens' zoom so it cannot move)

    The secret behind these shots is consistency. Same settings and avoid taking into the sun.

    (EDIT ADDITION)

    POSITION 1:
    After setting up tripod and mounting camera w/ lens
    1. Set up initial EV on "Shack"
    2. Initial pan to check for level horizon
    3. In a pan series, take -2EV, EV, & +2EV shots of each frame
    4. Stop pan at billboard base
    5. Relocate tripod to position #2


    POSITION 2:
    After resetting up tripod
    1. Initial pan to check for level horizon
    2. Starting at billboard base, take pan series, take -2EV, EV, & +2EV shots of each frame
    3. Stop pan at roadside
    4. "CHIMP" images - look for any flaws.


    Remember, a fast moving cloud line could mess this up, because of the length of time needed for these shots.
    Last edited by DonSchap; 02-01-2009 at 11:00 AM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  10. #30
    Join Date
    Dec 2007
    Posts
    2,562
    We took three images is that what you want?
    Frank
    Sony A77
    Sony A580
    Sony A 100
    Maxxum 400si.
    Sony 18-70 Kit Lens
    Minolta AF 35-70
    Minolta AF 50 f/1.7
    Tamron 70-300 f/4-5.6 Di LD
    Tamron 60mm Macro
    Tamron 17-50 f/2.8
    Tamron 2x Converter
    Sony HVL-F42AM
    Quantaray 70-300 4.5-5.6 Macro
    Slingshot 200 Bag



    http://www.flickr.com/photos/22083244@N06/

    http://s305.photobucket.com/albums/nn219/sparkie1263/

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