I'm not yet a member of SMUG or P-Base yet but when I return from a trip to UK I'll post some details - and hopefully some great shots of castles and abbeys ... great photo opportunities.
Tony.....Will look forward to see your shots from the UK when you have a site, also would be interested in seeing a photo of your ariel set up, and the casing you've fabricated for the F828, which you could add to this thread at any time, finding it through the search engine.
Thanks for the reference of the Yahoo Epson wide-format group. Do you have a link for it? I am looking forward with great anticipation to the arrival of the Epson 4000- 17"x 44" sz. potential with archival inks re fine art prints- exciting stuff. It has taken a leap of faith for me ro pre-order and move to a machine of this cost & size capability in conjuction with the F828.
I find the F828 lends itself to be customized for individual
needs, to respond to the instructions given it, in a variety of
conditions in the field. Refinements in set up according to my
needs allows more of my attention to go to artistic intent and
visual choices, that directly effect the outcome of photos.
The F828 I find relatively light, compact, fluid and flexible in
its handling. These features are carried through in my choice of
tripod, and ball head. The tripod: Manfrotto Carbon fibre 443
(carbon One) -center post removed. The Kirk BH-3 ball head, I find
to be a gem, with its large single knob for fast aim and frame,with
two smaller pan and ball friction knobs.
The quick release plate remains mounted on the base of the F828,
allowing for rapid transition from tripod to hand held shots. I
prefer to shoot from the tripod, including shots where movement is
involved, such as wildlife. (AF mode may be preset to continuous in
wildlife circumstances, and monitor otherwise). I set the ball
friction knob to where the ball head allows me to both frame
quickly, and holds position with further lock down, (if need be.)
I am drawn to use the “real” setting exclusively, and ISO 64 as a
default setting, with contrast set at minus one, to hold and
retain subtle tonal gradation. I use the fine setting and a 1 Gig
card, which allows for 262 approx.shots at 8 M pixels,(128 back-up
in the camera). Circumstances permitting I prefer to shot in full
manual mode. My ongoing approach is to explore a theme or
subject(s) in series, while moving and varying camera positions,
and focal lengths.
I have attached to the camera strap loop a 1” diam. key ring for my
index finger, as a means of further securing the camera off the
tripod,in place of a strap. - a personal choice. Finding the
combination of variables, that make balance in set -up is IMO
highly individual. The accompanying lens hood remains on, unless an
add on lens such as the MCON-35 is used.
The live histogram is refered to often, edging highlights up to,
and not beyond the right side. In critical or high contrast
situations I bracket exposure, and/or make two shots in the same
position off the tripod. For example, one exposing for the brighter
sky or highlights, and the other for ground areas, or shadows,
which may then later be selectively recombined, and merged in post
processing.
I am of the view that there is no one best camera, and no one
camera fits all. As orientations vary, there is no need to think of
one set up that is necessarily better than another. It is IMO less
about whats "best" and much more about what is suitable. I tend to
think of a digital camera in a larger context, or a link in a
chain in a creative image package.
The RV-DR1 remote release is used to trigger the shutter ,
minmizing the possibility of camera movement. This remote release
remains connected, as if part of the camera, with the remote cord
wound with electrical tap and shortened to approx. six inches. A
level is often used outdoors for landscapes (horizontal/vertical)
placed in the flash shoe, eliminating a need for cropping due to
tilted horizons.
Other related and customizable facets of a camera may be thought
of as extending to include editing software, and post processing
(which I enjoy), where viewed on a graphics quality monitor. With
the arrival of the F828, and my overall satisfaction with it, I
have pre-ordered an Epson 4000 printer, for the marketing of
archival fine art prints.
A Lowepro "side line shooter "camera bag works for me for all round
purposes in the bush, and urban areas, while the waterproof
Pelican 1400 hard case protects the camera around coastal
environments.
It would be interesting to share experiences, and photos of
varying camera setups for follow up discussion, that we may
benefit from a variety of usage.
Norman
--
NRich
http://www.pbase.com/norman
--Hi Steve.....Coming into digital from 35mm via an F828 has got to
be a great adventure.
I find ones relation to tripod or momopod , in a variety of
situations, effects exposure choices, and whether one is drawn to
use the tripod or hand hold in low light. A quick release I find
indispensible. Are you currently using one? I think we have
psychological preferences in regards to shooting on or off a
tripod. Low light may stretch ones resolve
Sometimes a mono pod will act to encourage routine use of
additional support in low light, and some may serve as a good
walking stickManfrotto makes a monopod that has a small
internal tripod inside a monopod at the base that retracts, and is
useful for photographing in low light in locations such as museums,
that prohibit tripods, and may overlook monopods.
I have bit the bullet on a one Gig flash card. takes 262 shots -8M
in fine mode. when I download, the card needn't be lost or damaged,
as it doesn't leave the camera.
I agree, post processing I also find enjoyable, giving me an
opportunity to revisit the shots, and refine an image. Thank you
for posting.
Thank you for your thoughful post.
Regards,
Norman
--
NRich
http://www.pbase.com/norman
ne the axial level,(much like a carpenders level), and the bullseye level. which is circular. I am using the German Kaiser bullseye level. The principle differences between the two is that while the axial level tends to be a little more accurate, the bullseye level is generally compact, (1/2" dia.), and faster to use..
...Those reading please feel free to share your set -up, by return post.
I find the F828 lends itself to be customized for individual
needs, to respond to the instructions given it, in a variety of
conditions in the field. Refinements in set up according to my
needs allows more of my attention to go to artistic intent and
visual choices, that directly effect the outcome of photos.
The F828 I find relatively light, compact, fluid and flexible in
its handling. These features are carried through in my choice of
tripod, and ball head. The tripod: Manfrotto Carbon fibre 443
(carbon One) -center post removed. The Kirk BH-3 ball head, I find
to be a gem, with its large single knob for fast aim and frame,with
two smaller pan and ball friction knobs.
The quick release plate remains mounted on the base of the F828,
allowing for rapid transition from tripod to hand held shots. I
prefer to shoot from the tripod, including shots where movement is
involved, such as wildlife. (AF mode may be preset to continuous in
wildlife circumstances, and monitor otherwise). I set the ball
friction knob to where the ball head allows me to both frame
quickly, and holds position with further lock down, (if need be.)
I am drawn to use the “real” setting exclusively, and ISO 64 as a
default setting, with contrast set at minus one, to hold and
retain subtle tonal gradation. I use the fine setting and a 1 Gig
card, which allows for 262 approx.shots at 8 M pixels,(128 back-up
in the camera). Circumstances permitting I prefer to shot in full
manual mode. My ongoing approach is to explore a theme or
subject(s) in series, while moving and varying camera positions,
and focal lengths.
I have attached to the camera strap loop a 1” diam. key ring for my
index finger, as a means of further securing the camera off the
tripod,in place of a strap. - a personal choice. Finding the
combination of variables, that make balance in set -up is IMO
highly individual. The accompanying lens hood remains on, unless an
add on lens such as the MCON-35 is used.
The live histogram is refered to often, edging highlights up to,
and not beyond the right side. In critical or high contrast
situations I bracket exposure, and/or make two shots in the same
position off the tripod. For example, one exposing for the brighter
sky or highlights, and the other for ground areas, or shadows,
which may then later be selectively recombined, and merged in post
processing.
I am of the view that there is no one best camera, and no one
camera fits all. As orientations vary, there is no need to think of
one set up that is necessarily better than another. It is IMO less
about whats "best" and much more about what is suitable. I tend to
think of a digital camera in a larger context, or a link in a
chain in a creative image package.
The RV-DR1 remote release is used to trigger the shutter ,
minmizing the possibility of camera movement. This remote release
remains connected, as if part of the camera, with the remote cord
wound with electrical tap and shortened to approx. six inches. A
level is often used outdoors for landscapes (horizontal/vertical)
placed in the flash shoe, eliminating a need for cropping due to
tilted horizons.
Other related and customizable facets of a camera may be thought
of as extending to include editing software, and post processing
(which I enjoy), where viewed on a graphics quality monitor. With
the arrival of the F828, and my overall satisfaction with it, I
have pre-ordered an Epson 4000 printer, for the marketing of
archival fine art prints.
A Lowepro "side line shooter "camera bag works for me for all round
purposes in the bush, and urban areas, while the waterproof
Pelican 1400 hard case protects the camera around coastal
environments.
It would be interesting to share experiences, and photos of
varying camera setups for follow up discussion, that we may
benefit from a variety of usage.
Norman
--
NRich
http://www.pbase.com/norman
