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<title>Digital Imaging Technology forum - dslreports.com community</title>
<link>http://www.dslreports.com/forum/dphardware</link>
<description>Digital Imaging Technology forum current topics</description>
<language>en</language>
<copyright>Copyright 2007, dslreports.com</copyright>
<pubDate>Sat, 04 Jul 2009 10:43:28 EDT</pubDate>
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<item>
<title>Error opening Photoshop Elements PSD in Paint Shop Pro</title>
<link>http://www.dslreports.com/forum/remark,22652157</link>
<description><![CDATA[If I attempt to open a PSD file I saved in Adobe Photoshop Elements 6 in Paint Shop Pro X2, I get a error.... "The color model of this PSD file is not supported"...and the file will not open....

How can I open this file in PSP as a PSD without converting to a TIF, JPEG, etc?

Thanks kindly...

V666]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22652157</guid>
<pubDate>2009-07-03 22:46:02</pubDate>
</item>

<item>
<title>Continuous vs Flash Lighting and Everything in Between Part 3</title>
<link>http://www.dslreports.com/forum/remark,22652931</link>
<description><![CDATA[Now that you have put together some of the tools required for this first exercise, let&#146;s do the following. Take one of the tin cans and slightly flatten one end of it so it looks more like a cats eye and place the rounded side of it over the head of the flash, making sure you don&#146;t obscure the sensor. We can now name this coke can or what ever a &#147;Snoot&#148;. The longer this &#147;Snoot&#148; the more concentrated and pointed the light will be in a given area that you choose. Now there is a problem here. As there is no pilot light, it will be difficult to see where it is hitting. You can do a couple of things here. My favorite is, I squint my eyes and do a test flash. By squinting I can see where the flash is hitting with greater accuracy. The other option is by taking several test shots and reviewing where the light is directed. The closer to the subject the more concentrated your light will be. Find someone who would like to sit as your subject. If you wish to do a still life that will also work. Oh, one thing, I prefer that the flash is off camera and attached via a synch cable to your camera or to a synch cable adapter that will attach to the hot shoe of your camera. You will find a way of attaching the flash to one of your stands.

If you have a flash/light meter take a reading of the flash output. 1/4 power might be a good starting point, placing the flash head about 1.5 to 2 meters from the subject. If you don&#146;t have a meter. Set up your camera in &#147;M&#148; mode and find a starting point of let&#146;s say, f5.6 at 1/30 second at 100 iso. If it is too bright adjust accordingly i.e f8.0 etc. One more thing. If your snoot is casting too much light, you can always place another tin can over the can being used to make it longer. You now have the primary light. We will discuss this further in a moment. Do you have a plant or a cool sculpture or cool object lying around? This will be your secondary layer in the image. Take one of your 60-100 watt light bulb with metal clip and place another &#147;Snoot&#148; over it, before turning on of course. This is where the &#147;Construction Gloves&#148; come in to play. I don&#146;t want you burning yourself. Once the &#147;Snoot&#148; has been well placed over the light and it should be at least 20 cm long (8&#8243;), place the plant or object out of the planned crop of the image i.e. to the left or right of where the subject is, but NOT seen in the view finder. Aim the light at the plant or object and cast a shadow on to the back wall. Experiment with where you wish to cast the shadow. Remember those black cardboard sheets we talked about? You will want two for this exercise. Place one on either side of your subject, but out of view in your view finder. We can call these &#147;Scrim&#146;s&#148;. These will block the flash light from hitting the background and ruining the effect of the shadow cast by the secondary light.

Now let&#146;s get back to the principal light i.e. the flash head. You might want to light the subject selectively by moving the flash closer to illuminate the upper half of the body and let it fall off to the lower half. It&#146;s your choice. Now that you have set up the two lights, it is time to do some metering. In &#147;M3 mode read what you are getting on the secondary object. Let&#146;s say it is f5.6 at 1/15th of a second. Now read the wall where the secondary light is hitting. Don&#146;t read the shadow! This might be f2.0 at 1/15th of a second. Now that you have this info, it is time to adjust the principal flash hitting the main subject. This becomes a creative decision. Why, because it now becomes a proportionate lighting exercise where the more light that hits the main subject, the darker the background. Let&#146;s try f8.0 on the subject (this is just a starting point). Ok, you have f2.0 on the back wall, f5.6 on the object casting the shadow and f8.0 on the subject. Set your shutter speed at 1/15th of a second at f8.0 and start to take some test images. If the background is too dark for your taste, reduce the flash output to f5.6 etc&#133; You can try 1/4 to 1/60th of a second and everything in between.

Play with this for a while until you are satisfied with the outcome.

I will go further in Part 4

http://www.benjaminkanarekblog.com/?p=499]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22652931</guid>
<pubDate>2009-07-04 06:19:50</pubDate>
</item>

<item>
<title>Doing you own film processing</title>
<link>http://www.dslreports.com/forum/remark,22625858</link>
<description><![CDATA[This has probably been ask before but I couldn't find anything on it in the last two years search.
Does any one here still do their own film developing and printing? If so would you be interested in a Beseler 23C II Enlarger? I can unpack it and lay all of it out to take pictures of, if anyone is interested. Has film holders, lens's, developing tanks, film spools, timers etc. I don't remember all that is there. Will sort all of it and list if anyone is interested.]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22625858</guid>
<pubDate>2009-06-28 21:54:08</pubDate>
</item>

<item>
<title>35mm Equipment?</title>
<link>http://www.dslreports.com/forum/remark,22651204</link>
<description><![CDATA[Anyone have any ideas on what to do with used 35mm equipment?  

Any sites or companies other than Ebay that might want it?

I'd have to dig it all out for the specifics, but can say that I have:

a Pentax K1000 body

a standard (50mm?) lens (came with K1000)

a wide angle lens

an ?80-200? Telephoto

a Ricoh body (not sure of model number)

and (I think) a standard lens that came with the Ricoh (may also be 50mm).

Shoe mount Flash

All lenses are interchangeable between the Ricoh and the Pentax-I'm thinking "Bayonet" mount on all.

Any suggestions (aside from using them as anchors) appreciated.

:)
--
~~~RCL Liberty of the Seas-Nov 2008~~~

~~~A bad day of vacation, still beats a good day at work~~~

~^~^~Proud Parrothead~^~^~

]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22651204</guid>
<pubDate>2009-07-03 18:41:37</pubDate>
</item>

<item>
<title>Continuous vs Flash Lighting and Everything in Between Part2</title>
<link>http://www.dslreports.com/forum/remark,22648457</link>
<description><![CDATA[Continuous vs Flash Lighting and Everything in Between...Part 2

In Part 1, I asked that you prepare a couple of 60 watt light bulbs a flash (off camera is preferable) some modifiers i.e. cardboard squares, black paper, and aluminum foil. I will now add a few more elements to this and that is a couple of empty cans, (make sure you open both ends). You can use different sizes. The more the merrier. A couple of metal coat hangers that you usually get from the dry cleaners. a few clothes clips for hanging out clothes to dry, or better yet a few clamps. Any stand that you have lying around as well. A few would be better.
Some construction gloves (NOT RUBBER) light bulbs are hot! Oh we don't want to forget the box cutter and gaffers tape.

Now the reason for these elements have more to do with experimenting with the absence or abundance of light that will be created by you during this first preliminary exercise.

Here is where the fun begins. You must please understand, that there are NO hard fast rules about lighting and the more open you are to experimentation, the more original your set up will become.

Here goes. You find a way to clamp your lamp to a stand. You might consider a cheap lamp with the standard metal shade like one of those old reading lamps for example. Or one of those clip on types. NOT PLASTIC PLEASE!!!

Take a couple of those metal hangers and force the shape in to a square, leaving the rounded part to be used to attach to a stand. You may need to adjust this segment of the hanger accordingly. Tape the white paper to the hanger. The hanger acts as the skeleton support for the paper. You will be using this paper as either a reflector or to shoot your light through it. I suggest find different types of paper as well. Some more transparent than others. Now it is time to prepare the black sheets of paper. It can be cardboard the larger the better. Find a way to support these sheets to a stand. You might build a frame out of a wire hanger or "What Ever..."

If any of you have a light/flash meter, that might also be useful, but not imperative. I suggest that you are in an environment, where you can darken or partially darken the space you are in. It can be done in a space that is exposed to daylight, but it is more problematic as highlighted by the Steve Jacob article found HERE.

Now that you have all of these elements you might ask, "What next?..." You can do one of two things at this point. You can use your imagination, or wait for Part 3.

I would love that you do the later, but that is your choice.

Have Fun!

http://www.benjaminkanarekblog.com/?p=485]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22648457</guid>
<pubDate>2009-07-03 03:31:46</pubDate>
</item>

<item>
<title>Continuous vs Flash Lighting and Everything in Between Part1</title>
<link>http://www.dslreports.com/forum/remark,22648453</link>
<description><![CDATA[Continuous vs Flash Lighting and Everything in Between. Part 1

Light is a very fickle entity. Why do I say that? Because light can play many tricks on us and and is often elusive in it's etherial state. It has many frequencies and understanding those wave lengths might help us understand the grand palette of nuances available that we can play with. Now to add to the different color temperatures (frequency) we have another element that is a very important part of the equation and that is duration. Light is always present, even in the darkest of nights. That is where duration or time comes in to play.

I love playing with light, especially when I can compose with it, rather than nature imposing it on to my environment. Not that I do not love natural light and all that can be accomplished with it, but I believe my forte is creating light from scratch and designing my work with brush strokes, splats, washes and fine details.

I also love to mix and match different frequencies (color temperatures), durations and light sources.

We need to start by attempting to grasp how light from different sources, durations, color temperatures and light sources have an effect on your final images. "Light is a very powerful spice and should be used sparingly." Is my motto. Use it sparingly and it can bring some very powerful elements to light, (no pun intended) in to your imagery. Now when I say sparingly, I don't necessarily mean that you cannot splash it all over the place, especially if that is your intent. Of course you may, but be sure you know why and what the outcome will be.

Your camera can capture a multiplicity of frequencies and nuances. What the camera does not know is what you the "Composer" is attempting to accomplish and thus, generally can only deliver predictable results.

So to end this Part 1 of this theme, I suggest you start to look at light of all sources and see how those sources are intermingling with the environment. In the meanwhile, I suggest you prepare a couple of lamps with 60 watt light bulbs, a single flash unit, a few cardboard squares of about 35cm, some white paper, black paper and some aluminum foil. You may however imagine anything you wish, until the next episode.

http://www.benjaminkanarekblog.com/?p=464]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22648453</guid>
<pubDate>2009-07-03 03:30:41</pubDate>
</item>

<item>
<title>[Lens] f/2.8 wide to normal zoom for Nikon</title>
<link>http://www.dslreports.com/forum/remark,22542067</link>
<description><![CDATA[I'm looking to get one of the wider f/2.8 zooms on a budget of around $400.  The wife and I are going to an aquarium in a couple of weeks (VA Beach, I think), and I'm hoping to take a single lens with me.

I've also wanted one for a while, as none of the other lenses I have are really quick enough for shooting indoors with the exception of the Thrifty Fifty.  I also enjoy shooting macro.  It would likely be used mostly for indoors and so I like the wide angle.  However, I also am not sure that 50mm is really enough zoom for things like aquariums or museums (places I'd likely use the lens).

I'm looking at these 4 options, but am open to other suggestions.

Sigma 28-70mm f/2.8 EX DG Autofocus
http://www.bhphotovideo.com/c/product/352405-REG/Sigma_549306_28_70mm_f_2_8_EX_DG.html

Tamron 28-75mm f/2.8 XR Di LD Aspherical (IF)
http://www.bhphotovideo.com/c/product/284402-REG/Tamron_AF09NII_700_28_75mm_f_2_8_XR_Di.html

Sigma 18-50mm f/2.8 EX DC HSM Macro
http://www.bhphotovideo.com/c/product/518483-REG/Sigma_582_306_18_50mm_f_2_8_EX_DC.html

Tamron 17-50mm f/2.8 XR Di-II LD Aspherical [IF] 
http://www.bhphotovideo.com/c/product/550954-REG/Tamron_AF016NII_700_17_50mm_f_2_8_XR_Di_II.html

I'm leaning slighty more away from the tamron 17-50 as it's a bit more expensive than the others, but if it's significantly better then it's a definite option.

Thanks in advance!
--
Team Helix - Folding for Cures!
Overclocker Cafe - The hardware site for the rest of us.]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22542067</guid>
<pubDate>2009-06-12 17:04:51</pubDate>
</item>

<item>
<title>New York AG after Brooklyn Scammers</title>
<link>http://www.dslreports.com/forum/remark,22632255</link>
<description><![CDATA[http://news.cnet.com/8301-17938_105-10274730-1.html

"Seven online merchants operating more than 40 Web sites have agreed to pay a $765,000 settlement following an investigation by the New York State Attorney General's office, the AG's office said.


I think a few people are going to start making claims on this one. CNET links to another article that has more information on what companies are involved.
--
there's a fine line between a rut and a groove.]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22632255</guid>
<pubDate>2009-06-30 03:10:00</pubDate>
</item>

<item>
<title>Entry Level DSLR</title>
<link>http://www.dslreports.com/forum/remark,22614276</link>
<description><![CDATA[Howdy all,

I am looking for some advice on a DSLR camera. I'm about to be a father and want to bump up my camera and photography skills as I will soon be taking a ton of pictures. I did see this thread Help-A-good-entrylevel-SLR-camera but it's from 2007. I see the D40 stated as a great entry level camera and found this deal which seems very good for the price. But I wanted to get some opinions and updated advice on a good entry level DSLR. I have always been partial to canon for my PAS cameras.

Thanks in advance
~Mike D.
--
In a society that is drug infested, violence wracked, and polluted by chemical greed, no one has ever died from an overdose of pornography!
______________________________]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22614276</guid>
<pubDate>2009-06-26 10:18:11</pubDate>
</item>

<item>
<title>lowest price yet for Pentax K20D</title>
<link>http://www.dslreports.com/forum/remark,22645479</link>
<description><![CDATA[http://www.walmart.com/catalog/product.do?dest=9999999997&product_id=10058775&sourceid=15054478042561374520

Body plus 3 year Pentax warranty: $599.88

I already got mine a few weeks ago for a bit more $$... but, in case anyone is still looking to buy, this is one awesome deal!
--
My Site]]></description>
<guid isPermaLink="true">http://www.dslreports.com/forum/remark,22645479</guid>
<pubDate>2009-07-02 14:27:15</pubDate>
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