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 1 
 on: Today at 05:39:59 PM 
Started by larkis - Last post by Benny Profane
All large format printers have appreciable non-upfront costs.

I try and emphasise this in my more general print related writing - personally I take it as just part of the cost of being able to make large format prints. It would be simpler if these costs were more transparent (that applies to all manufacturers) but they currently are what they are.

Without knowing Epson or Canon's engineering design criteria, I don't feel I could describe any aspect of their design decisions as 'stupid'. I might find some (such as the page length limit in the PRO-1000) curious, or unduly influenced by the dead hand of marketing, but modern inkjet printers are rather fine machines.

I've long felt that if the extra costs of heads/wasted ink make that much of a difference to someone, then they need to re-evaluate their business model.

For those of us that don't print that often, I prefer to think of owning and running a large format printer as not dissimilar to running a classic car ;-)

Oh, my.

Let's just suppose that some here aren't even operating a business, just a serious, expensive hobby, to start. But, if you insist on addressing the small business owners in the photography and limited edition printmaking field (because, high volume printmakers see little issues with reliability issues, and costs can be written off somewhat) then consider the low margin competitive climate of that world, and rethink that comment. They aren't driving Porsches, sir.

And classic car is quite a generic term. I mean, Triumphs were hard to keep running when they were new, but some old Chevy muscle cars just keep on rumbling, with minimal attention.

 2 
 on: Today at 05:00:16 PM 
Started by ChrisS - Last post by RSL
Maybe not the button push but you might be able to with your composition and timing (although not usually to the same degree as a a painter would).

I agree, Matt, but the timing thing applies especially to street photography. That's where Slobodan jumps the track.

With landscape you go out in wretched weather and set up your tripod; hoist your 11 x 14 view camera onto it and try to get it pinned down without dropping it on the rocks and smashing the ground glass. You attach your cable release, get your head under the hood and zoom the bellows back and forth until you think you've nailed the focus, pull a film holder out of the case you've carried over the rocks on your back, shove it into the camera, and wait for the "decisive moment," otherwise known as when the sun pops out. When that moment arrives you pull the slide on the film holder and "push the button," otherwise known as the knob on the cable release. Then you push the slide back into the film holder, hoping to hell you got the shot because the sun just disappeared again, pack up your gear and walk two miles back to the car.

On the street (HCB) you have a small, 35mm or equivalent camera in your hand. You go about your business, nosing into various establishments and turning corners, until you see what looks like an interesting situation developing. You grip the camera and wait, holding your breath and hoping what you thought would come together will come together. If it does, you quickly lift the camera, watch for the "decisive moment," which is the moment when YOU decide it's time to shoot, and shoot.

In the first instance, whatever there is of you in the picture was there when you framed the thing and busted your butt getting all that equipment into place. The button push is nothing. In the second instance what you put into the picture was your choice of the instant you chose to push the button on a very transient scene. It's a different kind of thing. In the first case those rocks looked the same fifty years ago when St. Ansel shot then as they looked this morning when you shot them, and they'll still look the same fifty years from now when the next would be St. Ansel comes along to shoot them. In the second case the people in the picture you shot -- along with you -- probably will be dead.

 3 
 on: Today at 04:58:13 PM 
Started by nemophoto - Last post by nemophoto
I'm a fashion shooter and for the past few years have been in search for the "perfect" portable monolight for location strobe/daylight shooting. I found about 6 or 7 years ago, I had a model who just couldn't keep her eyes open when shooting on the beach with reflectors. I finally pulled out a Canon Speedlite, never having really used it extensively, and shot at 1/1000 of a second with the strobe as "reflector". Miracle! She could open her eyes. (Many years before, I had used my Hasselblad 500ELM with a Norman 200B and 400C for similar reasons. I was ignorant about the advances in Speedlites and HSS until the above example.) Since then I've been on the hunt for better/more powerful/faster recycling monolight-type strobes. (I still have a couple of Canon 600EX-RT speedlites, but need heavy-duty, non-enclosed flash tubes. I also tried a Quantum, but found it less capable and powerful than the Canons.)

I own Einsteins with the Vagabond, but with the pocket wizards, I can only realistically get the sync up to about 1/400 without cut-off (shooting low power for faster recycle). I then bought about a year and a half ago the then-new Phottix Indra 500. It was... OK. Not super fast recycle times and you can ONLY use it with HSS on E-TTL, not manual. I shoot both ways, but the Phottix only shooting high-speed sync is limiting if only TTL. About year ago, I excitedly purchased the Priolite Hot Sync MBX500. Similarly to Elinchrom, it uses long duration strobe, relying upon the camera's shutter to freeze and balance the light. I have mixed feelings. Sometimes it works very well (such as a shoot I did in the Everglades about a month ago), and other times not as well. My main reservation is that the max recycle, no matter the power level, is about 2+ frames per second. Pretty slow for my style of shooting. I've had to modify how I shoot to utilize it. The other two factors are that, 1) it weighs about 10 lbs (my assistant walks around with a monopod holding it, or a light stand), and 2) I had a couple times when it crapped out on me shooting in the sun for extended periods. Obviously over-heated. Not something I'd expect from an open flash tube, but have seen with Speedlites.

Which brings me to Elinchrom. I'm tempted to buy it, but I just can't blow another large sum on yet another light that may or may not work for me. I can't find anyone who rents them. (Too bad no demos from Elinchrom.) The Indra was a tad over $1k, and the Priolite, with extra battery etc. was about $2k.

Does anyone have first-hand experience? Not what you've heard or read, but truly used in hand. Please don't suggest the Profoto B2. I rented it. Actually two units. They both malfunctioned and I feel they are overpriced, as most Profoto gear is. Thanks for the help.

 4 
 on: Today at 04:55:22 PM 
Started by DavidPalermo - Last post by rdonson
I typically keep my Macs 5 years.  In that period of time you can expect that the processor, graphics card, SSD, external connections such as Thunderbolt and USB and screen resolution will be far better than what you have now.  In other words, in 5 years you'll be ready to upgrade.

 5 
 on: Today at 04:52:04 PM 
Started by chuckn - Last post by chuckn
Thanks for the complements.

Chuck

 6 
 on: Today at 04:13:45 PM 
Started by hasselbladfan - Last post by hasselbladfan
The H 300mm f/4.5 is an excellent lens..sharper than the 210mm with the 1.7 extender attached IMHO
Stanley

Anybody has one for sale? :)

 7 
 on: Today at 04:08:39 PM 
Started by armand - Last post by armand
Few more thoughts

- if you are a Nikon user the zooms turn the wrong way; at least I could change the focus rotation but it might too confusing to keep them opposite

- noise is not an issue as I was worried before

- I think the metering on the E-M5 ii is underexposing a little

- the primes that I have (17 1.8 and 45 1.8) are quite small

- the L-plate with grip that I got on Amazon has some issues as in the grip is too big and with a wide lens you don't have much room between the grip and the lens barrel; if you take the grip away you are left with a protrusion on the bottom. The RRS grip doesn't seem to have this issues but at 180 it is overpriced no matter what they say; I'll have to decide if I really need a grip, otherwise I can just shave off the excess from the bottom plate that I have

 8 
 on: Today at 03:54:05 PM 
Started by Dinarius - Last post by lotusEsp
100% true for me. I've been using WP for over ten years now. Easy but tedious. The variability and stability of good themes is actually quite good now.

yeah, it's easy IF the theme gives you the ability to change the thing you want. there is a huge inconsistency with what you can change between different themes.

 9 
 on: Today at 03:51:16 PM 
Started by Stan Bax - Last post by Stan Bax
Thanks for the excellent advice, have subscribed :)

 10 
 on: Today at 03:45:14 PM 
Started by larkis - Last post by GrahamBy
Ah, yes, I sometimes forget I'm on an international list...
Were I to say to someone at Canon in the UK that I found a particular design decision 'curious' they would know exactly what I was saying about it ;-)  When reading my reviews, please make some minor allowances for my Englishness ;-)

http://www.telegraph.co.uk/news/newstopics/howaboutthat/10280244/Translation-table-explaining-the-truth-behind-British-politeness-becomes-internet-hit.html

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