Delivering your loads on time
Extreme Trucker!
Anyone tried it yet? Better tyre physics than iRacing? Discuss and download if you dare!
Anyone tried it yet? Better tyre physics than iRacing? Discuss and download if you dare!
Thank you mr. Wolfie!
Thanks too! Yeah, user error. Dozed off lying on the beach waiting for stuff to happen. Next thing I know, the gal is in the air. D700 with ol' and worn Nikkor 80-200/2.8.
Been productive lately so more stuff to come in the following days.
A spin-off from another shoot.
Thanks too! Yeah, user error. Dozed off lying on the beach waiting for stuff to happen. Next thing I know, the gal is in the air. D700 with ol' and worn Nikkor 80-200/2.8.
Been productive lately so more stuff to come in the following days.
A spin-off from another shoot.
Autumn kite surfing Sunday
Hanging out with co-workers last Sunday, checking the action from the beach. Shame I wasn't prepared with my own wet-suit so I could've gone in the middle of the lake closer to action. The 200mm on a FF was lacking in range a bit.
Hope you enjoy!
Sorry 'bout teh hueg pic dumb again.
Hope you enjoy!
Sorry 'bout teh hueg pic dumb again.
This man speaks the truth.
The main flash was SB-900, fill was SB-800. Check the Flickr.
Long story ahead, non-Nikon shooters ignore this:
The CLS does indeed work via infra-red when you are using an SU-800 commander unit.
But the D700 popup flash and other Nikon CLS-cabable master flashes (SB-800, SB-900) sync via visible light as they have no IR emitter. This can lead to unwanted shadows if the subject is very close to the camera and you absolutely do not want any on-axis fill. With a speedlight you can always bounce the master sync flash the other way for example.
When using a popup flash as a CLS master you can however either block the flash from sending visible light (divert the flash with your palm or piece of exposed film works) or have enough distance to the subject so that light falloff in conjunction with aperture kills the small master sync flash.
Of course the small master sync flash is invisible in decent light enviroments.
The CLS can sync all slave flash groups and channels up to 1/8000 in either TTL or M mode while the Skyport is limited to around 1/200-1/250 depending on how hard I drive the slave flash. No TTL with Skyports either and you have to adjust the flash power from the speedlight itself.
The Skyport on the other hand is very handy when you aren't in a hurry, work in darkness or have to trigger flashes from strange places where the optical sync doesn't bounce.
Thanks, depending on the situation either CLS or Elinchrom Skyport.
Had the priviledge to do portrait and promo work for a Finnish artist Julia Prusi who's work is on display on the streets of Tampere. Was a fun shoot, had time for a couple of different setups but this early one was my favourite.
The light setup.
The light setup.
You do lose a most of your flash power and gain nothing as small strobes can't dump their caps that fast so it's only useful for short ranges. Elinchrom Ranger set is where you should go if you want a true fast sync with power too. Too bad the price is horrible though. :faint:
I worded myself badly there, apologies. Mostly I was saying that the K7 lacked in image quality, AF, speed and handling to the relatively old D300 despite it was hailed as the most mature Pentax prosumer body and going head-to-head with the D300.
Now, I haven't owned a D300 or K7 so I'm mostly talking out of my butt but fact remains that unless you raise the bar, you've gone nowhere in the digital camera world of crap and hurt.
Same goes for D300s and 5DMk2 - not raising the bar is the same as flunking hard.
My thoughts, crap as usual.
The K7 was hyped to death and it flunked spectacularly compared to it's (so called) main rival D300 so I'd say Pentax isn't ready for prime time.
Zoom time perhaps. (AAAHAHAHHAHAH!)
But seriously, I highly appreciate Pentax for trying new stuff with its cameras.
Get it. Much more practical than the fisheye.
Meanwhile!
I was invited to document their rehersal before a gig with a new line up after a long hiatus. Rehersal space was naturally a small concrete bunker but did my best there. Gelled SB-900 bounced from walls.
Tsik tsik, boys, boys... less gear snobbery and brand wanking and more pictures.
Yeah, that was the best I could think of. :faint:
Hide your children!
Hmm, what can I say... One of your best sets possibly?
I liked the more aggressive approach in these. The framing, tilting and general action seemed more in-your-face. Not sure if anyone else feels the same.
Last edited by spankmeyer, .
If you change the 'fruit' to 'ROI' or 'economy' or any other buzzword you are making a cheesy emotional disconnection between the elements and that kind of crap goes down well in marketing.
Yeah, the 80-200/2.8 hasn't got the smoothest bokeh unless I get closer. That was @ 170mm, the subject about, dunno, 10-20 meters away, heavy rain with high enough shutter speed creates those small highlights which makes it look even stranger. (1:1 crop attached for your curiosity). For foreground bokeh I would not consider this lens as the prime candidate.
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wat
Shooting wide open does make the bokeh highlights round but lenses with good bokeh are known for the smooth edges around highlights and more gradual shifts from highlights without strange halos.
Or that's how I see a good bokeh lens.
Lightness falloff in corners when shooting wide open does happen with some lenses more or less but that's simply a side effect of the particual optical design and does not correlate to bokeh smoothness whatsoever.
Last edited by spankmeyer, .
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