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really killer!!!Another from the Book Cliffs:
D3, 14-24/2.8 @ 14/f11:
Thanks, Matt. This is awesome. Love that rust color.really killer!!!
MCS
How about putting some car in this place and make some clouds?really killer!!!
MCS
I really like the first one! It could be matted and framed hanging on a wall.An odd day. Locked out of the house accidentally and wandering around with my camera, waiting for the wife to return. A bit gloomy, but hey, you take what you find right?
Gloomy, maybe, but interesting, and very kewl processing.An odd day. Locked out of the house accidentally and wandering around with my camera, waiting for the wife to return. A bit gloomy, but hey, you take what you find right?
Very nice! I like the way you've isolated the center flower.
Love, love, love this one!!poor little froggy!!!
Beautiful portrait, Leif. Congrats on the new lens. I love my 85/1,4, you'll no doubt love yours as well.This last page has some really great images, folks! That Chevy pick up reminds of my childhood. A local farmer had one - two-tone! dark green and black. Unusual here; being Norway. I can still hear the engine´s rumble (or is it my head? )
I just got a Nikkor 1,4/85 ais for the D200. The other night we (the broadcasting I work for) arranged a tribute to the poetry hero of my youth (70 yrs birthday). He can still read!
leif e
I probably could have asked this better. That interior photo appeared to need a small aperture, something on the order of F11-16 I would guess, unless of course you focus stacked. Assuming that is correct I just wanted to know how well the sensor held up to such a diffraction inducing aperture. When I owned the D2x F11 was really pushing the envelop with noticeable softening of detail. I was curious if the D3x falls into the same situation.Rob, if I understand your question right regarding DOF and diffraction - AFAIK DOF depends only on "film" format (at the constant aperture). So diffraction could come into play at high apertures which I haven't use for this pic.
Let me clarify a bit. I certainly did not mean for my question to be disparaging remark about your workflow and in fact like you also do a lot of post production work on my files as well. I see little to any difference in the philosophy of manipulating photographs in the wet dark room compared to the digital darkroom. Its all good, I was just curious as to what this new camera was doing on its own accord.This photo was made of 4 exposures (-2, -1, 0, +1 EV) blended in PS. But it took me 20 min to post-process it. This is an easy case. I also so make some color correction just to make the photo "sing" (well, I'm still learning). In general, I don't see any problem doing PP - people tend to remember more vivid picture of anything anyway, and we capture that moment (as photographers). So the result should be more vivid that it originally was.
I could easily believe this having worked for years with large format trannies, scanning etc.I don't believe any pro photographer present its work as is - no way. So 99% of my photos are PP'd. But most of the time I just do some color correction and run one pretty simple action in PS to sharpen an image for the web.
As to the color rendition of the D3x - never had problems with it even if I take pics in JPEG. But D3x requires way less PP compared with what I do with my scans from LF film
I like the new construction work photos, excellent as usual.Here's another example (D3x, 24-70, all one exposure, processed in PS, done for a client's local office):
I am jealous, we got no fall this year, went straight to winter, trees look awful here. Luck dog.Can't get enough of Fall colors.