On Jun 28, 2004, at 6:38 PM, Jonathan Coleman wrote:
(Not sure whether this gray balance can be saved and applied to all images from future sessions. As a studio-only photographer, we work in a calibrated environment - so one gray balance should fit all, provided it can be saved as a default).
You can save out the gray balance to file that you place on a card. Insert the card in the camera and load/save the gray balance in the camera. You can then call that particular balance up at any time. I use one balance setting for almost all of my studio photography. Works very well. If I custom balance the camera to some unusual location lighting, I can switch back quickly to my standard studio setup via the camera menu.
The SLR/n is an ideal portrait studio camera with one possible exception. The lack of an AA filter helps to give really great resolution. It also yields images with more aliasing artifacts and moire than your used to with a D1x. I like working without an AA filter. I learned how to deal with these issue long ago with cameras that were FAR more prone to this sort of effect than the SLR/n. If you get this camera, know that its an issue that you will have to learn to deal with in one way or another. The forums at places like dpreview are littered with posts (flames?) from photographers who haven't quite grasped this concept yet. The type of moire that it is the most obvious and most difficult to deal with (requires local work; rarely a push button solution) is chroma moire where a bright rainbow like pattern will appear in object that may in reality by near monochromatic. One of the things that's most prone to causing this type of moire is fabric with a fine distinct repeating pattern... something that you're apt to see from time to time in ordinary portraits. It may show in the texture of man's suit coat; or in denim jeans; or in the fine texture of a bridal veil.
Bob Smith
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