Thanks Gareth, nothing subtle there! It's been done that way with EPZ in mind - with a black background the image will look as intended. Hopefully anyway!

It's ironic though that we vignette images when some fret about natural vignetting in lenses. The vignetting in ultra wide angles can be quite helpful.

Ronniemac, you won't be disappointed.

Typo in original post corrected.

Then I think you've done what you can and they've turned away evidence. Very strange, perhaps something to do with being admissible or not in court?

I would use the compact camera I always carry and let them have the SD card, after I'd kept a copy of course. In the case of a phone I'd put the images on a pen drive for them and let them have that, or e-mail them.

I can't see any reason why your helpfulness should be turned around so unhelpfully. It discourages anyone from being of assistance and just leads to nobody willingly getting involved at any level.

Yes, I did my fair share of lying on the ground, subject of course to the natural locations allowing this. The best fungi seemed to delight in growing in the most inaccessible positions. It always fascinates people when they find photographers lying down to make images, but they soon join in.

I don't go in much for vignettes Gareth, but made an exception with this mallard, which I wanted to look like an illustration in perhaps some Victorian nature treatise:

I don't think that's right Algi, and moire and jaggies are different things by the way. You would need much finer detail than those images to make moire a problem. It's actually quite difficult to get moire with either the K-5 IIs or the Ricoh GR, unless we go out of our way to generate it.

Last week saw us in the Nairn area, actually in a cottage just on the outskirts of Auldearn. One of the highlights for me was Abriachan Garden, a delightful place of hidden paths and chaotic plantings of the most beautiful flowers and fungi. Very well worth the £3.00 admission. It must be famous because whilst we were there there were also two photographers from a Russian magazine.












All images with the K-5 and the 18-135mm WR or 55-300mm lenses.

Still Life is a very difficult genre and it's vitally important to first get the composition right. As it stands, we have three unconnected items sitting on a map and I think first step is to decide what they are there for and how they relate to each other. Also, two locations are clearly visible on the map, so what is their significance? Is it about a journey, if so why is one blurred and one sharp?

If you want narrow DOF perhaps consider having the map orientated so that the journey on the map is the sharp area, then add items that complete your story. Perhaps they could all be in a briefcase. Then if we had several passports, for example, plus a classy watch and a weapon of some sort we would have a clear story. Your story needs to be built logically so we can read it.

Then we move on to the lighting and the actual exposure settings.

Sure, the Terms of Use are found by following the link at the bottom of every page. Anything that isn't clear, feel free to drop me a PM and ask.

No it's not and the poster it refers to will be aware of it. The link has been removed.