You want answers? We need questions! (or ask Ron Reznick)

HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
edited January 15, 2007 in Wildlife
Hi y’all,

My teacher, Ron Reznick, is looking for questions. He’s trying to make his teachings more accessible to photographers who haven’t reached the level of many of his students. One of the ways for him to do this is to get questions from beginning to intermediate photographers.

I figured since he’s looking for questions I would see if any of our Dgrin members have questions for him.

So if you have any questions (i.e. “how do you expose for a white bird?”, “what settings do you use in low light?”, etc). Post them here and I’ll feed them to Ron and post his answers here.
Harry
http://behret.smugmug.com/ NANPA member
How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
«13

Comments

  • justMEjustME Registered Users Posts: 209 Major grins
    edited November 20, 2006
    Q's
    You asked so here I go..hope I haven't over done it. :D
    1. What is a good rule of thumb for setting the correct ISO?
    2. If I have the right ISO do I have the right F-stop?
    3. In poor lighting how can I compensate?
    4. PP suggestions for better photos-
    5. Tips for rich black and whites-
    6. Does Harry pay those birds to pose?
    Canon EOS 30D & 50D
    Arizona, USA
    http://justineolson.smugmug.com/

    ..........................................................................................
  • Ric GrupeRic Grupe Registered Users Posts: 9,522 Major grins
    edited November 20, 2006
    1) Do these pants make my ass look fat?

    2) How long do I need to cook a 22 lb. turkey?

    3) Just how critical is white balance? I seem to be able to easily correct it in post.
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 20, 2006
    Do these pants make my ass look fat?

    No, your ass needs no help to look fat biggrinbounce2.gif

    2) How long do I need to cook a 22 lb. turkey?

    Why waste time cooking it? binge.gif
    3) Just how critical is white balance? I seem to be able to easily correct it in post

    get the answer to ya as soon as possible
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • Ric GrupeRic Grupe Registered Users Posts: 9,522 Major grins
    edited November 20, 2006
    Why waste time cooking it? binge.gif

    I ain't coming to your house for Thankgiving!:yikes


    get the answer to ya as soon as possible

    ...be looking forward to it.:D
  • dbaker1221dbaker1221 Registered Users Posts: 4,482 Major grins
    edited November 20, 2006
    blowouts (rough rule of thumb set ups) ...shooting light objects or darker with white background.

    damn purple fringe.

    These are probably beginner questionsheadscratch.gif
    **If I keep shooting, I'm bound to hit something**
    Dave
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 20, 2006
    dbaker1221 wrote:
    blowouts (rough rule of thumb set ups) ...shooting light objects or darker with white background.

    damn purple fringe.

    These are probably beginner questionsheadscratch.gif

    Those are outstanding questions. I've seen advanced shooters have problems with those issues.
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • dbaker1221dbaker1221 Registered Users Posts: 4,482 Major grins
    edited November 20, 2006
    matrix, center or spot.....when & why?
    **If I keep shooting, I'm bound to hit something**
    Dave
  • mushymushy Registered Users Posts: 643 Major grins
    edited November 20, 2006
    How do you setup to shoot dark subjects against a bright background (birds flying against a bright sky).
    Which metering mode to go with and how big a part does exposure compensation play?
    May I take your picture?
  • gluwatergluwater Registered Users Posts: 3,599 Major grins
    edited November 20, 2006
    1. When shooting white or yellow subjects during sunrise or sunset does it help to set the correct white balance in camera so you do not blow out the yellow channel? And if so, what is the prefered WB for sunrise and sunset?

    2. How do I use my flash? ne_nau.gif
    Nick
    SmugMug Technical Account Manager
    Travel = good. Woo, shooting!
    nickwphoto
  • ZanottiZanotti Registered Users Posts: 1,411 Major grins
    edited November 20, 2006
    1. White / black exposure issues
    2.Since these are such issues, along with critical focusing, (esp eyes), shoud I shoot center weighted and recompose in post processing? In other words, go back to centering the subject in the shot and using PS to compose for dramatic effect.
    3. Is auto focusing really the best here? I have been having good luck switching over to manual focusing and making sure the eyes are clear.
    4. Top post processing tips and tricks. How much sharpening is necessary and how to apply?
    5. What's the best use of flash in nature and outdoor situations?
    6. Focus AI servo, One shot, Continuous?
    7. RAW situations and pro/cons. I have never , ever even tried it. I dont know why I am afraid of it!
    It is the purpose of life that each of us strives to become actually what he is potentially. We should be obsessed with stretching towards that goal through the world we inhabit.
  • pathfinderpathfinder Super Moderators Posts: 14,694 moderator
    edited November 20, 2006
    Is it true that Reznik is going to be using a Canon camera??

    Is there an EOS to Nikon lens adapter??
    Pathfinder - www.pathfinder.smugmug.com

    Moderator of the Technique Forum and Finishing School on Dgrin
  • gluwatergluwater Registered Users Posts: 3,599 Major grins
    edited November 20, 2006
    pathfinder wrote:
    Is it true that Reznik is going to be using a Canon camera??

    Is there an EOS to Nikon lens adapter??
    I haven't heard anything about this ne_nau.gif.

    You can use an adapter to fit Nikon lenses to an EOS body but not EOS lenses to Nikon bodies. The Canon Lenses will not physically fit the Nikon bodies. The Nightmare Before Christmas was actually shot with a Canon body and Nikon Glass.

    Are you and Nightengale taking a class? This means that both nature photography workshops I have taken have been taught by Nikon shooters. I think I'm confused.
    Nick
    SmugMug Technical Account Manager
    Travel = good. Woo, shooting!
    nickwphoto
  • jwearjwear Registered Users Posts: 8,005 Major grins
    edited November 20, 2006
    pathfinder wrote:
    Is it true that Reznik is going to be using a Canon camera??

    Is there an EOS to Nikon lens adapter??
    #1 just for research
    Jeff W

    “PHOTOGRAPHY IS THE ‘JAZZ’ FOR THE EYES…”

    http://jwear.smugmug.com/
  • bfjrbfjr Registered Users Posts: 10,980 Major grins
    edited November 21, 2006
    Where do all the good lookin Photog Chicks hang out ?? rolleyes1.gifblbl.gifrolleyes1.gif

    What's your current position on Nikon NX ?

    Do you feel that a 3 step process going from NC4 to NX(mainly for control point use) finishing in PS is a worthwhile process?
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 21, 2006
    quote=bfjr]Where do all the good lookin Photog Chicks hang out ?? rolleyes1.gifblbl.gifrolleyes1.gif

    Usually at least 100 yards from your current position.
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • DavidTODavidTO Registered Users, Retired Mod Posts: 19,160 Major grins
    edited November 21, 2006
    Harryb wrote:
    Usually at least 100 yards from your current position.


    Of course wind direction has a lot to do with that, too. Downwind it can be up to 500 yds.
    Moderator Emeritus
    Dgrin FAQ | Me | Workshops
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 21, 2006
    DavidTO wrote:
    Of course wind direction has a lot to do with that, too. Downwind it can be up to 500 yds.

    I was considering that for my reply but I left it out because I thought it was too mean. I guess we all know who the nice mod is now. rolleyes1.gif
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • DavidTODavidTO Registered Users, Retired Mod Posts: 19,160 Major grins
    edited November 21, 2006
    Harryb wrote:
    I was considering that for my reply but I left it out because I thought it was too mean. I guess we all know who the nice mod is now. rolleyes1.gif


    I'm just here to make you look good, Harry. Someone has to.
    Moderator Emeritus
    Dgrin FAQ | Me | Workshops
  • Ron ReznickRon Reznick Registered Users Posts: 18 Big grins
    edited November 22, 2006
    Hi Dgrinners!
    We'll see what I can do here... some questions are rather vague.

    What is a good rule of thumb for setting the correct ISO?

    It's best to know the noise characteristics of your camera at various ISO settings, as well as your capabilities of handholding the particular lens on your camera. If your shutter speed is too low to handhold the camera with a high enough yield to get the shot, or too low to stop action (if any movement of the subject will be a problem), then you need to raise to ISO (within limits set by the noise character you can tolerate). I generally raise the ISO in one-stop increments (e.g. from 200 to 400) to double the shutter speed.

    If I have the right ISO do I have the right F-stop?

    Select the aperture based on the desired depth of field and the resulting "look" it gives to the shot given the specific camera-to-subject distance and subject-to-background distance. If this is not critical to the shot, and you can open the lens to raise the shutter speed, it may be preferable to raising the ISO.

    In poor lighting how can I compensate?

    Generally, what people do is push the shot in a poorly-lit situation (e.g. in a cave, nightclub, etc.) when shooting available light. You overexpose based on the actual scene average, which will raise the shadow detail above the noise floor. This of course slows the shutter speed and makes the shot more difficult, so either open the lens aperture or raise ISO (or both). This is the primary reason why folks like using a fast lens (e.g. 35mm f/2, 50mm f/1.4, etc.), as it allows you to open the aperture wide to gather more light. Don't forget support devices and bracing techniques (see images linked below for solid handholding techniques):

    http://www.trapagon.com/temp/PortraitHold.jpg
    http://www.trapagon.com/temp/LandscapeHold.jpg

    PP suggestions for better photos

    One of those vague questions. The general color-correction process is as follows:

    1. Adjust WB and EV;
    2. Balance the shadow levels in each channel if necessary and reset gamma to neutral in each channel after shadow correction;
    3. Make any global contrast and gamma corrections necessary and apply just enough USM (Unsharp Mask) necessary to offset the softening caused by the anti-aliasing filter.

    Follow this by any post-processing required (rotation, cropping, etc.) then resize if necessary for output. The final step is to apply the USM required to finish the shot for output, and this amount will change depending on the output media. The target is to yield a crisp result with no visible halo on a high-contrast edge when viewed at 100% for screen use or output to glossy media. The higher the dot-gain of the media the more sharpening the image will require to achieve the same results... matte requires more sharpening than glossy, fine art or watercolor requires even more, cloth media, more yet.

    A detailed answer to this question will require at least two or three chapters. I know, as I've done this before. Hopefully, this answer at least points you in the correct direction.

    Tips for rich black and whites

    Contrast processing and knowing how to make use of the channel mixer to achieve the character desired are the keys to handling B/W output (more blue channel yields a harder contrast gradient, more red channel yields a softer gradient... combine this with the appropriate contrast processing for the look you want).

    Just how critical is white balance? I seem to be able to easily correct it in post.

    Correct adjustment of WB at the time the shot is acquired makes a major difference in the exposure of the red/blue channels. If either of those channels is going to be at risk, you are far better off getting the WB correct (or even setting it too high to save the blue channel or too low to save the red -- fixing it later in processing). If you don't, then trying to fix a blown channel will yield a color-cast in the highlights.

    shooting light objects or darker with white background.

    These situations can trick the matrix/evaluative (scene) metering system, as you know. The best ways to handle this are to either be able to evaluate the scene average and use the proper EV adjustment (this requires training and experience), or to use a spot meter on the target itself and, with the target luminosity known, apply the appropriate EV adjustment to yield the correct exposure.

    EV references :

    64-128 = 1.7 stops
    128-192 = 1.3 stops
    192-255 = 1 stop

    purple fringe.

    High-contrast situations (e.g. branches against a near-white sky) can cause this. The older-design lenses have more problems with this than newer-designs, and those lenses with ED glass generally have less trouble with this than non-ED. Don't overexpose those sorts of shots, and esp. try not to blow the sky -- it will reduce the problem if your lens is one with chromatic aberration (CA) issues.

    matrix, center or spot.....when & why?

    Matrix is a scene meter. It evaluates the entire scene, compares it to a scene-database, and applies the appropriate EV adjustment required to match the scene in the database. It can (and often does) require tweaking of EV for proper exposure, but once you understand the way that meter and the database work together it is generally the most accurate for most situations.

    Centerweight and spot essentially try to set the target region to the meter-calibration point (generally between 112-120) Centerweight takes roughly 90% of the data from the center circle and 10% from outside the circle, and is most useful in portrait situations or other situations where the subject is framed primarily within the circle. Spot is for small targets. Either of these two meters should then be adjusted based on your evaluation of the actual subject luminosity and the difference between that subject luminosity and the calibration point.

    A reference greyscale (use this to train your eyes):

    http://www.trapagon.com/temp/Greyscale.jpg

    How do you setup to shoot dark subjects against a bright background (birds flying against a bright sky).
    Which metering mode to go with and how big a part does exposure compensation play?

    Good question. You will often need to overexpose the sky to handle this the way most folks want to see the shot (otherwise you'll lose feather detail in the shadows). Know the luminosity of both the sky and the target. Decide how much you want to push the bird over the sky level (say the sky is 150 and you're using the evaluative meter... that would require +0.3EV to properly expose the sky. If the bird would be around 50 in that situation and you decide you want to bring the bird up to 80, you push the exposure +1.0EV for a total of +1.3EV, which would overexpose the sky to 185-190). I;d plan on using the scene meter (evaluative on a Canon) to shoot into the sky -- tracking a bird with the spot meter is very difficult.

    When shooting white or yellow subjects during sunrise or sunset does it help to set the correct white balance in camera so you do not blow out the yellow channel? And if so, what is the prefered WB for sunrise and sunset?

    Yellow is a blend of Red and Green, and the channel at risk is the red channel. To alter the green, of course what you do is reduce the entire exposure. To save the red channel, the best bet is to set the WB low... often, a shot at sunrise has the sky in the 4500-5000K region and the earth (in shadow) well above 10000K. By setting the WB for the sky you can overexpose until the red channel is at risk, but you'll create overly-blue shadows in the landscape. If the composition is 50/50 sky/land, splitting the WB (e.g. setting it around 7000-7500) will give you a good balance, but you have to watch that red channel carefully. The same principle holds true at sunset, but often you have a golden glow on the land so your best bet is to drop the WB significantly (to 4800 or so usually) to save that red channel unless you are constantly watching it. The color temp at sunset varies depending on altitude and latitude... just watch that red channel if you have the ability to do so with your camera.

    How do I use my flash? ne_nau.gif

    Oh boy, would that require a long reply! Please be more specific...

    White / black exposure issues
    Since these are such issues, along with critical focusing, (esp eyes), should I shoot center weighted and recompose in post processing? In other words, go back to centering the subject in the shot and using PS to compose for dramatic effect.

    Well... you could, but that wastes pixels and removes the composition from the acquisition phase (not a great idea). It's better to learn to use the AE Lock button to lock exposure, then recompose and fire.

    Is auto focusing really the best here? I have been having good luck switching over to manual focusing and making sure the eyes are clear.

    If you're shooting wide apertures and are close to your subject for the focal length, then often manual focusing will allow you to place the focused-plane with more precision. The other way would be to remove the AF-activation from the shutter release (use the AF-On button: * on a Canon), lock focus by letting go of the button, lock exposure by holding the AE Lock, recompose and fire.

    What's the best use of flash in nature and outdoor situations?

    My opinion? I don't like the look of flash in nature shots... it looks very un-natural. If you are going to use it, generally the best way is to dial down EV on the flash so it just barely provides a tiny bit of fill, but puts a highlight in the eye (the most attractive use of flash in nature-shots is this, IMO).

    Focus AI servo, One shot, Continuous?

    I prefer to stay in Continuous-AF and control the focusing system using my thumb on the AF-On button. YMMV.

    RAW situations and pro/cons.

    The ability to adjust EV and WB, plus more accurate color and contrast adjustments (more shadow and color data in the 12-bit RAW file than the 8-bit JPG) are the primary positives (along with the ability to improve processing of a shot as the software improves). The negative is storage space.

    Is it true that Reznik (sic - Reznick) is going to be using a Canon camera?? Is there an EOS to Nikon lens adapter??

    I've gotten a 5D, 24-70L, 70-200/2.8 IS, and 50/1.4 to work with and I'll be doing some shooting with it at Bosque. The adapter I've seen (Novoflex) doesn't allow anything but stop-down metering with the Nikon lenses and I doubt whether AFS would function (or VR). I'll check further later. I shoot Nikon normally, but I thought it would be a good idea to play with the Canon body (oh man, are the ergonomics different!). It should be quite interesting once I have the hang of it and can think with it in the field without losing my concentration.

    What's your current position on Nikon NX?

    At the moment, I feel the interface needs some serious work, but the biggest problem IMO is the fact that there is not enough data in the histogram at the current size to do adjustments in a professional manner, and it can't be resized. There are a lot of good things about it, and when the interface has been tweaked to allow rapid workflow I'll get into it again. I prefer NC/PS for my workflow...

    Gotta go play some guitar music with some friends. I'll check back to see if there are more questions later tonight.

    Ron
  • ian408ian408 Administrators Posts: 21,904 moderator
    edited November 22, 2006
    Something I have struggled with are the white birds. Backgrounds could be
    the sky or vegetation. Even at -1EC, I sometimes end up OE. What gives?
    Moderator Journeys/Sports/Big Picture :: Need some help with dgrin?
  • gluwatergluwater Registered Users Posts: 3,599 Major grins
    edited November 22, 2006
    Thanks for the great reply and explanations Ron. BTW the "How do I use my flash?" comment was meant as a joke, but thanks for the try. I'm looking forward to meeting you in Feb. Here's another question for you. Do you believe in noise reduction software when shooting high ISO? I've seen some people use it well but others just destroy images with it. Personally I'd rather have a slightly noisy image than a fake looking one with no detail due to noise reduction. Again, thanks for taking the time.
    Nick
    SmugMug Technical Account Manager
    Travel = good. Woo, shooting!
    nickwphoto
  • Ric GrupeRic Grupe Registered Users Posts: 9,522 Major grins
    edited November 22, 2006
    Correct adjustment of WB at the time the shot is acquired makes a major difference in the exposure of the red/blue channels. If either of those channels is going to be at risk, you are far better off getting the WB correct (or even setting it too high to save the blue channel or too low to save the red -- fixing it later in processing). If you don't, then trying to fix a blown channel will yield a color-cast in the highlights.

    Thanks for the clear concise reply.
  • bfjrbfjr Registered Users Posts: 10,980 Major grins
    edited November 22, 2006
    Harryb wrote:
    Usually at least 100 yards from your current position.

    Ya know sometimes 100 or 500 is plenty close enough rolleyes1.gifblbl.gif
    20145890-S.jpg

    Ron great responses, great advise for folks to build on clap.gif

    Harry pin this baby, for all to read, whada ya think??
  • Ron ReznickRon Reznick Registered Users Posts: 18 Big grins
    edited November 22, 2006
    Something I have struggled with are the white birds. Backgrounds could be the sky or vegetation. Even at -1EC, I sometimes end up OE.

    This is the reciprocal of the dark subject/light background situation. What you need to do is train your eyes to luminosity values to make this sort of thing easier (check out that greyscale I posted). If the white bird is against the foliage, and the foliage averages around 50-60, remember that your meter will try to push the foliage to the calibration point (~112-120), thus it would overexpose by 1.3-1.7 stops. Your -1.0EV adjustment would leave your bird overexposed. If the bird is an appreciable part of the frame, it will skew the meter reading positive, but it still may not be enough. Anyway, if you use a spot meter, and your best estimate of the bird's luminosity value is 200, set +1.3 to +1.7EV over the spot meter reading and you'll probably hit it quite closely. In the sky, a good rule of thumb with a white bird is to evaluate the sky level and set the meter for -0.7EV below the level of the sky (e.g: if the sky is 140-160 depending on distance above the horizon, setting the meter at +0.7 would usually nail that exposure, but due to the very bright subject you'd have strongly blown highlights, so setting the meter at 0EV (-0.7 below the sky) would be correct (or possibly off by 1/3EV -- check for blinkies on the histogram).

    Do you believe in noise reduction software when shooting high ISO?

    If you are using software that allows you to analyze the image in sections of light/dark and alter the amount of NR based on noise levels in various luminosity regions, plus allowing alteration of sharpening and other relevant parameters, you can do a good job by being conservative in your settings. Otherwise, the loss of detail that results from the use of lesser NR programs/plugins is more obtrusive than the noise is in my opinion. I'll typically recommend either Neat Image or Noise Ninja as the software is pretty darned sophisticated, and even allows you to save default profiles for the camera's typical output at various ISO.

    Puffin_fish_HS2680.jpg

    Ron
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 22, 2006
    bfjr wrote:
    Ya know sometimes 100 or 500 is plenty close enough rolleyes1.gifblbl.gif
    20145890-S.jpg

    Ron great responses, great advise for folks to build on clap.gif

    Harry pin this baby, for all to read, whada ya think??


    Err, when you "pin this baby" what perchance are you referring to? headscratch.gifne_nau.gif The thread or the butt?
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • AndyAndy Registered Users Posts: 50,016 Major grins
    edited November 22, 2006
    Something I have struggled with are the white birds. Backgrounds could be the sky or vegetation. Even at -1EC, I sometimes end up OE.

    This is the reciprocal of the dark subject/light background situation. What you need to do is train your eyes to luminosity values to make this sort of thing easier (check out that greyscale I posted). If the white bird is against the foliage, and the foliage averages around 50-60, remember that your meter will try to push the foliage to the calibration point (~112-120), thus it would overexpose by 1.3-1.7 stops. Your -1.0EV adjustment would leave your bird overexposed. If the bird is an appreciable part of the frame, it will skew the meter reading positive, but it still may not be enough. Anyway, if you use a spot meter, and your best estimate of the bird's luminosity value is 200, set +1.3 to +1.7EV over the spot meter reading and you'll probably hit it quite closely. In the sky, a good rule of thumb with a white bird is to evaluate the sky level and set the meter for -0.7EV below the level of the sky (e.g: if the sky is 140-160 depending on distance above the horizon, setting the meter at +0.7 would usually nail that exposure, but due to the very bright subject you'd have strongly blown highlights, so setting the meter at 0EV (-0.7 below the sky) would be correct (or possibly off by 1/3EV -- check for blinkies on the histogram).

    Do you believe in noise reduction software when shooting high ISO?

    If you are using software that allows you to analyze the image in sections of light/dark and alter the amount of NR based on noise levels in various luminosity regions, plus allowing alteration of sharpening and other relevant parameters, you can do a good job by being conservative in your settings. Otherwise, the loss of detail that results from the use of lesser NR programs/plugins is more obtrusive than the noise is in my opinion. I'll typically recommend either Neat Image or Noise Ninja as the software is pretty darned sophisticated, and even allows you to save default profiles for the camera's typical output at various ISO.


    Ron
    wave.gif welcome to Dgrin, Ron :D We're really glad to have you here. Looking forward to meeting you in February!
  • Ron ReznickRon Reznick Registered Users Posts: 18 Big grins
    edited November 23, 2006
    Thanks, Andy. MI-4 should be a good shoot, and fun + friends is a good equation any time. I look forward to seeing you there too.

    Is that all the questions, folks? I'm still here...

    Happy Turkey Day!wings.gif

    Ron
  • HarrybHarryb Registered Users, Retired Mod Posts: 22,708 Major grins
    edited November 23, 2006
    Figuring out the correct WB is always problematical for me. I've been experimenting with using the Kelvin temp setting with mixed results especially in the early AM and late afternoon.

    Besides practice do you have any "rukes of thumb" for WB settings?
    Harry
    http://behret.smugmug.com/ NANPA member
    How many photographers does it take to change a light bulb? 50. One to change the bulb, and forty-nine to say, "I could have done that better!"
  • bfjrbfjr Registered Users Posts: 10,980 Major grins
    edited November 23, 2006
    Harryb wrote:
    Err, when you "pin this baby" what perchance are you referring to? headscratch.gifne_nau.gif The thread or the butt?

    I think the term is win/win situation rolleyes1.gif :wow
  • bfjrbfjr Registered Users Posts: 10,980 Major grins
    edited November 23, 2006
    Ron thanks for your reply to my NX question.

    Exactly how I feel about the current state of NX indeed, but I do find those control points hard to resist. Also I feel that w/b/gray points are better handled in NX.
This discussion has been closed.