The shape of the catchlight reflections in the eye will be different, if that matters to you. Also, if you have any interest in portability, the octo boxes fold up much more easily than the rectangular ones. But you can join two rectangular (or square) boxes side-by-side to temporarily form a double size softbox.
Lots of studios will have both.
Thanks for backing me up on the shooting mode
Shadowfixer1 wrote: The shooting mode doesn't matter since the exif for the images match. Why would it matter how you got there if the exif matches? The meter or something is off on one of the cameras. I suggest going outside on a sunny day and metering off a paved road that has some age on it and see which one matches the sunny 16 rule. That will let you know which camera is accurate. If you have a gray card, then that's better but the old pavement trick works if you don't have or want to buy a gray card.
Eh? I made no mention of the shooting mode???
Nikon Shooter wrote: The OP forgot to mention the MODE in use!
KCook wrote: You are right, they should be the same brightness. Did the camera making dark images have a polarizing filter on the lens?
What difference would it have made in any priority mode, Kelly?
You are right, they should be the same brightness. Did the camera making dark images have a polarizing filter on the lens?
Driving to Flag from which direction? If every night has to be in Flag, Sedona is still an easy day trip. Or can you range over most of Arizona?
Canon/Olympus guy here, I know nothing about specific lenses for Nikon.
I live in the American southwest, which is where I shoot most of my landscapes. For natural landscapes it's very rare that I even need 24mm, much less wider.
Cities are a different story, a 24 can be useful there. Where I most often want to go wider than 24 is for interiors. Both of buildings and vehicles.
Program mode can be an easier starting place than Manual mode.
My E-M5 (original) pushes red instead of blue. In Auto mode the WB is stuck on Auto. But in the PASM modes I use Daylight WB instead of Auto. Check that the color adjustments are all centered. Also, the Mark II has a fancy color profile control that my model lacks. Check that it has not been messed with (or just reset it).
I can (sometimes) get a washed out tonal rendering similar to your problem when using gradients. Make sure the Gradient control is set to Normal.
It is normal for Auto mode JPGs to have extra vibrance. That is due to the Auto mode always applying the iEnhance picture mode. In the PASM shooting modes you get to set the picture mode to something more normal. In my opinion the iEnhance pictures are so overcooked they look childish.
My Dell is basic, and it has been fine for my use (I don't do video). Dunno whether any of the color management systems trip over the fancy video cards.
The one annoyance with my Dell is their proprietary Help / Diagnostic app called Cortana. I never use it, but cannot get rid of it, and it keeps nagging me to update it.
I agree. Also, what "terms of compression" do you think are needed for SP??? I shoot SP mostly with WA (and zero concerns about compression). So far 90mm is the longest focal length I have used for SP.
Nikon Shooter wrote: Focal length is focal length, zoom or prime.
Zooms = variable compressions as primes = fixed ones.
If the camera is in working order the images will be good. But with a cheap camera that old there is always a risk that it will develop some problem.
These days photography is my only hobby, so automatically my most expensive hobby at the moment.
In my distant past I found that boating and racing sports cars were not cheap either.
The deepest money pit I know of is show horses, which a friend of mine fell into.