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Discussion Starter #1 (Edited)
Some work on "Pingu" the gen II Versys 650
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I'll be safetying the circlip with 32thou inconel lockwire before the chain guard goes on... :cool:

Just for the exercise I photographed these with a Fujifilm with an XTrans sensor.
The third image is a full resolution crop... if you want to view an image that's far sharper
than sharpest with more detail than the human eye sees click on the image then
get it to 100% size.

Just for sh1ts and giggles... the set of the split pin is standard procedure on helicopters.;)
 

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Discussion Starter #3
You certainly got your money's worth out of that countershaft sprocket.
Although many rubbish them I never had a properly fitted clip type link come off - although that was on dirt bikes. Have you considered the new screw type masterlink?
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The video.
The previous owner got his "money's worth out of that countershaft sprocket".
The only time Ive ridden the bike was from the previous owners place to mine...
last Friday when I bought it... Ive been giving it the TLC a Versys deserves before
It gets its RWC.

Did not know of the existence of the screw master link Brockie. Thanks for the heads up.

I would not use a circlip master link on the likes of my ZX12R; the Versys 650 however is
a machine with moderate power, so I'm comfortable with the circlip.

The following photo (I shot about 40 minutes ago), not with my XTrans Fujifilm but an old
Fujifilm "bridge" camera... an S6500fd (S6000fd USA market) a very versatile old camera... perhaps the
photographic analogy of a Versys 650 lol. Anyway the old "bridgie" has 2 killer macro modes
I used the lower of those for the shot of the "safetyed" circlip. There's some noise as I didnt bother
about lighting for the shot... If the S6500 has an Achilles heel, it doesnt like low light.

Anyway, good enough image to see, "how to":
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Discussion Starter #4
If your interested in a camera that can do
what your cell phone cant... in the immortal
words of Chandler Haliburton; "by a long chalk"
these units hailing from about 12 years ago
can be had on "fleabay" for between $25 and $75.

Because the unit produces raw files (as well as JPEGs)
the raw files can be post processed to a remarkable degree.
They are only 6.2meg pixels, but pixels are like buckets...
buckets can contain sh1t or gold... given enough light
and a knowledgeable operator the S6500fd produces metal
of a very noble nature... better 6 million buckets of
gold than 16million buckets of sh1t.
 

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I have a Nikon Coolpix B700 which stays on auto 99% of the time. I get some nice sunsets from my patio but the camera kills most of the red and turns it more yellow - even when set to sunsets. My old L120 used to give a much more realistic colour. This sunset was in fact much more red. Any photography advice appreciated. :)

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Much of the quality of your images above is surely due to the lighting. Do you have multiple extra lights on the subject?
 

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Discussion Starter #8 (Edited)
Nice composition Brockie(y)

The problem you are having with colour is "White Balance"... It's quite a colour cast
you have got going there... and colour casts usually wreck a photo.
So check your WB setting.

The B700 was an unashamed marketing ploy by Nikon.

The D700 was Nikons masterpiece digital SLR camera
released about 12 years ago... and still gives state of the art
released today professional DSLRs a run for their money
(think 6 grand just for the body and no lens) and
even beating some of them in terms of sheer speed of focus and frame
rate as well.

Your B700 is a Bridge camera, (Like my Fujifilm S6500fd) and as such is a mightily versatile unit.
You just need to know how to work around their limitations.

Anyway, the only real fault with your image is the white balance.
Try "Auto White Balance" rather than one of the scene presets.
A lower ISO, which would mean the need for very steady hands
would have helped too... with the noise... an artifact of too many
pixels on a small sensor combined with signal amplification due to
low light... A lower ISO setting reduces the signal amplification...
equals less noise.


I like that your horizon is level and your verticals are vertical (as well as your composition).
That means you held the camera level front to rear as well as left to right... well done mate.

I don't mind working with a worthy image and I reckon yours is.
I corrected the white balance, calmed the highlights, and mapped the tones for ya:
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It seems the site has edited my edit. If you want the full monty (my photo processing
program has increased the file size from your under 2 meg to over 8... bytes not pixels;))
PM me and I'll send you a link to the whole file.
 

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I can easily change the "exposure compensation". Is that the same as white balance? Maybe I should sit down over a few nights and actually read through the manual.
You have turned the yellows into blues. The B700 will also do raw which I believe is for professional work but I am not that into it. It's great for taking pics of the moon though. One full moon I should get serious and do a timer set to avoid the camera shake, but every time I set the timer the camera moved imperceptibly on the tripod and I got an image of night sky. PM sent. Thanks.
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Discussion Starter #10 (Edited)
No man, exposure compensation and white balance are very different.

Exposure compensation adjusts how much light reaches the sensor.
White Balance adjusts for the colour of the light... close to sunrise
and sunset the light that reaches us from the sun is a different colour
than the colour of the light of the sun that reaches us at 2pm.
Early morning and late evening is known as "the golden hour"
the light is yellow, it can be seen with the human eye... however
our brain compensates so things look their normal colour,
however the camera does not... everything gets a "cast"... in your unedited
photo there are no greys or whites... they are all yellow, that looks abnormal
and drastically flattens the image. In the edited version you will see the concrete
is now grey and so are the window frames and soffit lining, The shed to the right
of the image now appears as the red and beige it is in reality... instead of yellow
with a yellow/brown roof. More importantly the edited image has depth particularly
the trees seem more dimensional. Whites are always
grey in a photo even if they appear white. You see there is no detail in pure white
If you have pure white in a photo it is over exposed... there is absolutely no detail in it...
it's what you get if you look into a car headlight at point blank range. The inverse is true
for blacks... except they are always grey in a photo too. Pure black has no detail
and in a photo that is under exposure.

To complicate the white balance issue the colour (aside from the brightness) of light
is different in shadow at any given time to the colour of light in direct sunlight. The human
brain compensates for that but the camera doesnt... Unless it has a very good Automatic
White Balance feature. and even the very best AWB will not get it right all the time.
The only real 100% way to get accurate white balance (and it makes a huge difference
to the quality of the image) is to point the camera at a "Grey Card" where you main subject
is in the light to be used, and the white balance of the camera calibrated to the card.
Or have a "Grey Card" near your subject when you shoot and then correct the white balance
in post processing on the grey card.

If you go to the WB chapter in your users manual it will tell you how to calibrate the cameras
white balance. Its called "Preset White Balance".

As for the white balance of the edit I did. There's only so much you can do with a 1.8megabyte
JPEG image... most of the data is not there. If it was a raw file I'd have plenty of data to make a superior
job of correcting the white balance.

Anyway Bro, the edit of your image can now be clicked on to view the "whole" file so there's
no need to go elsewhere to download it, if you want it.

It's 1:49am I'm hitting the sack.

Cheers,

Alan.

A sunset shot from my sunroom
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