In article <[email hidden]>,
[email hidden] says...
Quoted message said:In article <[email hidden]>,
RS said:In article <[email hidden]>,
[email hidden] says...
Quoted message said:Ron Schiller writes:
> What kind of jockey wheels are these? They're on a DuraAce
7700ss
Quoted message said:> and the writing says "DuraAce sealed bearing pulley" on the
lower
Quoted message said:Quoted message said:Quoted message said:> but they are different then most other jockey wheels I've
seen.
Quoted message said:Quoted message said:Quoted message said:
http://www.rickschiller.com/der7700.jpg
http://www.rickschiller.com/der7700_.jpg
Excellent photos. Keep up the good work. Meanwhile, I'm sure
you
Quoted message said:Quoted message said:can
Quoted message said:find the answer at better bicycle shops.
Jobst Brandt
Amazing what one can do with a $150 camera these days.
Yesbut, your lighting betrays your professionalism.
At a guess, you turned off the built-in flash (which would have
hilariously overexposed the derailer) and used a hot light, or as us
cheap photographers call them, "halogen work lights, $15 with stand
on
Quoted message said:sale."
--
Ryan Cousineau [email hidden] http://www.wiredcola.com/
"I don't want kids who are thinking about going into mathematics
to think that they have to take drugs to succeed." -Paul Erdos
Ok, I'm busted, I was a professional photographer but have dropped
it. Lighting is all judgement calls, Halogen is as you say the $15 choice
and not a good one because they have a very low Kelvin temperature
and will shift colors very warm to red. You can compensate to get
neutral tones but few amateurs would have a clue. I used the cheesy
on camera flash on the back side photo of the derailleur, front photo
no flash, all natural light. No reflectors, no nothing. Its all
judgement calls and seeing the light. I never shot digitally as a pro,
always used film. My original comment stands, its a 4M $150 Canon
digital. Amazing how convenient its all gotten. And a little Photoshop
tweaking never hurts. EBay here I come . . . . .