fotkaman wrote:
To the new year of 2013, I wish you a bottomless well of inspiration, enough money to buy what hardware you need, the time to do shooting as much as you want, lots of clients competing over your creations, but most importantly, HAVE A GOOD LIGHT!
Thank you for these kind thoughts. Back at ya.
Bret wrote:
Erv found this one at a garage sale about a month ago and I bought it from him. Works great...thing is built like a tank.
Manfrotto 3265 Grip Action Ball Head with Quick Release - Supports 5.6 lb (#3265)
While I am sure there are photographers who love pistol-grip heads, I am not one of them. I used one for a while and eventually abandoned it. I gave up on it for a number of reasons. First, it was much heavier than I liked. Secondly, I found it did not hold my camera with a long, collared lens adequately. Additionally, the quick release clamp was not arca-Swiss compatible, necessitating mounting two QR plates to my RRS L-plate, which greatly reduced my comfort when shooting handheld. Lastly, I found it to be an absolute pain to use when doing panoramas, especially when I wanted to shoot the panorama once in horizontal format and then again in vertical format.
In theory it seemed like a great idea, but from a practical everyday use standpoint, I found this type of grip lacking.
Ront53 wrote:
When selling on Ebay, always put a reserve price on the item. I made the mistake, did not, and it cost me 1/2 the price that was asked. Low bid took it.
Setting a reserve price on eBay is one approach to selling, but personally one that I don't favor much. On too many occasions I've had to make repeated bids only to discover that the reserve had been set much higher than I considered the item to be worth.
Instead, when I sell on eBay I set an opening price equal to the minimum price I am willing to accept to sell the item and explain at the beginning of the item description why I am setting that higher opening price rather than using a reserve. If my minimum is too high in their mind, they can simply move on rather than waste time trying to "discover" my reserve. I have sold many older pieces of camera gear this way without disappointment. In all cases I have had a reasonable amount of bidding activity and received a fair price for the item.
I have also used CraigsList to purchase a number of my lens and my last two camera bodies, all with great results. I always meet the seller inside in a public place (this as important for a buyer's safety as it is for a seller's). I've yet to have anything other than a pleasant and successful transaction.
olcoach wrote:
I have had about 4 Canon cameras around in the last few years so I thought sure I would have a utility CD so I could put the new 7D firmware in but I have had no luck finding one. Does anyone here have any idea where one goes to purchase one. The canon site has no listing and I'm stuck. Help, and thanks. Mike
The latest firmware is usually available on the Canon website, along with instructions for installation.
charryl wrote:
rps wrote:
I use a Canon Pixma printer but am thinking of replacing it. It uses a three ink colour cartridge and produces 9x12 prints of a quality I would have been delighted with back in the days I did Cibachrome. They also compare well to the odd commercial print I have done (when I want to exceed 9x12)
My question. Would there be a noticeable difference if I got a printer with multiple ink cartridges?
In my experience multiple cartridges are most noticeable in improving skin tone colors.
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This has been my experience as well. You might take a look at the Canon 9000 Mark II (dye inks) or 9500 Mark II ( pigment inks).
I've used Borrow Lenses a number of times (see Rbode's post above for link). You might consider calling them, telling them what you have and what your intentions are. I'm sure they could make some suggestions that would meet your needs.
fototaker27 wrote:
Photographer Jim wrote:
I firmly believe that in order to create photographic art (or any type of art for that matter), one must have a firm understanding of the technical (scientific) aspects of one's chosen medium. Glassblowers need to understand how heat, chemical compositions, etc. interact in order to predict the behavior of molten glass. Painters need technical knowledge covering brush composition, shape, pigment behavior and color theory. Photographers should have knowledge of light, how it behaves, and how it interacts with a lens, film, or sensor. But given that, I also firmly believe that great technical knowledge alone is insufficient for producing art of any quality. Technical knowledge alone does not guide one in matters of composition, form, mood, message, or emotional impact. Technical or scientific knowledge can allow an artist to work more efficiently and effectively, and will allow for repeating successful approaches, but without starting from a foundation of an artistic idea, or an expressive vision or message, combined with a firm sense of aesthetics and composition, great technical knowledge alone will just produce technically good snap-shots.
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Ditto, with one proviso. Some of my most arty shots have come from breaking the rules. Some of my best street portraits were taken with a canon PS A1300 and a hand held Speedlight as a slave.
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I'd certainly agree. Sometimes "breaking the rules" is exactly what is needed to make an image really "speak" honestly.
I've been greatly enjoying this discussion, and it brings up a question. The consensus seems to be that producing good photography demands both technical knowledgable and some component of "artistic" influence (be it knowledge of compositional rules - and when and how to break them, or a knowledge of design, etc.). In my mind, the question is, "What is the bridge connecting the two?"
I'm coming to believe ( if i may answer my own question) that the bridge is how a photographer "works" a scene. Working a scene involves shooting systematically through a series of images guided by both technical and "artistic" factors. Shot wide, shoot tall. Shoot high, then low. Wide and in tight. Wide angle lens and telephoto. Shallow DOF and shooting at hyper focal distance. Rule of thirds, or symmetrical composition. Etc.
Ultimately, to get to the point of consistantly producing strong images we photographers need to learn to marry our technical and artistic knowledge through a deliberate, thoughtful process.
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42nd Street Photo often has very good prices, but be prepared for them calling you and giving you a high pressure upsell routine for additional equipment, warranties, etc. All at high prices. My advice would be call in your order rather than use their website. Make it clear right in the beginning that you are not interested in buying anything other than the item you are calling about, and get a firm commitment for prompt (same day or next day) shipping. Verify with them that the camera comes with the full US manufacturer's warranty. If the camera is then not suddenly out of stock, you might get the deal you are hoping for.
I firmly believe that in order to create photographic art (or any type of art for that matter), one must have a firm understanding of the technical (scientific) aspects of one's chosen medium. Glassblowers need to understand how heat, chemical compositions, etc. interact in order to predict the behavior of molten glass. Painters need technical knowledge covering brush composition, shape, pigment behavior and color theory. Photographers should have knowledge of light, how it behaves, and how it interacts with a lens, film, or sensor. But given that, I also firmly believe that great technical knowledge alone is insufficient for producing art of any quality. Technical knowledge alone does not guide one in matters of composition, form, mood, message, or emotional impact. Technical or scientific knowledge can allow an artist to work more efficiently and effectively, and will allow for repeating successful approaches, but without starting from a foundation of an artistic idea, or an expressive vision or message, combined with a firm sense of aesthetics and composition, great technical knowledge alone will just produce technically good snap-shots.
rebride wrote:
Photographer Jim wrote:
The solution came when I switched over to using Bainbridge SpeedMount foamboard. It has a coating of heat activated adhesive on one side. The good thing is that it requires a low temperature and short dwell to do the job, and is very easy to use. I've had little problem since switching over, and it also cut the time I spent mounting significantly.
Photographer Jim have you dry mounted with print on oversized board? With a border around the print? What happens to the adhesive and how does it look?
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That is one of the nice features of the SpeedMount, when you put the print and board into the press you cover it with release paper (or in my case, rigid release board). Once you press it, take the image out and let it cool a minute or two, remove the release paper and the print is done. The adhesive on the oversized margins is once again non-tacky, similar to regular foamboard. Neat stuff!
Mudshark wrote:
O.KeeeDokeee....and what do the "archival" folks think about dry mount presses...seems to me there is one hell of a lot of heat and pressure that happens in that process. I used them for many years and love the results...but does the heat not have some negative bearing here....???
And what does it do to inkjet products....???
I dry mount most of my 20x24 and smaller prints using a dry mount press I picked up used. At first, I mounted using Bienfang ColorMount tissue. The results were generally good, however I did see problems with some gloss paper prints. The heat damaged the surface, primarily on non-inkjet prints on glossy photo paper. I tried making adjustments to both temperature and dwell time, and tried using different brands of release paper, but continued to have problems. The solution came when I switched over to using Bainbridge SpeedMount foamboard. It has a coating of heat activated adhesive on one side. The good thing is that it requires a low temperature and short dwell to do the job, and is very easy to use. I've had little problem since switching over, and it also cut the time I spent mounting significantly.
Looks like this thread got posted twice. See my answer on the other one.
I've been using the Wacom Intous4 for a while now, and can't imagine working without one any more. Once you get used to it, you'll be amazed at the ease and precision it offers. Add the pressure sensitivity factor of the pen into the equation and how well the tablet integrates with CS6 and you might give up using the mouse to edit photos all together!
You can probably find a good deal on a used one on eBay within your budget, but consider spending a bit more for a newer Intous5 model. The new 5 models connect wirelessly (rather than via USB) making them even more enjoyable to use.
Either way, i think that you will be glad you made the decision to go to a tablet.
I need to modify my previous response. I know the program works fine with PS, Lightroom, and Apeture, but can't verify that version 2 works with Elements 11.