Just thought I'd show you how easy. Here's an actual picture of how easy it is to use Irfanview. If you zoom in on this or click the download you can see that if you make it your default editor, every time you open a picture, the instructions are at the top of the page. Click on one of those and it shows you exactly what to do. You can click on "Image" and do so many things to it, like sharpen, saturate, straighten the picture, colors, lighten, darken and so much more. Click on "Edit" and add text along with much more. I only go to a different editor when I need to work with layers.

You've been here a long time, so you know very well that many of the respondents either can't comprehend a simple request for information and help - or just want to promote their favorite software, camera or lens!

That being said - which needs to be - your suggestion is good. I would add one program which seems not to be mentioned very frequently, and I don't know why. It's FREE, very easy to learn and use (essentially NO learning curve), performs very well and is from a reputable company. I started my wife in photo processing with it (she now uses ON1, as do I) and had great success. The program is Adobe Photoshop Express.

Loren - in Beautiful Baguio City

If you mean the AF accuracy for DSLRs, I calibrate the camera’s MFA to each lens using Riekan’s FoCal calibration system.
Each lens has different tolerances, so the calibration for each lens is different, which the camera “remembers” and implements when that lens is mounted. Your 6D2 supports Microfocus adjustment and provides 1 value for each prime and 2 values for each zoom for at least 20 different lenses.

You may not realize it, but you may have just rekindled the age old UHH debate about calibration and whether it’s necessary and who should do it if so - you or the camera and lens factory service center. Stand back - it can get heated!

This is a bit of a variation from the protocols of this section, but thought it might be fun. This photo I took and post processed was submitted to my photo club's monthly meeting for evaluation. We rank photos from 3 to 9. 8 and 9 are considered high merit, display worthy photos.

You are welcome to weigh in on the photo in any way you want. After a while, I will share with you the comments (as best I can remember) of the two evaluating pros.

Please, NO REPOSTING on this one.

One hint, there is something on this photo, that once mentioned, I cannot NOT see that needs "fixin'" Also the file is small because I am away from my photo stash at the moment.

Hip Coyote

I live for winter. For 21 years I was a ski instructor in NY, MA and VT. Some days were brutally cold, -15°F real temp. This is what I arrived at - driven by experience and desire for comfort. Base layer of long underwear - either medium weight for temps down to +15° or expedition weight for colder. This was mainly to wick out moisture - so I had a head covering (balaclava), top, bottom, feet and hands covered with a wicking layer (thin for feet, hands and around the head).

A second layer to fight heat loss, was used on very cold days, usually Polartec 100 or 200. Then if I anticipated teaching beginners where I would be standing around - another warming layer to keep my core warm. And finally an unlined shell with a Gore-tex or Helly Hansen HellyTech inner layer for the top, and bib overalls made of the same material for the bottom. Finally, I would use a regular high-quality gauntlet ski glove or mitten/glove combo with the part covering the fingers was like a mitten, but it could flip back to expose gloved fingers. All upper body clothing had turtleneck head openings and the sleeves would be long and had thumb holes to prevent the sleeve riding up and exposing my wrists to cold. My neck had a fleece "neck gaitor" to keep my head warm. When skiing I wore a helmet with adjustable venting - kept my head warm. If there was a lot of wind, I would also wear a neoprene face mask to cover exposed flesh from just below my eyes to my neck. I would use a pair of wool socks on my feet - which together with the wicking sock layer would keep my feet warm and dry. I could be out for 4 hours at a time and I never felt cold.

I use a similar get up for winter photography, substituting a leather "Mad Bomber Hat" for the helmet.

Now for the rationale for so many layers and material choices. To keep warm it is critical stay dry. The wicking layer is critical, as is the Gore-tex or Helly-Tech breathable membrane on the outer shells. Keeping the face, neck and wrists covered is critically important because these areas are major areas of heat loss. Keeping the head, neck, wrists and core warm means more blood flow to the extremities. Keeping the multiple warming layers thinner is better than fewer thicker layers. If you get too warm/cold you can remove/add layers to adjust for comfort.

Finally, Hot Hands chemical warmers - my gloves have pockets over the knuckles to help keep hands warm, and a foot warmer adhered to the bottom of my socks completes the setup. These typically last 3-4 hours, and they are small and thin - easy enough to bring spares.

I too appreciate soft natural window light and use it when it is available. There are many methds and tools whereby artificial light- tungsten, LED. electronic flash can be modified to simulate that kind of lighting wehn it is not available. As for less, I have adapted many vintage lenses to modern cameras. A few current soft-focus prim lenses are still made by Rodenstock, the classic Imagon is my favourite.

My edit is not necessarily an improvement- your version is fine. I use just added bit of PP diffusion that is reminiscent of the old optics of the era. The toner would have been the old classic Nelson's Gold formula which is warmer. Often these old images are found in oval formats or gilded frames.

Many of the studios of the Edwardwarden era and even prior to that had skylights with elaborate gobos or shades to control the lighting. Later on, the photographers attempted simulating that kind of north light with the limelight which turned out to be rather hazardous. Even into the 1940 and early 50s some portraitists used Cooper- Hewit lights Utah could simulate north wind lightning. These days, a softbox can be used to replicate that look.