Sounds like good advice all around. I was shooting at Bryce Canyon 2 weeks ago in bright sun. Mixture of red & yellow rock and bright snow. Most of those shots were at +2/3.
Considering the fast action, I often do it the old school way and pick a spot on the track and focus lock on that point. Then time the shutter to trip as the subject reaches that location.
The only images that I deliver without being branded are the yearbook pictures (the school doesn't allow it).
If you are not proud enough of your work to put your name on it, don't deliver it.
Was just up there. If the timing was a little different, I could have dropped it off at your house.
Buzz Lightyear wrote:
There are plenty of free JPG to TIFF conversion tools on the web that you can download, if that's what you're asking (just do a Google search). The clarity of the enlargements will depend somewhat on the megapixel size of your photos, and perhaps more importantly . . . your ISO settings of the photo you want to print. Your Canon G12 is limited to 10mp so theoretically you would be pushing it to get clear 11x14 size photos. Your Sony goes up to 16mp, which should be fine for 16x20. However, the impression of clarity can depend on a lot of things besides mp VS print size. For example, you could enlarge a low mp photo to a very large size print that would look fine if you were standing some distance from it. If you have your photos printed by a print shop that specializes in large prints -- you would be amazed at what they can do even with a 10mp camera shot. Don't be afraid to experiment.
There are plenty of free JPG to TIFF conversion to... (
show quote)
I've come to believe that megapixel count is little more than a marketing ploy. I've seen some great professional posters of eagles and bears, etc. that I know were shot with a Canon 1D...by the way, that was a 4 megapixel camera.
I certainly agree with the Captain. All of the modes work well when used appropriately...that's why the manufacturers provide the options...the key is knowing what or how, the scene is being measured in each mode.
I've seen some sales on the 4900...getting close to your dollar limit. I replaced my Canon iPF 5000 with one about six months ago. Very happy with the printer and especially happy with the way it conserves ink. And with the built in spectrometer, which allows you to change paper without wasting paper fighting the profiles. Great professional quality printer!
I agree that there is the technical question of weakest link...but I always have either a UV or a Skylight on my lenses. And yes, I have had a couple of filters scratched. Glad I had them on.
First thought is the obvious, bad batch of paper. But to keep things clear...all wood fiber papers contain lignin acid. The best that the manufacturers can do is to buffer the print surface from the underlying paper. That said, most of the high end "papers" are made from cotton fiber which does not contain lignin.
However, it does seem to be happening very fast. Which would lead me to question the ink...have you had your ink cartridges refilled at the store?
Which Pocket Wizards are you trying to use? If you are trying to get full TTL/ETTL with Plus-IIs, that won't work. But, if you are using the TT1/TT5 series or the new Plus-IIIs, (and you have the Canon version of those) they should work without a problem.
Or just use Photoshop Lightroom. It handles the import of the raw files, auto backs to a second drive, make 95% of your adjustments, display and print all without the hassle of using multiple conversion/adjustment programs...and its cheap.
I've been using the Epson V-700 for a couple of years now and I'm impressed with everything but the speed. Higher rez scans of medium or large format negs can take 5 minutes or more. On the plus side, it comes with film carriers for 35mm, 120, 4x5 and slides.
Interesting thread. I get it all the time when I shoot events. People are getting so used to having everyone forward them a copy from their iphone that they don't see anything wrong with asking for you to do the same. And, then get offended when you say "no", or you put a price on it. I guess that the best answer is to be, and act, professional when you tell them that there is a price for your work...or as others have suggested, ask them for a free lesson.
I agree with most of the replies above. Look professional, act professional. I always wear a suit or sports coat, the inside pockets hide the extra batteries, flash cards, et al.
My first--I hoed potatoes at 10 cents a row to earn the $2.46 that it cost to mail order a no name 127 (equivalent to the Brownie). I was around 10, so that would have been circa 1958. Bought an Instamatic, then a used Argus C-4 that didn't work, a Canon 35mm point & shoot in 1966. 1967 just as I was going into the Army, I bought a Mamiya 1000 CWP (built in light meter-pre TTL). Stationed in Korea in 1969 I discovered pro equipment, a Topcon RE-Super (incredible camera--still have two of them), then a Mamiya medium format C-33 (which I still have). Today I shoot a Canon 5d Mk II, with a 5d as my back up for 95% of my professional work, Mamiya RZ-67 and Zone VI-Wista 4x5 for fun.