I use a dual system. The first thing I do on download is change the file name to something descriptive of the images. I use Downloader Pro, which will also store the files in a folder [ year ]/[ descriptive file name]/RAW. I then import the files into Lightroom, where I add keywords. First edits are done in Lightroom, and more keywords are added if necessary.

The Lightroom organization is my primary means of finding things but since my family doesn’t do Lightroom, they have a chance of finding things by the descriptive file names.

https://www.uglyhedgehog.com/user-page?upnum=1595

When I use my D850's focus stacking feature, I have it put all the image into a folder. Then I copy the folders from the memory chip to a folder on my iMac. If I put the folders from the chip into a folder on the hard drive that already has other (sub)folders in it, the numbering of the folders from the chip seems to always begin with the same number or name as the last name from the last copy, so the computer asks if I want to overwrite the old sub-folder with the new one.

For example, the first new subfolder might be named 523ND850, and the last one I copied into the folder was also named 523ND850. Of course, I can rename them, but it would be nice if the camera kept track of what it was doing and didn't repeat the last name on the last chip as the first name on the next chip.

Can anyone tell me what I can do to make that stop that from happening?

Simplify. If you are not using Lightroom, then you may want to consider organizing by year, month day, then a descriptive folder name - I started storing my digital images in 2000 with this scheme, and kept it after adopting
Lightroom. I put an index number in front of each folder so that the started sort sequence is retained. In addition, I set up Lightroom to rename each file with it's camera assigned file number, followed by camera model, serial number and date. This way every filename is 100% unique, and there is no chance that Lightroom will detect a duplicate file. Untitled export is where I can find all of my jpegs and other exported files.

I treat every file the same. Focus stacks have a blank exposure in front of the sequence and another at the end to separate each sequence.

Someone on this forum asked a rather remedial question regarding the D850. I downloaded the manual to find the answer. One of the first things that caught my attention was on the very front page of the manual.

I quote, "Read this manual thoroughly before using the camera".

I wonder how many follow this "prime directive". I know when I got my D700, the only thing I did prior to reading the manual, was put a battery in the charger. Then, I could do two things at the same time, charge battery and read. I didn't even pick up the camera until I'd read through the entire manual. Yup, feet up on the desk, a cup of coffee nearby, the battery in the charger, and the manual nestled in my lap. I read every page.

Then, I placed the fully charged battery in the camera and read through the manual again. This time working on each section with the camera in hand.

Oh, I did the same thing when I got my D800e. Though very similar to the D700, I still read through the entire manual before picking up the camera.

I wish girlfriends came with the same sort of documentation.

--Bob

Problem importing photos to elements 11. I shoot both in raw and jpeg at the same time. I rename all my days shoot with that days date . When I do rename both raw and jpegs files get same name example 1214-2013 . When I rename like this the files get sequential numbers (1214-2013 (1) 1214-2013 (2) etc. The raw file and the jpeg file get the same sequence number. If I view the raw file in elements 11 it matches the picture of the jpeg file. When I import many raw and jpeg files in elements 11 the sequence numbers do not match the jpeg and raw picture. Any ideas what me or the program is doing wrong??

There is a lot of reference to the use of light meters in evaluating lighting conditions to facilitate shooting in Manual Mode.
In the olden days, once the film was loaded, for any given lighting condition there were only two adjustments available. Shutter speed and Aperture. Of those two, for any given subject there is usually one which is of priority and as camera manufacturers introduced "automatic" mode they provided the user the ability to manually set one and let the metering system set the other.
Also in the olden days, there was no way to view the result of the selected exposure settings until the entire film developing process had been completed.
The many references to light meters and manual exposure would have us believe that there is something almost magical to be gained by this methodology under all conditions.
Digital cameras provide say 12 f stops of latitude, to use a term from those film days, and our aim is to place those 12 stops nicely within the range to best capture the luminance range of reflected light from the given subject. But what if it is beyond the capability of the camera? In that case we would be forced to accept a loss of detail in either the shadows or the highlights. Or both. There is one other variable over which we have control, you might say. True, we could provide more or less light as necessary but that is not really practical under many or most normal situations.
Shooting in a studio is of course a whole different set of circumstances but I am not talking about shooting under tightly controlled lighting conditions.
The point or question that I pose is, how, in all practicality, is there any advantage in setting ISO on a meter, selecting Aperture or Shutter speed as the priority setting, reading the appropriate metered F stop or speed and shooting the scene with those settings set manually OR simply setting ISO and "A" or "S" and having the camera instantly compute and set the remaining parameter?
Or better still, just setting "P" and monitoring the result.
Mr. Rockwell was unfairly lambasted for referring to "P" as "professional mode".
I agree with him if it was his little dig, which, to his amusement, so many bit, at all those people who think they can do better, or rather, be seen to be doing better and being a better photographer by not needing to rely on such amateurish stuff as anything automatic.
In truth, "P" is referred to as Program Auto which takes into account, and I can only speak of Nikon here, a whole lot more than some may have us believe.
The metering system in a modern Nikon is profoundly more sophisticated than the everything averaged down to 18% gray "dumb" light meter portrayed by some.
There are a great number of controls and combinations of controls available, and there are many which most people will never use.
The Nikon D3 was designed for professional use and it incorporated only those features required by a professional in order to get the "money shot". I refer, of course, to the type of subject affording little time and no second chance to get the shot. "Mr President, would you mind falling over again, I need a meter reading..." There are no bells or whistles. It is ready long before you are and it will always get the shot if used correctly. It is very rare indeed that setting "P" and releasing the shutter fails.
I am in no way saying that using external light metering and making careful accommodation of all things considered etc. etc. has no place but I fail to see the advantage in real terms of making photography more complex an activity than is necessary, especially if shooting manually is dressed up as being some sort of elite club to be revered by we lesser beings who happen to have a lean towards the practical use of technology.
Light meters and shooting manually does not magically expand the performance of your camera. All it can ever do is allow the photographer to stand up and take "credit" for some of the numbers on his photo's exif data.
As I said, shooting in a studio and all the control over lighting that affords is a different thing altogether but I am not referring to that.
Over to you….Rob.

I have been asked several times to detail my Talk-and-Turn method of wildlife approach that I have mentioned in a couple recent posts. Since I teach the method in my seminars I decided I might as well write a brief explanation of it here for those who want to understand it. It has worked for me for over 30 years and it can work for you too, if you have the patience.

Wildlife photography has always been about patience, luck, and more patience. Most wildlife, as opposed to zoo animals, are naturally skittish around humans, they will turn and disappear at first sight most of the time. For this reason alone its very crucial not to startle the animals you are looking to get closer to. Anytime I spot an animal I want to get closer to I immediately start to make my presence known by simply walking back and forth and talking low while still at a considerable distance, making sure NOT to take any steps in their direction. If I am already too close the subject will leave and I am off to the next one. If I am lucky, it will recognize me as a non-threat after awhile and continue on with whatever it was doing, usually foraging for food.
Once the animal has recognized you and decided to stick around, then you can make your approach. This is when you need to set up your tripod, if you are going to use one. The key is to never walk directly towards the subject, nor to walk too far at a time. You don't have to talk about anything in particular, but you need to be almost constantly talking. A higher pitched voice will often irritate the animals, particularly raptors, so if your voice is high-pitched, then try to artificially lower it. The distance you can walk at one time will be relative to the over-all distance that you are from the subject, long distances can mean longer approach lengths. I try to never approach more than 20 yards at a time to start with, shortening that distance with every pause. Walk at an angle so that your approach angle is more than 45 degrees from the subject, meaning more sideways than forward. Walk slowly and keep talking soft and low. Do not look directly at the animal while walking as this can be perceived as a threat, or as a challenge. After your first approach segment, set down your tripod and take a picture, this helps them recognize the shutter sound early. Leave the tripod and turn your back to the animal, still talking, and walk around the spot, staying close to the tripod, but letting the animal see that it is separate from you. After a few minutes, when you are sure you have not bothered it, pick up the tripod and make your next approach segment, this time sideways in the other direction, don't forget to keep talking. Set your tripod down, take a shot, turn your back and mill around some more. If you notice, this is how most wildlife moves around when it is grazing or foraging. Always give them time to get comfortable with your position before moving on. Sometimes this can take 10 or 20 minutes, but learn to judge their nervousness by their responses and actions. I guarantee your will fail this approach method MANY times before you make a successful approach, but that first time will thrill you!
Keep making your slow, zig-zag approach just as above, but remember to make each approach angle a little shorter than the last one. If you are hand-holding and not using a tripod, just lift the camera up and take a shot at every stop, and it doesn't hurt to take shots in other directions too (you can always delete them while you are stopped so you don't fill up a card). The shutter noise is unfamiliar to a wild animal so getting them comfortable with it is critical. You will also have more luck with a group of animals over a solitary animal as they feel safer in a group, especially if you are in an area where there are natural predators around.
Move slowly all the time, especially if raising a camera to your eye as any quick motions will be cause for alarm. Be carful not to trip, even over your own two left feet, as this will scare the subject off pretty much every time! Avoid making unfamiliar motions as you get closer (like changing lenses) as this will also spook many animals since they have not seen or heard those motions and sounds before. Carrying two cameras with different lenses on a double strap is a good technique to use here. (I like to carry 2 bodies, one with a 150-500mm Sigma and one with a Nikon 28-300mm, both with VR).
Whether with or without a tripod, once you start getting closer, and within good photo range, start kneeling down on occasion. This gives the subject an indication that you may be tiring and just wanting to rest for awhile, another safe indicator for them. If there are trees or boulders around, position yourself beside them, but never behind them! Always give the subject a clear view of you when using this method. Hiding, or disappearing from sight is a stalking method and will raise alarm! Take lots of shots when you get within range, vary your exposures, especially your aperture setting to get different DOF in your images.
If you have a day with small clouds going over and blocking the sun on occasion, just wait it out, if the animal is not frightened of you, just be patient. Remember, even when it is not watching you, it is listening to you, it will always be aware of your presence. You have gained its trust, to a certain extent, value that trust and honor it.
Most important of all, once you have made that successful approach, leave in the same manner. Let someone else use the same method, or another one, to also get within that good shooting range.
You can easily spend 2 to 4 hours to get the shot using this method of approach, but it will be WELL worthwhile once you see the shots you can get with it.
Good luck, and I hope this helps some of you who read it, and I hope it isn't too long! ;-)

Oh wow...I would love that! I'll send you a PM.

:)

I was testing out a new lens, when I got this shot of a Blue Heron fishing in a small stream outside of Easton, MD. The new lens is a Canon 75-300mm mounted on an Olympus E PL1 camera. Since the lens does not have an aperture ring, I had use a lens adapter with an aperture ring. Also I had to manually focus this series of shots (I always shoot in bursts) because I don't want to spend an extra 200 bucks for the adapter that allows for all of the automatic lens functions. I bought the lens for distance shooting so I really was not concerned with DOF since in most zoom shots the depth of field is rather small.

Don't quite understand. Bump down the ISO. In AP to get a faster shutter speed you have to increase the ISO towards a high ISO (1600)

Any way, I thought the lens performed quit well considering that I shot this hand-held in Aperture priority mode. It was a bright day so I bumped down the ISO to 400 so I could get a semi-fast shutter speed. The RAW shot out of my camera was a little washed so I had to photoshop. Layer 1 sharpness, Layer 2-reduce noise, Layer 3 warm the colors, Layer 4, increase saturation, then Layer 5, adjust the levels for a slightly better contrast.