As a pro event photographer, my passion is to capture important moments in one of my client's biggest days in their lives. In short - give them a key to their memory vault.

Do this with a vision that melds art and photo journalism. Visual stories are strongest in creating that key.

There's the key to cancelling. Just replace the credit card on their file with a new one. You'll get endless "update your payment method" messages, but there's nothing they can do. You'll be home free.

Interesting find! It appears to abandoned far more recently than the 50s-60s you cited. The design and architecture are much more recent, as are the furnishings. Also, there appears to be very little dust accumulated on any of the items inside, which most certainly wouldn't be the case if it were left unattended for several decades. Let alone those EV charging station, which most likely were installed within the pas 2-3 years.

Were there any clues on the bookshelf or elsewhere as to possible ownership? An address search of theca county records might uncover that.

Thanks for sharing this mystery building!

Like many folks, I wanted to capture a dramatic image of this larger than usual moonrise. I used my Nikon D850 and a Sigma 150-600mm lens (f.5.6) on a sturdy tripod to do the trick. As the yellow disk rose over the end of my street, I noticed that the telephone and power lines were in the frame. So I waited for it to clear them, chatting with neighbors gathered outside sharing the view. Once the moon almost - but not-quite - cleared the lines, I looked through the viewfinder again. At that very moment, a jetliner most likely from San Francisco International crossed in front. Click!

I've been dreaming of getting this airplane transit image for many years. Coincidentally, a cousin in Michigan had caught the same image about a month earlier on the previous full moon night. He posted his on Facebook, to much approval. Including my congrats. I told him then that it would take me 1,000 years to get that lucky.

Well, I guess I was wrong!

As I've aged (passed 3/4 of a century already!), I've come to realize that a main reason I take a photograph today is to remember the moment in whatever future I have left. This may sound melancholy at best, so be it. It will also leave a legacy of my vision(s), travels and perhaps accomplishments to my offspring years into the future.

My business photos do the same thing for my clients, capturing the highlights of one of their best days. In short, photography to me has become a vivid means of capturing memories. After all, who can recall what they did, where they went and whom they enjoyed on any given day?

Like you, I just returned from a trip with my college-aged daughter to New Zealand and Australia. Shot with both my Nikon D850 and Samsung Galaxy S20. Each produced memorable images of a wonderful adventure. As a pro shooter, I'm always reaching for the best image and that would be with my Nikon and it's handy 28-300 zoom lens, which covers 99% of the situations I encounter.

That said, there were days and locations where I purposefully left it back in the room. Just wanted to enjoy the day without having to dive into my "Photographer Mode". Most of you will know what I mean. On those days, armed with just the phone-cam, I still came away with decent to very good images. Now keep in mind, I'm only shooting for a very small audience - family and friends on social media. Whenever comparing two vastly different formats, it's critical to keep in mind how the images will be shared, viewed and finally used. If a low-resolution option (screens) is the answer, either format will produce suitable results.

If, however, you're looking to make enlargements on paper, that's a different situation altogether. Not to say that a good cellphone shot can't be enlarged to say 12x18 (I've won awards with some of those), you are vastly limiting yourself to think that will produce an excellent image in all situations.

Two options:
Get a LONGER lens, such as the Sigma 150-600.

- Get Topaz Gigapixel AI which adds details in severe crops.

Yes, you will spend more $$. Topaz is about 1/10 the cost of the lens, however.

Not a new technique, but you've seemed to master it. Thanks for sharing your vision. Keep shooting!

E.L. Thanks for your essay on the differences between film and digital photography. Like you and many others here ("old-timers"), I cut my photography teeth in the darkroom. A good night was ending up with 3-5 great prints. Each carefully dodged, burned, cropped and even spot removed the inevitable dust marks. Oy!

I turned pro long after you, about 14 years ago. Having that darkroom experience still proves invaluable in my digital post production efforts. The main differences are a vastly wider range of poorly shot images can now be "corrected", the much larger number of good images that can be produced in the same amount of time, and the ever-advancing benefits of ever-advancing technology, both in the camera and the computer.

Younger photographers, or those who never had the pungent odor of hypo seared into their memories, are missing out on utter fear of waiting for their film to be developed in hope of having something useable to show for a day's work. It's way too easy these days of instant gratification to assume that making images is more a matter of quantity over quality.

I like John Wooden's definition of "success" (being a UCLA grad and school sports photographer for his teams back in the day):

“Success is peace of mind which is a direct result of self-satisfaction in knowing you made the effort to become the best you are capable of becoming.”

Interesting discussion. It applies even more to event photography where there's usually a garish mix of lighting sources: tungsten, LED, florescent and flash. In order to portray a scene "accurately" or as human eye/brain perceive it, requires not only finding the right spot in the exposure triangle - ISO, aperture, shutter speed - but meticulous editing in LR.

So for me, that means using all these techniques to create an image that closely approximates what my clients will remember what they saw. It's as much art as technology.

Fixed it for you.
How?
Topaz Sharpen AI. from https://topazlabs.com

As a new customer to this software, it seemed like a good image to further test its capabilities.

The answer to your question is that "usual", depends on the photographer's past history, as well has what they've written into their Contract, as has been aptly pointed out by many others here.

If you were MY client, here's what you could expect:

• Within 24-48 hours after the event, I'd email you about two dozen or more low resolution image files that I would have selected and edited showing the highlights of your wedding. You could then share these on social media and email to family and friends, thus not having to use Uncle Harry's cellphone shots.

• Within four weeks, you'd get a complete gallery of all the edited high resolution image files. You can download them directly to your computer. You can also order prints directly from there. Add another week for the lab to mail you the final product.

• This being the digital world there's really no excuse for protracted delivery times.

I've had the Good V860IIN for my D850 now for nearly two years. It's an excellent, though complicated on and off camera flash using their on-camera trigger unit. One of their replacement batteries stopped working, meaning it would not take a charge. I tried to have them send a new one but they said it was out of warranty, which I recall was less than a year. Not sure about that.

Anyway the Chinese rep was polite yet refused to offer a replacement.

The reason I switched to Godox was at the suggestion of B+H phone salesman. My previous flash was a Nikon Speedlight that was seriously injured when it fell off a tripod. Nikon wanted $150 to repair it. End of story.

Pro shooter here. I bought the 28-300 a few years back for my new (at the time D750). It was a godsend. No more changes lenses, or worse, carrying two bodies around while chasing my subjects at a big event. Mainly I shoot weddings and bar/bat mitzvahs. Often in less than optimum lighting. I can get nearly an entire room, close-ups of wedding rings, portraits - you name it. Never worry about missing a shot. That's a huge plus for an event photographer.

Some posts here say it's "mediocre". I've made a living on delivering exemplary images, mostly sharp as necessary. Keep in mind that few people every make large format (12x18+) prints anymore. I have done that from my travels, and they're terrific.

When the D850 came out, I kept the 28-300. I rarely have to use anything else, except a 17-28 Tokina for some interiors. The results are amazing, if I say so myself. No doubt this is the best body/lens combo for travel, event and portraits I've ever used. Sure, every new piece of gear requires some acclimation time. Once you've got it nailed, you're good to go. Anyone who wants to see examples: www.naturalportraitsandevents.com