I sell a lot of prints in various venues in my neck of the woods. Accordingly, I have to mount them all.

First, I never use glue anywhere in the project. Also, never permanently fasten the print to the backboard in any manner. That's potentially an environmental disaster in the making.

I exclusively use Lineco archival mounting strips for holding the print to the backboard. When positioned appropriately around the print, the strips allow the print to move... expand or shrink freely without any detrimental affects. http://www.lineco.com/cart.php?m=product_list&c=1251&primary=1&parentId=&navTree[]=1257&navTree[]=2087&navTree[]=1251

More importantly, I've learned that many customers prefer to change the 'mat' to a different color. Easy to do because the print lifts off the backboard to mount on another backboard & mat.

Since I switched to this system, potential environmental issues are eliminated and sales have increased. On the back of the the mat, besides photo data, I have a note whereby I list the mounting process and the benefits. My dealers tell me many buy the photo not just because of the subject but also because of the option to change mat colors to match their docor. Cha Ching!

Fillmore Bob

I have both. If what you have works for you, no need to change to a ball head. From my perspective, a ball head is quicker to adjust but not as precise. My pan head is more precise but not as fast to adjust. And the pan head is bulkier. Which head I use depends on the shoot.

I might again add one other thought. From my experience, regardless whether pan head or ball head, I do not like the camera hanging off to one side when shooting in portrait mode. It tends to put the tripod off balance. Hence, I have “L” brackets on my cameras. The heads have quick release holders. When I prefer to shoot in portrait mode, I release the camera and reposition in vertical mode on top of the ball head balanced on the tripod. Just my preference. Your mileage may vary.

Happy photoing.
Fillmore Bob

[quote=Tom Daniels]The truth is we live in a strange society that has become paranoid because of the media.

Very true Tom. Accordingly, I am very sensitive to paranoid parents and go out of my way to inform them of my purpose. Only once have I been told by a parent to not photography their child and though I know my legal rights at public events, I readily respected that parent's right to privacy. After all, there were a few hundred other youngsters who... when I no sooner point my camera than I get a huge ear to ear smile. But not always what I want. I need to practice more on getting "candid" shots. <grin> Happy photoing!

As a photojournalist of over 40 years, I have photographed children hundreds of times at public places for editorial purposes with never an issue or problem. Think county fairs and local city carnivals. In fact, recently received an assignment to photograph a city carnival. Obviously this involves lots of children from the ages of 5 on up. Many of the photos published in print editions and online.

Occasionally, a parent will ask who I'm shooting for. I wear two notices... one from the publication I'm shooting for and one from the county sheriff office and give them my business card. That never fails to satisfy the parent. If I notice an antsy parent, I will introduce myself and ask for permission to shoot their child on a particular ride though I don't need to. Most times the parents or relatives ask what paper I'm shooting for so that they can buy several copies to send to all the relatives! Proud parents love to see their kids in the newspaper!

All that considered, though I can do so legally, I don't include children when shooting street photography because of the potential angst by the parent. I don't allow it when conducting street photography workshops. It's problematic because the parents do not know for what purpose the photo is being taken.

Happy photoing.

Really Right Stuff RH-40 with L bracket on Canon 7DMKII

Look at you, Jack, smitten and seduced by Mistress Photography. <grin>

Lots of grand suggestions have been submitted. Hopefully the collective won't mind my adding one more.

While I also practice the craft of fine art photography, I'm primarily a photojournalist. Assignments include waterfronts to dusty desert shoots... environmental conditions not good for photographic gear. As such, I require a 'rugged' weather-sealed camera. Accordingly, one camera meets my demanding requirements: Canon 7D Mark II. However, even a good used 7DMKII will eat you entire budget... with still needing to buy a lens!

Speaking of lenses, I have seven sitting in a camera bag accumulated over time. Two years ago, I bought a Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro Lens. On one hand, I can count on one hand the number of times I substituted that lens in two years!!! I no longer lug around a cumbersome camera bag full of dead weight. Just a thought.

Now, let's look at the big 'picture'. A used 7DMKII and a new Tamron 16-300mm lens will cost approx $1,700.00. I know, that's $700 over your budget. However, if you can muster the funds (loan?) just those two pieces of gear will not only produce outstanding photographs but carry you down your photographic path easily for the next five years! IMO!

BTW, a nasty dSLR bugaboo is dust on the sensor. Every time you swap lenses, you expose the camera's innards to dust. Not good! Hence, that one-lens 16-300mm option that spans from wide-angle to telephoto is sooooo sweet! Just sayin'.

Remember, you're not going to buy just a camera. You're buying into a system... camera, lens options, and a plethora of accessories that eventually bust your budget. Due diligence rules!

Lastly, notice I make no mention of mirrorless cameras though they are definitely the wave of the future. Not mentioned because of higher initial costs and limited lens options with some brands.

Happy photoing!

As a photojournalist, my main lens is the Tamron 16-300mm lens on a Canon 7DMarkII. It rarely comes off the camera! However, for needed extra reach to shoot an air show, I rented a Tamron 18-400mm lens. To my delight, it performed quite well. Focus was relatively fast but there were a few misses. But that might have been operator error. <gasp!>

As could be expected, a lens with this extensive range is not going to be perfect at the extreme ends... 18mm and the 400mm. As anticipated, there's some annoying loss of sharpness at the wide 18mm. Regarding image quality, it appears that the 18-400mm lens is essentially a 20-360mm lens depending on how much Lightroom can correct possible distortion at the extremes.

I'm seriously considering selling the 16-300mm and buying the 18-400mm. The question: Is the 16mm on the wide end of the 16-300mm lens more important then 400mm on the long end of the 18-400mm considering the loss of sharpness at 18mm? Decisions... decisions.

Happy photoing.

Lens review: https://www.the-digital-picture.com/Reviews/Tamron-18-400mm-f-3.5-6.3-Di-II-VC-HLD-Lens.aspx

[quote=Longshadow]I'd rather compose loosely - less hassle, quicker. Especially since I don't know what size I'll be printing. I'm not going to take three shots of the same thing using three different formats.


Got it!


Happy photoing!

If the camera allows for aspect ratio programming, why bother with viewfindermasks for particular size prints? Takes all but about 5 seconds to program the camera according to print size preference. Want 8 X 10 prints, dial in 5:4 aspect ratio. Boom! Done! Am I overlooking something?

Cheers!

Cropping is full of hazards.
For example, if your camera's native aspect ratio is 3:2, the chart below shows you the native print sizes according to the 3:2 apect ratio.
A 5 X 7 print does not comport to a 3:2 aspect ration. Hence, the print will be wonky.
If you can program your camera's aspect ratio, and you want 5 X 7 prints, change to shoot 7:5. Want 8 X 10 prints, change your camera's aspect ratio and the 8 X 10 prints will include all that you want in the print without going wonky no matter what overall size.
Aspect ratios rule!
Hope this helps.
Cheers,
Bob
 
 

Canon Pro-10 PGI-72 pigment-based ink cartridges are 14ml.

The following lists cartridge sizes for most Canon printers.

Cheers!

Links are to detailed reviews which usually have more information about ink capacities and usage.
Canon
Model Cart type (if known) Capacity (‘starter carts’)
9000 CLI-8 13ml
9500 mark II PGI-9 14ml
Pixma PRO-100 CLI-42 13ml
Pixma PRO-10 PGI-72 14ml
Pixma PRO-1 PGI-29 35ml
iPF6100 PFI-101,103 130ml
iPF6300,6350 PFI-105 130ml
iPF6400,6450 PFI-106, PFI-206 130ml (90ml), 300ml
iPF8300 PFI-704 330ml/700ml
PRO-1000 PFI-1000 80ml
PRO-2000 PFI-1100, PFI-1300 (160ml), 330ml

Browsed the replys to date... haven't yet seen an important question asked... dye based ink or pigment based ink.
Regardless of the printer brand and model, the type of ink does make a huge difference.
If you don't care about print longetivity, the dye-based ink of a Canon Pro 9000 Mark II produces outstanding prints. I use it for daily 3 X 5 or 4 X 6 quicky prints.
If archival properties are necessary, I use pigment-based ink. For my fine art photography, I'm achieving great results on Red River paper printed by the Canon Pro-10 (pigment-based ink printer)
Also, if you get either Canon, also get the Canon Print Studio software... great print driver for awesome print control of profiles.
Cheers!

No need to spend big $$$!!!

Slik PRO 330 DX AMT Black - Kit $89.95
https://slikusa.com/products/pro-330dx-black-amt-compete-w-sh705e-head?guidelines=77575

PRO 500 DX AMT - Kit $129.95.
https://slikusa.com/products/pro-500-dx-amt-kit?guidelines=77575

Be sure to check the SLIK Pro 500... as rock solid as Mt. Whitney and reasonably priced!

Happy photoing! Bob

RE: FedEx or UPS. To ship to PO box, use the Post Office street address and list the PO box as a suite. Example... John Smithh, 123 Central Ave. Ste 930, Sometown, CA 12345.

FedEx will deliver to my PO and if the package is too large for the box, the postal workers leave a yellow tag in the box for pickup at the counter.

UPS will only drop off packages at the Post Office if the shipper specifies “surepost”. Otherwise, UPS generally won't deliver to the PO. Good luck trying to get the shipping crew or the retailer to understand this. Instead of delivering to the Post Office, UPS sends me a postcard telling me that my 'package' is at the main terminal... 12 miles away.

It would also be helpful if online retailers would specify their preferred shipper so the appropriate shipping address could be applied for a given shipper. End of rant!

Cheers!

Reyr wrote: “I think you should go to your local camera shop and pick up an Olympus OMD-EM1 Mark ll, and see and feel a pro level 4/3 mirror less camera, weather sealed, moisture sealed and freeze proof and experience 18-60 frames per second, and check the price.”

I'd love to trade my heavy Canon gear for an OMD-EM 1 MKII. But don't we all know that a camera alone is not a “system”. What's a camera without a lens? I'd switch tomorrow except for the lack of lenses that satisfy my needs and requirements.

Technology and IQ aside, everybody happy with Sony, Panasonic, Fuji-Film etc tech support? As a working photojournalist, and member of Canon's CPS program, I'm assured a 2-day turn around for service at Canon's Costa Mesa facility. Same day service if I visit the facility. Any other mirrorless camera brand offering similar service? Of what value is image quality yada... yada... yada... if it takes weeks for service should the camera fail? Just a thought.

Happy photoing.