I pretty much parallel Nortfish on this one.

I learned early on that I did not like carrying my FF system when travelling. Along with that I don't like to carry multiple lenses and do not like to change lenses in the field.

I started looking for what would give me the most bang sensor size wise in the least package. Sony had just introduced their Nex/Alpha APS-C system at that point. I bought a Nex 5, which came with the 18-55mm lens, which I just set aside. I paired the Nex 5 with the chrome Sony (not Tamron) 18-200mm lens. This combination was/is much less to carry than my full frame system. Besides less weight and bulk, I got almost the same focal length range with the single Sony lens compared to the two much larger lenses I needed in full frame. From the outset I was amazed at the quality of results I got.

I did several 4 - 8 week trips with this rig, a lot in summer heat, and I never found this camera/lens combination a burden to carry.

My printer goes to 13X19" (prints are all I do) and I cannot discern any image quality difference from my FF system.

Things have evolved a bit since those first few years. I have since purchased an @6300, and now the 18-200mm lens is mounted on that body. It was only after I had done this addition that I started using the 18-55mm lens on the Nex 5. I found, for the first time, what an amazingly compact and efficient little kit this is.

Now I keep them as two separate kits, Nex5/18-55mm and @6300/18-200mm. Either one fits my minimalist preference. Which I take with me depends on what I intend to photograph. For a lengthy trip, where I would not be able to return home until it was over with, I think I would choose the A6300/18-200mm system for the additional reach. Relative to a FF system it is still far less to carry.

I am also a great believer in 'tough' cameras. I will not endanger a camera to get a photograph. I know they are not as efficient in poor light as larger formats, but I have found that when I have used mine within (pretty much) their design limitations, I can get 11X14" prints indiscernible from my APS-C system. I've even done one print to 13X19" and it came out spectacular, but I consider it a specialized example. One thing I do know about my 'tough' cameras is that if I can survive an environment, they can too. Peace of mind makes for enjoyable photography.

I have not paid attention to what is available currently. I have no interest since I have my Sony system and am completely satisfied. So don't take this as an admonition that only Sony APS-C is the best for what you want. This is just my experience.

The full frame system is still parked.

As a longtime international award-winning photojournalist, who has photographed all subjects around the world for the past 50 years, including war conflict, breaking news and more than my share of sad moments of human tragedy and grief, I can tell you it is never an easy thing we photojournalist have to do to document our world and all its good and bad.

In all breaking news situations it is common journalistic practice to do your best to get the names of those you have photographed , before or after you have made timely shots. But no you don't need to obtain model releases for public situations if the photos are being used for legitimate editorial purposes like news coverage, and not being sold or used in advertisements.

That doesn't prevent folks from naturally being upset if you photograph them in moments of sadness, grief, and tragedy. I have been cursed, assaulted, and more, while doing my job, I always try to work with as much respect as I can for everyone's human dignity. All people deserve no less than that from photojournalists.

That being said ,some countries and localities have imposed stricter guidelines for photographers photographing the public without advance permission. So it is important to know the prevailing culture and rules for where you are photographing.

In covering war I found most people felt it was important to tell their human stories to the world, and have the world see and understand their plight and suffering, and maybe someone would come to their aid and assistance.

On a domestic story, let me relate one amazing case of that. Many of you may know of the controversial "Megan's Law" which requires local authorities to notify area residents when any formerly convicted child molester or anyone who was a former sexual predator, lives in their neighborhood.

Well while I was staff photographer at the Philadelphia Inquirer Newspaper I was one of the first photographers who rushed to the suburban scene in Hamilton Township, Mercer County, New Jersey, after young Megan Kanka was lured and murdered by a neighbor.
https://en.wikipedia.org/wiki/Murder_of_Megan_Kanka

My task was to photograph the scene and that included the police detectives , the grieving parents, friends and relatives who had gathered at the Kanka home, and the murder scene right across the street in that neighbor's home, where an unknown formerly convicted child molester lived..

In an extraordinary act of courage ,instead of hiding from all the press gathered, the Kanka family invited us into their home and allowed us to take photos on the condition that we the media from TV and the written press would help them change the laws so that this tragedy would never happen to another unsuspecting family and community again. We all agreed, and in addition the family invited us to cover the funeral locally and nationally to help tell Megan's story to the world.

The story went national and we covered the Kanka family's crusade, and rightly or wrongly, before too long there was legislation that was passed in Megan's name and remains today.

In the war conflicts I have covered, as well as domestic breaking news I always carry press credentials and identify myself as a working photojournalist to any soldiers, authorities present as well as to the public, and most people , even in their grief, understand the importance of their stories being told and not forgotten.

Treat people with respect and kindness, and sometimes that meant not taking more photos at some point, once you had enough to tell their story. And other times that meant making the effort to follow up with the victims, with their permission when possible, to tell an even more complete, compelling and important story.

I have covered stories in Russia and Ukraine, and I am sure this photojournalist did their job to make themselves known to these Ukrainians over some days or even weeks.

The Academy Award for Best Documentary Feature went this year to a team of journalists and photojournalists from Associated Press who covered the Russia/Ukraine war in " 20 days in Mariupol".

https://www.youtube.com/watch?v=gvAyykRvPBo

Cheers and best you.

Forgive me for being caustic, but does anybody read? Pattilu, in the first post wrote, "I’m a newbie ..........and looking for “photo editing software for dummies.” Later Pattilu wrote that the computer uses windows.

UHH recommendations have been to try Affinity, Gimp 2, Luminar, Luminar AI, try harder with Lightroom, Smart Photo Editor, PT Photo Edit, Paint Shop Pro, Photoshop Elements, Faststone Image Viewer, Irfanview, Photoscape X and Photoshop.

Pattilu's computer in use has Windows. It has "Photos". It opens the image file and has all the usual adjustments. Why do we all list what we've spent years learning and loving?

For the record, I use three versions of Lightroom, Photoshop, some Topaz stuff, Photoshop Elements, Premiere Elements, Premiere Pro, a little DaVinci Resolve and a little After Effects. I love them all. Pattilu has asked for a place for "dummies" to start.

The most basic and begging point on a Windows computer is Microsoft's included version of "Photos". Look at the easy to use sliders! Perfect place to start!

It's amazing to me that people try to make a simple choice controversial. If you don't like data, then don't bother looking at it. If you like data then look at it.

Whether the data is helpful depends on how the person looking at the data actually evaluates it. For example what shutter speed someone uses can be very informational when someone is shooting waves or waterfalls. If someone wants to blur a waterfall then perhaps looking at the data from a number of photos that blurred the water will give the individual a starting point.

I have a book titled Photograph Like A Thief. The book is about how to analyze a photo, including where the light source is, the exposure data and other clues to how the photo was taken so that you can recreate either the photo or the style of photo.

It isn't something that is for everyone. If you know what you are shooting and are happy with the results then you probably do not need that kind of information. On the other hand, if you are wanting to experiment seeing something that someone else did that is similar to what you want to try may help you succeed in shooting that style or subject matter more quickly.

There is no harm in providing data, only in not properly assessing the data.

What is truly "boring" is this continual argument about post-processing, realism vs. impressionism, filters, or no filters, etc..

Photography was not invented yesterday. "Processg" was always part of the equation. You exposed a film or a plane and you had to chemically PROCESS it to create an image. Serious, technically competent, and artistically inclined photograhers manipulate the images in development and/or printing to tweak the quality or apply a special effect. In a well-crafted image, from film or digital imaging. is produced in such a way that the manipulation or special effects do not call attention to themselves. A poorly crafted image will show the glitches!

As for color saturation? Years ago photographer shot Kodachrome and underexpss 1/2 a stop to increase saturation. Others shot Ecktachrome for a more realistic or neutral effect. Yet, some sho tSuper Anschrochrome and overexposed slightly for a pastel and grain effect. It's' a matter of TASTE and not everyone SEES things the same way.

Whatever you opted to do , you had to plan, select a film and process and follow through. Nowadays yo can just shoot and in post-process, you can make all sorts of alterations with a tweak of a slider and some folks SLIDE a bit much- but that is up to them! Some beginners tend to do that (it's fun) until they practice and gain more precise control.

Photography is a creative endeavor so why create LAWS or false ethics as to how folks should express THEIR visions and imaginations? All photogahy is not documentation and journalism. If you want your images to be as realistic as possibe- have at it. I do it every day in commercial work. If you want or need to change gears and do someth crazy or different, why not? Experiment, and if you don't like the results- it didn't cost you film, chemistry and paper. You don't even have to tear up the print and throw it in the garbage. You just click "delete" and it goes off to photo-purgatory, never again to be seen.

In post-processing, even the word "filter" is kind of a misnomer. In the olden days of film, you had to place a glass filter on your lens and undated HOW it is "filtering" out or minimizing certain colors and emphasizing others or how it affects the panchromatic renditions in monochromatic work. The presets or so-called filters in many software programs are just various moods and permutations so you just pick and choose- again, a personal choice.

Rant over , now as they say on TV talent contests- "let the battles begin"!