johnny_wu1

<p>I'm thinking of donating and getting a reg code for the plugin. Does anyone know how many installs I can do with the one registration code? Documentation for the program seems to be a bit lax.<br /> Thanks!</p>

<p>If you really want to know about me and my basic needs,</p> <p>I shoot commercial office real estate, family portraits, and travel.<br> 5D MKII for the high quality prints I can get out of it<br> 24mm TS-e II and 17mm TS-e for the architectural shots<br> Sigma 50mm 1.4 for a versatile, don't-futz-around-changin-the-lens focal length<br> Canon 135mm f2 for the studio portraits, landscapes, and much more...<br> 4 Vivitar 285HV, wireless triggers and a bevy of softboxes, beauty dishes, and umbrellas<br> Induro AKB0 Tripod for the landscapes and architecture shots<br> a 6 stop ND filter for long exposures</p> <p>This is really all the equipment I've got now, after years of going through different things to find what I need.</p> <p>I hope you got something out of that.</p>

<p>Whoa, easy there Mark.</p> <p>Like I said before, only you know best if you made the right choices of gear for <em>your</em> photography. The best we can do is inform you on what the gear is capable of and of any alternatives out there, something that quite a few posters have attempted to do.</p> <p>By what standard do you want to set the bar as "the minimum" or "the most basic"? It's like asking us for a recommendation for a car that goes really fast. Well, how fast is fast enough? How much can you spend? What do you want out of the experience? I could recommend you anything from a BMW up to a Lamborghini.</p> <p>It's the same thing when I could recommend you a 70d up to a 5DIII. All of us can go on and on about the advantages and disadvantages of all of dozens of choices out there that can work for your very broad needs, and we're still only talking about camera bodies. If we did that, would that really have helped you narrow down your decisions?</p> <p>So excuse us for trying to dig a little deeper into your growing passion. It only helps us give you an informed and concise response, rather than having this thread devolve into a windstorm of ideas.</p> <p> </p> <blockquote> <p><strong>The over all, i have one shot at this, its a one time deal to get what i need to continue on with my photography, that's in one time one deal all in one shot, What i have included in my list are the equipment at least once or twice a week i wish i had to make my photography and post processing smother and more effective for my self.</strong></p> </blockquote> <p>I'm not sure what your financial or personal life situation is, but I think it's unreasonable to believe you'll never have another chance in the future to invest in camera gear. I've never met anyone who builds their collection of gear in one shot, and is happy forever.</p> <p>There are many ways to slowly build a collection that will suit you. My favorite way is to buy used and resell if I'm not getting what I want out of a lens or piece of equipment. You rarely lose money that way, and in fact I've made money at times by doing this. An alternative is to rent lenses. This helps you figure out your basic needs far better than anyone on this forum (or sometimes even a professional!) is capable of telling you. Half of the joy of photography, for me, is discovering the capabilities of my equipment, the other half discovering the capabilities of my own creativity.</p> <p>Apologies if this seems like an attack on your approach. It's very hard to make suggestions to you on limited information about yourself, especially when you're asking us to help you decide how to spend several thousand of your hard earned dollars on equipment.</p> <p>Cheers</p>

<p><em>Only you will know what you really need to get the shot</em>. Like Jeff said, a basic rig is a computer, camera, lens and memory card. Don't get caught up with the gear until you understand why you need it.</p> <p>Learn the kinds of photography that you want to do, think about what you want to achieve, then find out how to achieve that "look" you want. Once you know that, you'll be able to research what gear you will want to buy to achieve the look and quality you seek.</p> <p>Nevertheless, here are my thoughts...</p> <p><strong>1 Canon EOS-5D Mark III 22.3 Megapixel Digital Camera</strong> - Great, if full frame is what you want, and if budget allows.<br> <br /><strong>1 Canon BG-E11 Battery Grip for 5D Mark III Camera</strong> - I personally don't find this very useful unless it feels significantly more comfortable.<br> <br /><strong>4 Canon LP-E6 Rechargeable Battery (for camping and outdoor extended trips)</strong> - I'd get an extra one no matter who you are, extra batteries save lives (ok, maybe that was an exaggeration.) However, 4 batteries seems too much, that's around 3000-4000 shots before you need to charge your batteries again. Unless you're rolling through frames like a beast in rural Mongolia with no power for several weeks, I think you can get by with one or two extra...<br> <br /><strong>2 Canon LC-E6 Battery Charger For LP-E6 Battery</strong> <strong>( so that i may charge two while i use the other 2 batteries)</strong> - Maybe? Get one after you find out you'd need one.<br> <br /><strong>1 Canon EF 100mm f/2.8L Macro IS USM Lens (67mm)</strong> - Sharp and versatile, great if you find a use for for the macro function, otherwise I'd consider the 135mm f2 L for this focal length. People think of this focal length as a head and shoulders portrait lens; I use it for practically everything from landscapes to portraits to sports =P<br> <br /><strong>1 Canon EF 24-70mm f/2.8L IS USM Lens (67mm)</strong> - A staple for most event photographers. I see you already have it. Keep it if you're satisfied with the shots you're getting from it. Incredibly versatile.<br> <br /><strong>1 Canon EF 70-300mm f/4-5.6L IS USM Telephoto Lens (67mm</strong>) - what kind of photography do you plan on using this for? Think about situations where you would need a lens like this. It's relatively lightweight for the focal lengths you get, which makes bringing it to a hike much more enjoyable.</p> <p><strong>3 Precision Ultra Optics Multi Coated Uv Glass Filter (67mm)</strong> - I don't put UV protectors on my lenses. Total personal preference sort of thing. If you're clumsy, sure get them. The filter you have here isn't high quality; I would consider something else.</p> <p><strong>1 Slik Pro 330DX Tripod W/ Head 63"</strong> - I would consider a better tripod. Tripods are something where you really do get what you pay for. The head on this one is rated for 6 lbs only, and would not hold still if you put a big lens on it.</p> <p><strong>1 Amprobe 3730217 LED Light Meter</strong> - Ask yourself if you really need a light meter. They're useful for getting the right settings for good consistent shots and for saving time dialing in strobes and speedlight. They're an expensive luxxury, so I've never felt like it was a necessity.</p> <p><strong>1 DGK Color Tools Digital Grey Kard Standard White Balance Card Set with Standard Lanyard (Set of Three Cards)</strong> - Useful, but not a basic requirement.</p> <p><strong>4 Dane Elec 32GB Compact Flash Memory Card High Speed</strong> - Get name brand cards. Don't cheap out here, because people have often lost entire collections of photos to cheap cards...</p> <p><strong>1 Vivatar DKS-18 Photo/SLR/Laptop Sling Backpack</strong> - Personal preference thing, your choice.</p> <p><strong>1 Canon 430EX II Speedlite Flash For Digital SLR</strong> - a good economical choice. Think about getting a second speedlite, and ways to get it off camera like wired/wireless triggers.</p> <p><strong>1 Supreme Flash Diffuser</strong> - No comment, only you know if you need it.</p> <p><strong>1 Canon RS-60E3 Remote Switch For Rebel Digital Camera</strong> - Wrong shutter release for a 5D III, you need one with an N3 connector. Usefulness is questionable; I end up using my 2 second timer because plugging in an N3 connector is frustrating as hell in the dark.</p> <p><strong>1 StudioPRO Photography Video Lighting Kit 450W Umbrella Backdrop Set - </strong>are you setting up a studio? I would put this money in another speed light, stands, umbrellas, and beauty dish if you want that studio set up.</p> <p><strong>1 27-inch iMac ( for editing and uploading ..... you get the point) -</strong> nice basic editing rig. Go borrow a colorimeter to get it calibrated if you plan to do extensive printing.</p> <p><strong>1 External hard drive 1TB (for backup) -</strong> or better yet, back up to the cloud.</p> <p><strong>1 Adobe creative cloud -</strong> Your choice, if you benefit from constant updates, go with the cloud. Otherwise try to find a boxed copy of Photoshop and Lightroom CS4-CS6</p>

<p>If asked to trade in my 5DII and Canon 135mm f2L for the 6D and Sigma 50mm f1.4 ART, I would take it in a heartbeat. I would then re-purchase the Canon 135mm again because I'd probably miss it too much. =D</p>

<p>I'll add that most traditional architecture photographs feature straight vertical lines for walls/columns and other vertical structures, hence the preference for shift lenses to maintain control over perspective when framing a shot.</p> <p>Mike Kelley's work is an excellent example of the use of off-camera flash and Photoshop masks to light an architectural scene.</p> <p>The most challenging aspect of Interior Architecture, in my opinion, is white balance and exposure control of an interior scene with windows. HDR or flash is almost required in these scenes.</p> <p>Also, don't forget to tidy up the scene before taking the shot. It can be distracting to see chairs ajar, pillows tossed about, or even couches, rugs, and tables placed in bad positions.</p>

<p>I can confirm through the photographer's ephemeris that August 10th is a super moon. Larger than the one that just passed, though just barely =)</p>

<p>The Strobist blog has an excellent solution that I've used before, it's all about subject positioning rather than strobe setup.</p> <p>http://strobist.blogspot.com/2006/04/lighting-101-lighting-for-glasses.html</p>

Yeah, everyone will grow to be different photographers, and thus will require different gear to get the shot. For me, I shoot landscapes, architecture and portraits. As a result, I currently have a 135mm L for portraits , 24mm tse for the landscapes and architecture, and a 50mm 1.4 just because it's versatile. I'll soon be getting a 100-400mm L to expand on my landscape photography. Decide what you like to shoot, then you'll know what's you'll consider the "best" lenses to own.

I will have to agree that if you can afford it, there is no better than a 24mm or 17mm tse. Of the lenses that you are considering, I would take the sigma for the wide field of view. But to be honest, after getting my tilt shift, it's hard to imagine going back to conventional ultra wide angles for architecture.

<p>In my experience with the lens, the 24-105mm was really the definition of a "jack of all trades, master of none". Exceptional versatility, decent optics, and handles as good as any L lens should behave in term of autofocus speed and accuracy and the IS function.</p> <p>However, as I evolved into an architecture and family portraiture photographer, I found the lens lacking. It was too soft and had heavy purple fringing on the wide end on bigger prints. On the longer end, it was good, but I couldn't use the wider end to my satisfaction. I ended up selling the lens and getting a 17mm TS-e and 135mm F2 L. Both are absolutely stunning for architecture and portraiture.</p> <p>TLDR: The 24-105mm is a good versatile lens, but depending on how seriously you scrutinize your photos and where you go on your path as a photographer, you may outgrow the lens.</p>

<p>+1 above<br /> Getting a well lit portrait is absolutely crucial to skin tone. I always look for soft indirect window light or similar, then bounce light back to the dark side face with a white reflector or fill with flash.</p> <p>After that, I don't think the photographer did too much to achieve the warm and contrasty skin tones. Warmed up the temperature, slide the hue to the right to get rid of green hues, bumped up the contrast, applied a vignette, and played with the HSL sliders to selectively alter and punch up certain colors.</p> <p>The second photo looks like he bumped up the black slider a bit and turned down the saturation to achieve that underdeveloped film look.</p>

<p>The only way I have been able to do perfect distortion free panoramas are with a tilt shift lens. Shift left and right while taking 2-3 photos and PS stitching will be the only thing you need to do in post process.</p> <p>I don't think I can live without my tilt shift nowadays... It's the only reason I'm not hopping on the mirrorless bandwagon.</p>