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zazarickoty

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  1. In the film days, I always found that I had a lot of difficulty shooting color and black and white simultaneously (with 2 cameras). I had to sort of get into the spirit of black and white. To some extent now, if I shoot in RAW and convert later, getting a good black and white is something of a fluke, not something I "intended." I'm thinking (maybe wrongly) that specifying monochrome in the camera (something some cameras can do -- one of mine can) which causes the digital image on the camera to be black and white helps me to look for good black and white subjects, even if when you get back to the computer, the black and white jpegs embedded with the raw get converted back to color. Course I can only do this if I set it to RAW + Jpeg so while the RAWs revert, the jpegs stay black and white.
  2. Last night, only had the IRIX 15mm f/2.4 with me at the time. I call ultra-wides sometimes "big sky lenses" - and it sure helps if there's a "big sky" to photograph.
  3. Last night, only had the IRIX 15mm f/2.4 with me at the time. I call ultra-wides sometimes "big sky lenses" - and it sure helps if there's a "big sky" to photograph.
  4. Well it was the top of the heap or at least top 10 photo school. I lived nearby and was actively involved and helping several students to realize their dreams while they went there. Anyway, I'll fondly remember the school.
  5. I go back to version 2.5 of Photoshop, and every time I upgrade, I get another copy of the Photoshop app in the "Missing Manual" series. Good for learning and then stays good as a reference.
  6. I retired as English teacher from a community college. I know this is long after your posting, but I would be glad to help in exchange for some photo lessons.
  7. The most successful photographers (and other artists in general) aren't necessarily the most creative or skilled, but are those who are the best salesmen and marketers of their work. So if you're wanting further education I would suggest learning marketing and sales techniques.
  8. Here's a video that demonstrates the process that Alan describes above: Long ago, I used a Kodak solution in order to determine if fixer was still good but then, because I used the same procedures repeatedly, I just figured out when the testing showed my fixer had gone bad, and never surpassed that amount of film and paper to be fixed. Good idea is to err on the side of caution and toss fixer early.
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