jpb

<p>Thanks, I appreciate your insights. I’m feeling like the isopropyl and distilled water might be safest. The Dawn idea might come next (If it’s good enough for a bird, it should work on my screen, right? :) When the machine gets even older, maybe I'll experiment with Naphtha. But I've got some experience handling chemicals (Denatured Alcohol, thinners, naphtha, etc.), and I'd want to be cautious with anything petroleum based on my screen, which I assume is also petroleum based.</p>

<p>Jos, I’d have to refute the 100% claim that you say di-hydrogen oxide has on the drowning industry. In fact, just recently I heard of a poor guy drowning in a vat of industrial acid (yikes). So while I agree that people are generally too careless with the stuff – filling large recreational basins of it in close proximity to their homes – you can’t blame that one substance alone. That said, I'll try not to drown my faithful old computer.</p>

<p>I have a 6 year old laptop with a matte type LCD monitor. Over the years, the screen has obviously built up a film of atmospheric pollution. There are a few particular spots that I've been unable to wipe clean with the usual wet wipes, and I suspect there is also a more general haze.<br /><br />What is the best solution for polishing up that screen a bit? I found this thread from 2005. Is this advice still current? <a href="../digital-darkroom-forum/00CUgs">http://www.photo.net/digital-darkroom-forum/00CUgs</a></p>

<p>Thanks, James</p>

<p>Thanks so much for your informed responses, and especially to Shun Cheung and Michael Kohan for the details we needed.</p>

<p>Best,<br>

James</p>

<p> </p>

<p>Hello,</p>

<p>I have a friend who is selling a Nikon lens but doesn't really know the technical side of things. In responding to an inquiry about her lens, she wrote a description and asked me to review it for accuracy, however, I do not shoot Nikon and so am unfamiliar with their product line. I told her that what she wrote sounds accurate, but to be sure I'd have to ask a real Nikonian.</p>

<p>Would someone mind taking a quick look at the following text and let me know if it is accurate and complete in what it's trying to express? re: Nikon Micro- Nikkor 60mm f/2.8D AF</p>

<p>"The 60mm f/2.8 AF-D has been replaced by a a newer AF-S version which does the same thing but costs much more. The main advantage of the AF-S version is easier access to manual focus and that is can autofocus on Nikon's cheapest D40,D40X, and D60. Also, the gentleman noted that he has a Nikon D5000 but from my research it says that the AF is not supported on the D5000 cameras."</p>

<p>Thanks.<br>

James</p>

<p>White balance is one consideration, but it should really be the final consideration for this issue. First and foremost you need to light the background properly. The reason the camera is reading your background' true qualities is because the waves of photons reaching your sensor are not the optimal quality required to achieve your desired outcome. Of course, lighting the background properly and simultaneously lighting the jewelry to make both looks their best can present technical conflicts... but welcome to the world of jewelry photography. Working with difficult surfaces in a small subject area is one of the skillful arts that makes this a true specialty.</p>

<p>That said, yes, messing around with color temperature, vibrancy, saturation, curves, levels, masks, and other post production tools can offer a moderate solutions to your dilemma, but you will ultimately save yourself time and grief, and get a better finished result, if you can learn to do as much of the work it in camera. With proper lighting. Only once you get your lights set (angled, powered, and modified - or if using natural light, just modified) will you want to shoot a gray card.</p>

<p>Without knowing exactly how much experience you have, the only specific technique I can offer would be to study a good book. I know people here are always recommending Light Science & Magic, so that might be a good resource. There are others too...</p>

<p>Good luck.</p>

They're great lights, very expensive though. We usually rent them for interior shoots, especially on travel jobs, as they are

smaller than the equivalent Arris and don't need such a heavy duty light stand. They come in a 400 watt model as well. I

hope this info is helpful.

Looks like a Jokerbug to me:

http://www.bhphotovideo.com/c/product/188013-REG/K5600_S0800JB_Joker_Bug_800_Watt_HMI.html

Side by side comparison of shot

frames (jump feature is cumbersome)

and

Identical file naming between files

captured simultaneously to card and

tether.

Hi Diego,

Here in New York there are many assistants who are able to make decent livings and eventually transistion into full time

photography. It takes a little while to get the ball rolling, making connections and developing the pertinent knowldge to be

considered a trustworthy and reliable assistant, but it is certainly possible (speaking from experience). 

There are also many assistants who are really struggling and who, frankly, will never make the transition.  It is all about

marketing and the proper attitude.  

My advice would be to not jump on an airplane just yet, but rather to consider that several dozen inquiries might not be

quite enough to judge a response rate yet.  Try several thousand (seriously), coupled with follow-ups and adjusting your

message as you go.  Also, try reaching out to photographers across Europe.  Specifically, Germany, Spain, France, Italy,

and the UK, where the markets are pretty viable. (I know a great Italian assistant who took a job with a very reputable

German photographer, and they communicate in English.) Your English seems pretty strong, so use that to your

advantage.

If you do set your heart on the United States, first try the major markets of New York, Los Angeles, and Chicago, before

approaching the secondary markets in Miami, St. Louis, Dallas, etc.

Good luck. Photography is definitely not the straightest road to riches, but it can be a very inspiring way to earn a living

nonetheless.

If you want to talk directly, just look up my email address and I'll be happy to help you answer some questions you have.

Best, 

James

<p>James Burger Photographs<br>

Brooklyn, NY<br>

Gallery: http://www.photo.net/photos/jpb</p>

<div></div>

<p>Carpenters don't price services based on the type of hammer they use. It's how well and how many times they swing it that counts. Professionals won't necessarily ask these questions right away. Like any other business, they figure out what they can and want to offer (and to whom), determine their costs, decide their profit margin, and then set their prices. <br /> <br /> It's helpful to seek guidance, and to compare prices to comparables, but if you're searching for a golden ticket, look within... inch by inch.<br /> <br /> And don't forget marketing.<br /> James</p>

<p> </p>

<p>Overall, your website looks good. There were several typos (when I looked yesterday) that should be cleaned up, and your homepage header sits lower than your other pages, so your navigation doesn’t line up uniformly, but I think the site suits your purpose - simple, clean and informative. I wonder whether it might be more efficient to combine “Education,” “Attributes,” and “About Me” onto a single page.</p>

<p>In my opinion, your maturity and the diversity of your experience is a huge advantage over younger competition.</p>

<p>Don’t rely on clients finding it on their own. The website needs to be just one piece of your entire marketing plan, which should include a lot of emailing and phone calling to prospects and leads. Boston is a smaller market then where I am, in New York, so it shouldn't be too difficult to create a list of most of the commercial shooters living and working in Boston, and then from that list you can distill those who are your best prospects. In my experience, it’s a lot of emailing, researching, and tedious computer work to find enough jobs to pay the bills, but the experience you'll gain is totally worth it.</p>

<p>Don’t charge for your time, charge for your skills.</p>

<p>Is every four hour period in your work really created equal? I've had two hour shoots that were more complicated and exhausting than some full day shoots, and my fees would reflect that.</p>

<p> </p>

<p>I’ve been using the Visible Dust line of product for a few years to clean my DLSR sensor. It seem that each time I pick up the product (usually at Adorama) I’ve had to alternate between their two types of swabs (Green: Ultra MXD-100 Vswab® and Orange: DHAP- Vswab®), depending on what was in stock. Recently, I had to get the Orange swabs.</p>

<p>I just read thorough the Visible Dust website and found that both swabs are listed at the same price, and the only discernable difference between them is that that Orange are only compatible with The V Dust liquid, and not the Smear Away.</p>

<p>I have both liquids and use them alternatively for different types of sensor contaminants, and I’m sure at some point I’ll forget which swab is compatible with which fluid.</p>

<p>I’m halfway tempted to buy the green swabs online every time, rather than in the stores, where I usually buy my stuff, just to be sure I get the swab with maximum compatibility, but these things are expensive (like $3 a pop), so I’d prefer to use the new Orange box I just bought, which, if I’m lucky, could last me the year.</p>

<p>Can anyone elucidate me about the distinction between these products? And, aside from fluid compatibility, are there any camera compatibility issues with either, specifically with Canon EOS?</p>

<p>Thanks,<br>

James</p>

<p>Brilliant, Francisco. Thanks so much!</p>

<p>James</p>

<p>Hello. I think I remember being able to zoom to 100% in Adobe Bridge (CS3), but now the application seems to be defaulting to 200% when I use the magnify tool to see a zoomed sample of the displayed image.</p>

<p>Can anyone point me to the right menu where I can change the default or otherwise control the zoom amount showed by this function to 100%?</p>

<p>Thanks very much,<br>

James</p>

<p>These 419 scams really bother me, and it also really bothers me that people fall for them. So, yes, it is tempting to respond with a nasty email, or at least one that wastes some of the senders' time. </p>

<p>However, whatever your response, no matter how satisfying it feels, all you're really doing is verifying that your email address is valid, so then it gets added to lists of valid emails addresses that then get sold to other scammers and spammers.</p>

<p>As satisfying as it might be, ignoring such emails really is the best way to protect your email account.</p>

<blockquote>

<p>"Having only the Canon 50mm 2.5 macro lens has probably aided me despite the frustration I sometimes feel with the lenses reach and macro ratio limitations."</p>

</blockquote>

<p>It's often advised that restricting yourself to a single lens, and better still, a single focal length (fixed lens) is a great aid to learning photography. I understand your frustrations with the limits of macro on the 50mm macro, especially when you just want to get a bit closer. But I’ve also found that this lens can do some interesting things with the focal length when not in use for macro. Remember that photo equipment is not medicine, it’s not illegal to use if for purposes other than its prescribed indications.</p>

<p>Lastly, when you are ready to try new gear, depending where in the world you are, you can usually rent equipment for short periods. (here's a place in the US that does it online: http://lensprotogo.com). Renting is relatively inexpensive, but do be careful because the charges can add up quickly. It’s a great way to test equipment before you buy it. If you’re near a major metro area, this should not be a problem.</p>

<p>I'm glad my previous response was helpful. Hope this one is too.</p>

<p>Try a different approach. Instead of seeing an object you want to take a picture of, turn that object into a subject.</p>

<p>Envision your final image before you line up the exposure. Once you can know what you want a photo to look like, and then control the camera and the scene precisely enough make an image that makes you happy, based on the picture in your head, then I suspect you'll feel better that you're "taking good pictures on purpose."</p>

<p>Sometimes serendipity takes over and gives you an amazing photo you didn't precisely expect, but it's still quality you intended to achieve.</p>

<p>Good luck,<br>

James</p>

<p>I got one the other day in which "she" actually told me that for my inexpensive prints she would be sending me a cashier’s check with a significant excess that instructed me (rather coldly) to be honest and send the difference to the shipping company directly upon receipt. Usually they wait a bit longer to tell you about this condition much later on, but I guess "she's" inexperienced. “She” also contacted me through a website contact form on one of my online shops, and instructed me to correspond further outside of that circuit, to her "husband’s" yahoo address.</p>

<p>If I didn’t understand how stupid "she" is, I would have been insulted about how stupid she thinks I am.</p>

<p>Word of caution (in hindsight): dry Swifter cloths are not really dry. They have some chemical in them that will leave residue and the fibers are very easy to snag, so I wouldn't use them for anything other than your floor.</p>

<p>In this case, I would find out what the residue is and then find an appropriate solution or have it professionally cleaned.</p>

<p>Next time, I would start with a blower and move to a static brush if necessary. Always keep the camera powered off if possible when cleaning the components you want to clear of dust, otherwise, the electric charge of your sensor can draw the dust further into the camera body.</p>