ellis_vener_photography

Great find Loren! Thanks for sharing.

"A reflector would also work for backlit scenes, but not so much under trees." In which case, unless you are in a forest, you put it out where it can catch some sun. But a Speedlite (Canon) / Speedlight (Nikon or Sony) and a collapsible reflector are the best combination to own as they will give you the most options and choices for different situations, you can also use the collapsible reflector as a portable bounce surface for the Small flash.

They are going to sue you over $70.00? Tell them to bring it on! Is one of them an attorney? They aren't going to find an attorney who will take their case if that little money is involved. And it will go to small claims court. That you don't have any sort of written agreements ... Shame on you. If you really are charging that little you're finding an expensive way to go broke faster. How much time have you spent? Divide the $70.00 by the hours you spent talking to them before the shoot, the time spent at the shoot, any travel time, image processing time, etc. now start deducting the hard expenses: photo gear, computers, etc. how deep is that hole? What would you say is your added stress and worry worth? If you want to continue offering your services as a paid photographer, I suggest you join PPA. My advice as a non-lawyer is: But at this point I'd give them full resolution versions of all of their photos, refund the $70.00 along with a note informing them that after they accept the DVD or flash drive you will be erasing their files from your hard drives.

"I didn't realize that my new Nikon would output only NEF, which makes using the colorchecker somewhat problematic, since it wants a DNG. " Either Lightroom or Adobe Camera Raw can convert proprietary raw formats to DNG. Once created a DNG profile can be applied to any raw format, TIFF , or JPEG handled by Lightroom or ACR. I prefer to convert my proprietary format raw files to the raw DNG format but that is because I don't like XMP side car files. I also prefer the (free) Adobe DNG Profile Editor software to the Xrite ColorChecker Passport software. Finally: copying art is a tricky business in terms of color accuracy. Using the more complex Xrite ColorChecker SG and i1 Profiler to create a true ICC profile for your TIFF or Jpegs is a couple of steps up in color accuracy but is much more expensive and time consuming. Beyond processing the raw file (with the profile applied) to produce a TIFF. You then have to convert (not assign) the TIFF from the color space it is in to the ICC profile you created, save it and then round trip back to Lightroom for archiving and cataloging.

Thanks Keith!

I use the Canon Pixma Pro-10. I've also used the comparable Epson. While both are excellent I prefer the Pixma Pro-10 as it is more economical to run (consumes less ink and has far fewer problems with clogged nozzles. I agree with Jim Lee about the need for a colorimeter to profile your computer display(s). The Xrite ColorMunki Display is fine but if you have multiple displays the same company's i1 Display Pro is better, faster, and not significantly more expensive. I also agree with Mr. Lee about using high quality paper. Also inks: even though OEM INKS are amazingly expensive per milliliter, they are cheaper in the long run than refilled cartridges or inks of unknown origin as those in my experience cause problems with the print heads and make consistent print color a headache. I used to make my own printer/ink/paper profiles using 1700-2100 patch targets and Xrite's i1 Pro spectrophotometer and i1 Profiler software; over the past few years I have switched almost entirely to Moab papers and comparing the high end individual printer specific profiles I was making to the "generic" profiles Moab makes available. I see no discernible difference either in the prints (viewed in a Graflite viewing booth) or in the profiles themselves as mapped in ColorThink software, and I get a good match to my profiled displays. Jeff Schewe's books "The Digital Negative" and "The Digital Print" are excellent, highly readable guides to digital image processing.

Probably they don't recommend it because you'll have two panning joints on the same axis. A simple clamp will make it less complex and possibly stronger. What does Wimberly think of using the Sidekick in one of the Really Right Stuff panning clamps?

As Louis Meluso noted: Hasselblad 500C/M, 553 or 555 ELX or Pentax 67.

Using layers when you make image adjustments allows to you go back and revisit the change you made without have by to undo what you had done afterward. Using layers also lets you use a mask on the layer to limit what area of the image you want to change, use different blend modes, and group some layers together. I like to save the layered document as the master and when satisfied make a duplicate with the layers flattened. Since you are interested in working with others the individual color channels, to take that way of working to the next level, check out Lee Varis' "10 channel color workflow" videos on Vimeo.

I'd pay attention to his face and then figure out how to use the light available to bring out his character while he was either engaged with work or conversation. I would not aim to make a hagiographic or heroic portrait, but of the man inside the public mask - but would be aware that all we get in a portrait is the surface, the mask..

As long as you don't mix them with USA frequency models you should be fine. Just don't tell the Federal Communication Commission and you shouldn't have or cause any non-photographic issues either :-)

Nikon F2 sitúa a plain prism, Sport finder, waist level finder, or 6x magnification "stovepipe" finder.

In 2015, small pixel pitch differences by themselves won't make a noticeable difference. But a medium format back with a pixel pitch of 6 microns will likely have a higher total pixel count than a 24x36mm format sensor with roughly the same pixel pitch, and that will make a difference. Which is why I asked "which medium format back?"

Phase detection takes the signals from two adjacent AF sensors and sends them through separates pipelines to the AF computer and compares the data to see how close they are to being in phase with each other and in which direction they are out of phase To focus on that spot the computer drives the lens in the required direction. Phase detection has been the tan dared manner of AF for SLR cameras. When you use Live view on most dales the focus detection method is to compare contrast.

I wore out an F2 but even bought used from a photojournalist, my F kept on ticking away until the day it was stolen.

Two real world differences is that for a given angle of view, the large the recording area, the longer the focal length lens you'll need to cover the same vertical or horizontal angle of view. Given that a 75mm lens for an MFD the depth of field at any given f-stop is shallower than for a 50mm lens on your Canon, at the same f-stop that will make a difference in the appearance of your image. - A second difference is that the cameras handle differently which can make you think (slightly) differently about how you are going to make a specific image. Which Medium format system are you looking at?

To Marc: Can you post a link to the original article or editorial?

Go with flash, the Alien Bees are high quality, basic, and low cost. All flashes emit UV, but there are direct methods to attenuate to normal levels, including the diffusion material on softboxes. http://www.paulcbuff.com/b400.php For example. To make sure your color is true to the subject , yes shoot with your camera's raw format. Also get an X-rite 24 patch ColorChecker. Not only will you use it to set white balance to neutral ( 2nd or 3rd lightest gray patch) in Lightroom you can use it to to create a custom camera profile for your individual camera to neutralize the camera's designed in color bias (I'm not making that up, it's a real phenomena.) see http://www.xrite.com/documents/manuals/en/ColorCheckerPassport_User_Manual_en.pdf), and finally if you include a frame with the color checker in it, it will give your printer a color guide to match. Do not use a Kodak Gray card to set white balance! They are not Cole neutral. If you want to use a truly neutral gray target, get a WhiBal.

Hiro, Chris Von Wagenheim, Helmut Newton, Albert Watson, Annie Leibovitz, Nick Knight, Cecil Beaton, Sarah Moon,...

Which paper are you printing on? Do you have the right profile for the printer/paper combination and are you using it correctly? What are your media settings?

It's a very solid standard display . Not quite in the same gamut range - when carefully profiled the gamut of the 27" Retina iMac is larger than sRGB but it's not as good as a high end NEC or Eizo CG Color edge but one of those will cost you as much as the entire iMac.

I use both Canons and Nikon's and always shoot raw. For event work if I use flash as my primary light source that's the WB setting I use in the camera. I have custom WB presets in Lightroom for different modifiers that I apply as needed. If I can't use flash I use AWB and batch adjust the WB to what pleases most or looks right to my eyes. If you don't shoot raw, especially in situations where you do not have total control over the lighting and contrast ratios, honestly you are as f___ed as the leprechaun Mad Sweeney was after he gave the gold coin to Shadow. (American Gods reference.)

Neck straps are lousy things to hang cameras from, they were not designed for it; , use your shoulders instead. Trips months n cameras were also not designed to hand a camera form either, so sip the black rapid as well.

What Rich said. Did you ask for references, did you follow up on them, did you see a portfolio? Did you hire solely on price? Did you see those conflicts in claimed experience before you hired her? Is she a member of any professional organization?

I agree with Bob.