ellis_vener_photography

David, read the iStock contract carefully. It might make you take on all of the legal and financial liabilities for how the photo is used including responsibility for any expenses iStock or its owners incur for their mislabeling, selling, or licenscing the images they accept.

It is perfectly fine as a straightforward (and deep) octagonal softbox but as a portrait light, i prefer the light quality when it is used with the light pointing back into the bowl. That setup scatters the light before it is diffused by the front face.

Looking at your photo, Impreety sure their concern with someone's rightshas to do with tjehouseand not theperson, especially sinceyou mention "property rights".

I can't post photos I do for my clients but tomorrow I'll try to remember to post a test shot of my assistant from a recent corporate portrait gig. I have modified mine (had an adaptor made) to use it in indirect mode ((which, honestly is the only reason to want one) with a Paul C. Buff Einstein E640 monolight.

Hi Bill! Good point and yes that's about a decade before my start as a professional. I was assuming amateur and not pro lab work. When I shot film a generous estimate would be that only 5% was color negative. 10-20% was black & white negative and the rest was E-6 (large, medium and 35mm formats) and 35mm Kodachrome.

With a Canon 430 EX II Speedlite on a Canon EOS 5DS, and the flash set to manual, changinging the aperture on the camera changes the distance displayed on the flash. Of course this assumes that the flash is either mounted on the camera or at the same distance to the subject as the camera. Of course back in the days of film photography only, if you were shooting negative film and had other people developing and printing you had no idea how close your exposures were to optimum.

Platypod Pro http://www.platypodpro.com I received my Platypod Pro a few weeks ago but today was the first chance I had to really put it to the test. On the Platypod Pro I've mounted a Benro B8 video head (for a more precise fluid dampened tilt) and on top of that a Sunwayphoto DDH-01B panning clamp (to make yaw angle positioning easier), a Really Right Stuff MPR-II Nodal slide (to adjust camera to subject distance for this macro shot), with a Canon EOS 5DS and Tamron SO 90mm f/2.8 Di Macro 1:1 VC USD. I've been using the Platypod Pro for mounting lights in odd places but this is the first tine I have used it as a tripod mounting device. The four spike ended screws sticking up are used for adjusting the height of the plate for clearance and leveling. When not in use they store in the little box in the front of the tripod head. There are multiple points for attaching the Platypod to different things via a strap, screws, and standard threaded 3/8" and 1/4" tripod mounts. For what is essentially a flat piece of black anodized steel it is pretty useful.<div></div>

I think that if you take a sheet of CTO gel and roll it into a cone and gaffer tape it to your speedring (if using a Chimera Lantern) that should take care of it.

No it isn't a gimmick but from experience you'll be better off with an Xrite i1 Pro Display colorimeter than the Spyder.

I am a very long time fan of the Leitz tabletop tripod and large ball head but very recently have started using a Platypod Pro instead. You should check it out: http://www.platypodpro.com/products/ currently for cameras I am using an Arca- Swiss p0 head but you can use any tripod head you like.

If ypu can you may not be able to focus at infinity. It is also important to get the cells at thecorrect distance from each other. It hasbern a long time since I looked closely at the Fuji or Mamiya RZ lenses but something in theback of my mind is telling me that the Fuji GX lenses are morelike view camera lenses in their construction while the RZ lenses have a more integrated design.

SB-28.

Dieter is correct: Nikon's raw processing programs by default use whatever sharpening settings you have set in the canera's setting. Keep in mind that setting is a global unsharp masking algorithm based on the jpeg (size and compression) you have the set the camera for.

It sounds as if the long term you will be better off without her as a client. Nobody likes to give up money but I think in this case you should bite the bullet and make an exception to your general contract and just quietly refund her deposit.

Lightroom will automatically use the display profile - for the display! Lightroom's working space is "Melissa RGB" which is very much like Pro Photo RGB but with an sRGB like tone responce curve. If you want to use a soft proof profile use whichever one you wish.Also you can export using which ever profile you prefer. In Photoshop under working spaces unless you desperately want truncated color use either Adobe RGB(1998) (in 8-bit per channel modality) or better, ProPhoto RGB (16-bit per channel only) as your working space. Under color management Policies use "Preserve Embedded Profiles".

Well argued.

I1 Profiler should be installing the profile in the correct folder in your OS so that all ICC/ICM profile applications can make use of it. Beyond that you don't have to do anything, it will run in he background.

I wrote occassionally for View Camera from about 2003-2006. Some of the profiles were great and in the first couple of decades the technical articles were fantastic. When I first started making panoramic images in 1991, a View Camera issues deicated to panoramic photography -specifically two articles, one about how another photographer composed his images based on the look of graphs of bird songs and chimese scrolls (compose the image your eye travels from the left edge to the right and not so much emphasis on near/far relationshipa is the foundation I organize the compsition composition around) and another about a stock agency that I ended up signing with, became big keys to my eventual success. Kerry Thalman 's articles about lenses were always. terrific as well. I stopped writing for Simmons when getting paid by him became an ordeal. I am a writer and a photographer, not a banker.

I have tried to do that kind of deep testing in the past and there are several problems inherent in it. Here are two 1) who is going to pay for the time involved? Not just the testing itslf but also the organization -getting all of the tools loaned from manufacturers or rented or borrowed from rental houses so everything gets tested using as few varuables as possible. . And then there is devising the protocol, the actual testing, the processing, and then writing up the results in a rigourous and duplicable manner and proofing/ editing the article. For a possible upcoming article in PPA's "Professional Photographer" magazine I have done all of that on a small scale (most recently testing different monolights in the 320- 600 watt-second range) 2) It is not only mind-numblngly boring but it also proves to be a thankless task because two things happen all of the armchair critics and brand-pushers come up out of the woodwork to criticize everything you have done and you have to take seriously some of the legitimate suggestions and argue for your work against the trolls. Back to tjese specific modifiers: the indirect Elinchrome Octas are beautiful portrait lights. The difference is that the light is dispersed by the light pointing into the bowl and bouncing around the inside of the modifier before being diffused by the scrim across it's face. Even compared to a standaed octagonal or rectanglar softbox of the same diffusion area it is a bit deeper and you need a heavy duty stand for it as all of the weight is well off center. I also replaced the stand mount that comes with it and now use an Avenger D200 grip head in it's place. I qlso had a custom made Balcar type mount made for mine so I could use my Paul C. Buff Einsteins. I bought the 59" version instead of the larger one, which is the original as i needed something that is easier to use on location for portrait work when a project doesn't a budget for assistants. For full length portraits or larger groups the larger one is better. ...

Havent used the Litemotive but set up as an indirect softbox the 59" Indirect Octa is one of my favorite portrait lights when I have the space to use it in.

Generally when you want a fully circular panoramic image shot with a fisheye lens it is better if you start with three or preferably four images and more ( eight might be ideal) to produce a better final image. More overlap means less distortion especially where the edges of the images overlap. Also two images shot at 90-degrees to each other with a circular fisheye lens will only cover 270 degrees. As for stitching programs, both Photoshop CC 2015 and Lightroom CC 2015 now incorporate very good panoramic stitching capabilities, For more precise work I ise PtGui Pro.

No comment.

If you want the color responce of multiple cameras to match you need an Xrite ColorChecker target and either Xrite's ColorChecker Passport or Adobe's DNG Profile editor software and build profiles for each camera. Why are the two cameras different? There are different sensors and different image processors in each of the two model cameras. As to why one camera is focusing at a slightly different point even with the same lens, every camera and every lens is a unique and very complex device lenses are different systems and while within spec, Each and every lens and body combination yields slightly different results. Consider getting a LensAlign II V4 target and FocusTune software package and it with the Autofocus micro-adjust feature of your cameras to calibrate both to optimum autofocus performance

How much film are you planning on carrying on your hikes? Honestly, because I love the amount of control over the image, i would skip medium format SLRs and rangefinders and insyead I'd get a 4x5 field or technical camera - Canham DLC, Linhof Technika, or Toyo - but the DLC is easily the most versatile of these - and a 6x9 rollfilm back. Either that or a Canon 5DSr, Nikon D810, or Sony A7R II digital camera.

You are checking all the boxes and that's good! I believe Getty has a pricing guide