sara_fredericks

It is also a volume issue. Most people get 4x6's and that is what the "system" is setup to bang out...not 8x10's.

Ellie,

 

Just expose for the background and make sure the subject is adequately backlit. That is the simple version of the answer to your question.

 

If you are lighting it yourself, put the subject in the dark (unlit foreground) and light the background with the flashes. Experiment on the exposure, but as someone else said, overexpose a bit so that you can "extra underexpose" the subject, dropping it to silhouette.

 

Jon

R. Jackson,

 

I use the WPoC too...which model do you use? Would you recommend it? And if you have used Mac and PC, you'll know why I label them as I do...Mac almost always works. Period. Windows requires constant maintenance just to keep functional.

I am looking into the Epson P5000, whose reviews I have read. I am also

considering a teeny tiny laptop to view images in the field.

 

I travel to rugged field locations (Amazon, Botswana, Alaska..) and currently

travel with 2 portable HD storage units and then review when I get back to my

office/computers.

 

What do you think about the P5000 vs a small laptop for these conditions?

 

I have not been able to bring the laptop due to small aircraft weight

restrictions and just general weather/travel risks, but if someone can recommend

one small enough and light enough, I could dump a lens to make up the weight limits.

 

What small laptops are there that I don't know of? I use a MacBook Pro, but

also use Windows piece of craps too...lol I am just not familiar with all the

tiny laptops out there.

 

Also, does anyone know of alternatives to the P5000?

Hi. My name is Jon and I am a former Velvia addict.

 

I reluctantly switched to digital with the D200, which I waited for to be designed because I did not feel that digi had quite 'made it' to the quality level of film.

 

Do I regret the transition? No. But it still stings in my gut. Am I impressed with the results of the D200? Absolutely. No question. The results are stunning. But they are digital stunning, not Velvia stunning, if ya know what I mean. The images load to the website with little or no fuss, unlike a Coolscanned 35mm slide, which requires a fair amount of work.

 

I now MUST use digital because my clients do (I lead photo trips) so I have to be on top of what they need. But I am still lamenting the loss of film as the standard.

 

Plus the cost issue is a total no-brainer, though the initial outlay for a D200 and now a D300 is a punch in the gut...but hey..that's what I get for shooting Nikons..They could be Leicas!

For the traveling pro photographer:

 

How do you view your images in the field if you CANNOT bring a laptop due to

small aircraft weight restrictions?

 

I have seen the Wolverine "Portable Data Storage Device and Multimedia Viewer",

which has a small screen on it and mixed reviews (though I am very happy with

the non-screen version.) And of course there is the back of the camera viewing

screen, but is there any other SMALL device available that you all know of?

 

Thanks!

All great responses! Thanks folks...and yes, I am flying thru JNB (JoBurg).

 

I guess my plan is to fly with the 400 2.8 and a smaller shoulder bag as carry on. The bag

will have 2 bodies and the pricier lenses. The more or less empty Pelican case can be

checked and then hope it arrives unmolested. Then I will fill it with gear for in-country

travel.

 

I love this forum! You can always ask real pros real pro questions and get real pro

answers! Thanks all..

I think the true sign of a pro is getting the shot in one (or few) shot(s). At least that is a philosophy that applied when I worked in photojournalism - you often only get one shot, if that, so you'd better make it count. I think when one hits the motor drive, one stops truly looking through the viewfinder. Or at least, the kind of photog who regularly hits the drive. Shooting sports even it is often the sign of a shooter who isn't looking at each shot individually. And I think the best sports shots are not made by accident, but rather are intentionally captures of the moment.

In 1989, I started at $20,000 right out of college with a degree in biology and a strong portfolio of PJ stuff (covered Reagan, breaking news, etc)....but in the Boston market..as the chief photographer for a chain of 5 weekly newspapers.

 

I agree with Craig Shearman's assessment.

I would think that if you can't show 'what you've got' in 15-20 images, then you're showing too much. I think that is the number one error that the novices I advise make; showing too many images. To me, it always screams one of two things:

 

A) I think I am hot stuff.

B) I cannot effectively edit my work to a concise presentation.

 

'A' drives me up a wall, especially when someone with 5 minutes of experience asks me to view their work, then tells me how spectacular they are. You know how it is in this business of giant egos.

 

B) I think is a fairly common error when presenting your work. I find, as I get a little bit smarter each year in this business, that "less is more" is becoming an extremely important philosophy for me.

 

Besides, logically, if your first 15-20 images aren't stunning enough, then neither will be the next 80. Ya know?

 

The reason that few are willing to help, is because you are a direct threat to their livelihood. Everyone and their brother wants to be a photographer..and you are poking around with them on how to do that. The pool of available clients sometimes feels finite, so you are effectively asking that pro to let you in on some of his/her limited client pool.

For the traveling pro...Do you really let go of your gear by checking it in a

Pelican case? I can't bring myself to do it, since I fly to C. & S. America and

Africa (theft). So I try to carry-on a shoulder bag with bodies and lenses like

300 & 80-200, and then also hand carry the 400 2.8 in its own hard case.

 

Any thoughts from those who travel with lots of gear a lot, besides shipping it?.

Hello All,

 

I am planning a trip to Botswana to photograph wildlife next year (March?) and

am looking for a safari operator that caters to camera people.

 

The problem I seem to be having is getting emails through to Botswana and/or

getting responses from US companies here to plan this thing.

 

Any ideas? Suggested places to go? I was thinking Moremi Game Reserve.

 

Thanks!

 

Jon

Patrick,

 

According to the Adobe site and various other sources, one cannot use an external HD as a scracth disk, so it would seem that the only solution here is more RAM, wouldn't you think? I agree 512MB is way too little, so I will upgrade my RAM when money falls from the sky...thanks again.

Are you folks implying it is better to convert RAW to PSD than it is to convert to TIFF?

 

What would be a file size comparison between the two of the same image?

I just tried to assign my Wolverine Flashpac 7000 60GB HD as a scratch disk, but it does not show up as an option. Is it possible that this Wolverine cannot be used as a scratch disk? The specs state that is can be used as a backup hard drive.

 

So, I set the first scratch disk to: STARTUP DISK

and the second scratch disk to: MACINTOSH HD

 

is that the right way to do it?

I am using a MacBook Pro with Mac OS X v.10.4.8

 

Processor 1.83 ghz Intel Core Duo

 

512 MB SDRAM

 

Ellis, I am assuming so. I have PS installed on the Mac side of this laptop (Windows on the other side (Mac side 60GB/Windows side 20GB)

 

 

Giampi, Yes, I do while I am working on them. Bad idea? I backup to remote HD often.

 

Patrick,

 

How much RAM? I have 512 now..my old Mac G4 I made up to 2GB (I think...I maxxed it out)

 

File sizes are about 13MB.

 

What I do is open the NEF (from the Nikon D200 after transfer to the Wolverine 60GB HD) in Nikon Editor and convert to a TIFF. Then I work on them in PS before saving as jpg for the websites or leave as a TIFF for printing. Got any suggestions for reducing my consumption of RAM?

 

Thanks for all the help.

Adding to that, can I assign the portable hard drive as the scratch disk for that purpose?

"Scratch Disks Full"

 

I have been working with large NEFs and TIFFs and now my scratch disk is full.

So I moved about 20 large photos (from the desktop) to a portable HD (Wolverine

60GB), but I still can't crop the one image I am working on and still get the

same error message.

 

Where exactly do I need to empty images and make space so I can keep working?

 

 

Should I save all my images onto the portable hard drive only in the future?

This is killing my workflow!

 

Thanks!

RK why don't you post it here so we can see?

Practice visualizing the axis of your lens pointing at your subject from above your head. You'd be surprised how hard that might actually be unless all you want is a wide angle photo and those aren't usually worth anything..make sure you have fresh batteries and have a bounce card or equivalent diffuser on the flash and be ready to get bumped around a lot to get a good shot...think mosh pit.

Michelle,

 

I agree with Pico on Missouri, however, I succeeded in photojournalism having never taken a single photography course. I was the photo editor and chief photographer for a chain of 5 newspapers in Boston, one of the most highly competitive PJ markets anywhere. The key to success was not formal education, it was having the goods.

 

If you walk into any photo editor's office with photos that make them say holy sh@t, and demonstrate that you can produce those results on a regular basis, then you've got the job.

 

I ran an internship program at those papers and had a lot of photo school students who were very serious about photography submit resumes. That didn't mean, however, that they were any good at completing assignments. Having the real skills as a PJ to connect with your subjects, make stunning photos, and get them to the editors desk BEFORE the deadlines is what makes a PJ successful. All the rest is fluff, in my opinion.

 

That being said, people may want to see Missouri on your resume before they let you in the door if you knock on that door the traditional way.

 

I would suggest instead that you self-assign and then give an editor a call and say something like "I've just completed a photo essay on corruption in the Mayor's office" or "I just got a shot of a bank robbery in progress...would you like to see those pictures?" I doubt a single editor could resist inviting you in that way. That's how it worked for me.

 

I photographed President Reagan during a visit to a town near me back in the 80's. I was 19. I lied..er stretched the truth, with the Secret Service and told them I worked for the local newspaper freelance in order to get a press pass and they gave me one. Everyone else in the press pass suite had grey hair. Anyway, once I got the press pass, I called the local paper and asked if they wanted photos of the Reagan visit because I had a press pass and their response was basically hell yes and that they were unable to get a press pass for some reason.. They ran 6 of my photos, including the front page, the day after the visit and that story got me the job in Boston. That was the first time I was published. They later offered me a full-time staff position on that daily newspaper. Again, I have never taken a single photo class.

 

Best of luck to you.

 

P.S. Don't tell the Secret Service, OK? It'll be our little secret ;)

Thanks guys...I appreciate it.

What is the best software or method to batch convert a lot (1500) of Nikon NEF

files to either JPEGs or TIFFs or even PSDs?

 

Thanks!

Michelle,

 

Thanks for your response. I think you are one of the few here who knows exactly what I am expressing. Until one is truly making their living off their images, they are just talking smack, in my opinion. And yes, it collectively cost $100,000 to make that image. If one had done that kind of work, they'd know. Shall I list the expenses involved to get that image? No, I think I won't bother.

 

And yes, you are right that the right way to go about it is to politely explain about copyrights, and licenses, etc. and play dumb. But as you know, it gets old having everyone think your work is free.

 

Thanks for all your answers.

Eric,

 

I took a look at your profile. I'd like to see how you'd respond to this question if you weren't in your cushy newspaper job and had to rely solely on your images. You might see it differently then.

 

I held a similar position in Boston as the chief photographer and photography editor for a chain of 5 newspapers. The steady income made giving away a few photographs a whole lot less significant. But when you give up that position and try to survive on just your images, the road gets a LOT harder. But at least I am lucky enough to be photographing jaguars, toucans, and peregrine falcons, instead of parades, car accidents, and Thanksgiving day kiddy parties at schools...

 

Jon