silverdae

<p>Hello all,</p>

<p>My family is tearing down an old storage building, and I know there is a retouching machine in it. It isn't a vibrating machine as is used with pencils. My mother used to retouch color portraits and I remember her using paints/inks to retouch. This was in the late 70's, early 80's. </p>

<p>Is it worth it to keep this machine and sell it, or is it best just to let the salvage people haul it off? Anyone know what type of machine it is (not an Adams Vibrating machine). It looks similar to it, but it doesn't vibrate. Any ideas? I have searched, but the only info I can find is on the vibrating kind. </p>

<p>Thanks!</p>

<p>Good point, Nadine. I usually forget to include the iso, as my camera is horrible about noise above 200-400 iso. I would shoot it at 100 iso as a starting point, but as you pointed out, each situation is different. Planning the shoot, that is where I would start, but I think it is important to always remember that you need to be prepared to change everything at a moments notice when things aren't working out how you planned. </p>

<p>I would do it at dusk, drag the shutter, say 1/15, the add a pop of flash to light the couple. This should give you some detail in the bg, yet still look light night, easily pick up the sparklers, and the flash (off camera) will properly light the couple. Choose your f/stop, say around 4.8, with a long lens, and adjust your flash to give you that exposure. This, at least, is where I would start.</p>

<p>If your font size makes the type to large to fit in the fox, it won't show up. Also, the default color is your foreground color, so if it is the same color as your bg, it obviously won't show up. To make life with the type tool easier, make sure you have the character and paragraph window open. </p>

<p>I was directed to this link by lifehacker. I thought it was pretty interesting and could be a good tool for someone learning how to use an slr camera. It shows you how to change all the settings and lets you snap your photo with those settings. </p>

<p>http://camerasim.com/camera-simulator.html</p>

<p>If you do finally manage to get the originals (raw or jpg), I wouldn't do a thing without a written agreement from the other photographer saying they have been handed over and you can do with them as you see fit. </p>

<p>On second thought, I wouldn't deal with the other photographer. I would tell the family that it is their job to get the original, and once they do (with that written statement), you would be happy to work on them for a fee. </p>

<p>With all of my cameras, it is a setting you change in the camera. We have to change it for tethered shooting versus in-studio shooting. Go through your menus and look for auto-rotate. If there is a way to change it in PS/Bridge, I've never done it, but again, the auto rotate has always been governed by the camera.</p>

<p>This may not help you, but it helped me. We have a cat outside of our studio that adopted us about 4 years ago. Best cat ever. You can do anything with this cat and she will just pur away. I had a family portrait with 3 yr. old twins, a 5 yr. old who is autistic, and the parents. Let me just say it was a little bit wild. I finally got them in a somehwhat traditional "pyramid" pose when the other photographer who was helping with the light and shim and stuff grabbed yellow cat and "snuck" up behind me, acting like he was going to sit her on my head. Instant attention followed by a few frames with them pointing, followed by the 20x24 studio sample hanging in the other room. I think it is all about quick distractions and good timing. And LOTS of patience. </p>

<p>Check with any high-volume studios that use professional labs. We have way too many boxes in our basement right now. We usually have a mass-cleaning about twice a year and get rid of truckloads. They either go to recycling or to the local schools art departments. Someone coming in and taking them away for us would be even better. </p>

<p>Thanks everyone! You've given me some great advice.</p>

<p>I played around with my tripod today, and even though the ball-head and level made it easy to keep it parallel to the ground, I couldn't lower it far enough to fill the frame with a playing-card size image. I've done some internet research and think I can make a copy stand, but I have some questions about it. </p>

<p>First, I've never seen a copy stand so hang with me here. Do you want the camera mounted away from the vertical rail, or do you want it mounted nearly directly on it? I would think mounting it away from the vertical axis would make it less stable, but I didn't know if you needed the room between the two to make framing larger prints easier. Also, is there a simple way to make sure the print you are copying is directly underneath the camera, or is eyeballing center (say based off of a center line on the surface the print is on) sufficient? Will small strip magnets on the top and bottom hold curled prints, or do I need to look at attaching some kid of clip system to the base?</p>

<p>I'm looking at getting two lights so I can keep them at the recommended 45* angle to each side. I can't afford to put much into this project, so if anyone has any diy recommendations for the lights, I would appreciate it. Halogen lights get hot, right? Are incandescent lights ok, or should I look for leds or florescents? </p>

<p>I do have a cable release and extension tubes, so once I get the camera mounted on something sturdy, I should be good with close focusing and exposure. Any other tips are appreciated! I know I have a lot of questions, but I'm looking forward to building this and continuing with the project. </p>

<p>Thanks again everyone.</p>

<p>-Jen </p>

<p>Yes Howard, my mistake. You can set up the tablet either way. My experience has been to use the tablet in absolute positioning, and for me that is the most logical and intuitive choice. Others I've known that use a tablet also use a tablet mapped for the entire screen and in absolute position, but I suppose it is really up to the user how they want to use it. </p>

<p>I've found that mapping the screen to the whole tablet (not a section of it) made it more intuitive. I would stick with that. Also, there is a huge learning curve, so don't feel bad. You regular old mouse works by relative position, where as the tablet works by absolute position. The old mouse could be picked up and repositioned without your cursor moving. If you pick up the pen on the tablet and set it back down, say in the left corner, you cursor will move to the left corner. It takes a bit, but you'll get used to it. Part of the appeal of the tablet to me is that you have more range of motion while editing. The repetitive fatigue doesn't take over as quickly if I'm moving around more. </p>

 

<blockquote>

<p>but I find that I still have to move the pen almost to the right edge to get to the right edge of the screen</p>

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<p>This is the most common way to use the tablet. The whole tablet will match the whole screen, and the right side of the screen will correspond to the right side of the tablet. There are other ways to set it up, but I think you'll be better served by mapping the whole screen to the whole tablet (should be the default when you set it up). </p>

<p>Hang in there- it takes time and effort, but it is well worth the investment, I promise. You'll get to a point where you know the feel of your tablet, and can place your pen down exactly where you want your cursor to be. It will become natural to you just as the mouse did. </p>

<p>William, I think I recognize you from the wedding forum... Grand Canyon in winter is awesome, huh? We went in February and it was great- I think we saw maybe 4 other cars the whole day...</p>

<p>On to your question- I think you've mentioned working with a pro-lab, but I might be wrong. If so, our pro-lab will print any aspect ratio. In the ROES system, you just choose the normal size that will contain the image you want and check a box that says fit rather than fill. They trim to whatever dimension you have saved your image as (for instance, do any cropping in PS, save, then load into ROES). Check with your lab, and I'm sure they will have a solution for you.</p>

<p>I've taken on a project of archiving all of my family's pictures, from as far back as great great grandparents, on to your typical snapshots from the 1990's. I do not own a scanner personally (well, I have a $50 printer/scanner/copier job, but I've never used it to scan- I imagine the results will be lacking), but I do have a decent epson (1680 I believe) at work that I can use, but plan to think of only as a very last resort. </p>

<p>The plan is to combine these pictures with genealogy information into either a press-printed book or a bound album as gifts to my sisters for Christmas 2011. These will also be available to all of my extended family to purchase as well, but that is beside the point... </p>

<p>My problem lies with the multitude of pictures I need to copy, and the fact that I have to do it "on location." I'll be at at least 6 to 8 houses (parents, aunts, uncles, etc), copying what that family has at that house. There is no way I can take them to the work scanner. I do not even want to remove them from their home, so my plan is to set up a quick set-up production line that I can carry in, copy, and leave. </p>

<p>My plan is to set up my continuous light (cool florescent) and copy them using my fuji s2 (best model I have available, which is a crop sensor), and my Nikon 50mm 1.8, which has the best contrast and is the sharpest lens I have. Most pictures will be around 5x7 or smaller, with a few 11x14 or so. I'm most concerned with the smaller images, as that is what I have the most of. </p>

<p>I did a test today with the light set to the side (about 10 inches above the table), with a diffuser cloth over it, feathered across the image. I was getting 1/90 @ f/4.8 ISO 400. I did a few tests and it seemed like I was getting even exposure across the image. I plan to shoot raw with a custom white balance. I didn't get to really shoot today (we're still sorting images... oh my), so I wanted to take the opportunity to check my plan with you guys. I want to use a system that will give me the same exposure each time. I do have a hot-shoe flash, but the recycle time (or varied output) I see as being a problem. I want to be able to go bang-bang-bang so I make sure my up-down-motion is stabilized in at least one shot. I want to be able to take a picture, place it on the table, shoot, write down a description, repeat. Quickly and consistently. </p>

<p>I'm concerned about image quality. Would using a wider lens be better since it would allow me to get closer to the image, or is it a wash since I'm filling the frame as much as possible with whatever lens I use? Is this a valid set-up? Am I losing a significant amount of quality by copying using the camera rather than scanning? Do anyone have any tips on this? I'm used to doing restoration work from scans, and I'm not worried about that aspect, but it is going to be nearly impossible to redo this once it is done and I don't want to shoot myself in the foot from the beginning- I want to be sure to have a good image to start with. Most of the images will be used as 5x7 or smaller in an album or print, and I am prepared to properly copy (scan) those that will be printed larger, but my main focus right now is getting a production line of sorts down so I can get all these images digitized. <br>

My workflow will be to shoot an index frame, say "card one", then make a list of who is who as I shoot each picture, import in LR, name by "card one-sequence number." This is the first time I've ever needed to add a description to a picture (more than a keyword or tag)- for instance- in order from left to right, my 10 uncles named out in order. Can you add a paragraph to an image in LR3? Just curious on the last one...</p>

<p>Any help so I can do this right would be greatly appreciated. Thanks so much! Summarizing- a LOT of images to copy photographically in the best manner possible yielding the best digital image, develop a work-flow that will allow me to add detailed descriptions and keep it with the image as I sort. </p>

 

<p>One other thing to note- I use the medium tablet, but I do not put it on my desk; it rests on my lap. I have very bad wrist issues in my left hand (I'm left handed) and this is by far the most comfortable position for me to work for 8 hours a day. My tablet lays on my lap, my right hand/arm rests on my desk and controls the photoshop shortcut keys on the keyboard. I never got into using the tablet shortcut keys (even though I did set them up). I learned on earlier tablet models, so I didn't take to both hands being on the tablet. It worked out though, as you can change the orientation to suit a lefty- no more accidentally scrolling with my knuckles. </p>

<p>Keep the lap idea in mind, especially if you don't have a lot of room between your eyes and the monitor with the traditional set-up. </p>

<p>My biggest problem has always been finding shoes that I can wear all day and still be able to walk at the end of the night! For women, I think this is a common issue. I've found that Shoes for Crews has a great selection of shoes that are made for on-your-feet work, while still looking nice. They have men's and women's, and they are made for (mainly) the restaurant industry, so they have comfortable, no-slip soles, but still look high-end. </p>

<p>For the other attire, it depends on the event and location (mainly weather), but a pair of black dress slacks and a conservative top that I can bend over in and not show too much that of what I shouldn't be showing! LOL! I seem to pick my outfits for their give in moving around over style, but I always try to look nice. My typical "nice" outfits aren't things I wear to work in (heels and partially sheer tops), so I've gathered a few items that are only used for event and wedding work. Practical, look nice, conservative, and moves with me through out the entire event. </p>

<p>I'm in the mid-west, rural market.</p>

<p>Also look for the lighting tutorials here on photo.net. Read up on classical lighting techniques. You may also like the book "Light, Science, and Magic." It has very detailed lighting set-ups. Search for portrait lighting techniques on a search engine to find lighting set-ups and try to replicate them. Have fun, shoot a lot, experiment, and make minor adjustments to see how the image can change. Good luck!</p>

<p>We use a similar technique when shooting portraits outdoors. Think of it this way- the shutter speed controls the ambient light, the f/stop controls the flash. For instance, if I want an underexposed sky when it is bright out, I first set my camera to the highest sync speed- 250, and then meter, either with a hand-held or in camera meter- to give me the f/stop that will make the sky underexposed. Lets say f/5.6 makes the background 1.5 stops underexposed. I now want to use my flash to light up my subject. I set the flash to manual mode, meter it, and adjust it to give me an f/5.6 on my subject. For a quick fix on the light on the subject, you could open up to a f/4. This would add more light (at the same flash power) to the subject, but it would also brighten the background a bit as well. Once you get the basic technique down, you'll see how far you can push it either way to get the desired results. </p>

<p>As someone mentioned above, if you do this in bright sun, you'll be at the extreme ends of your aperture and sync speed. Go out on a cloudy day, or in the late afternoon (or in your living room with a lamp on) and practice this technique. Not learning in direct sun will give you more latitude in your exposure options and you'll be able to see changing the iso, shutter speed, and aperture effect the overall image and exposure. Once you get comfortable with the technique, you'll be able to adapt it to extreme conditions easily. </p>

<p>It was a lot harder for me to learn to use this in aperture priority mode than manual mode, but I think I'm one of those people who has to see exactly how what I'm changing changes the situation. I can see where it would be useful to get comfortable with this technique though. I shoot off-camera flash with no ttl-capability, so I use the method I described above. </p>

<p>Burrell Colour Imaging offers a lay-flat press printed book (Crown Books), and if you read the instructions on how to order it, you'll find that there is a very small gutter, but the image is continuous (you don't lose any of the image, even though it is two separate pages). The pages are hard, so no tearing, and the image quality is very good. The only cover option is a fully designed photographic cover, I believe, but I would ask customer service about it. We've used it as a low-cost option for albums and for low-end events. </p>

<blockquote><a href="../photodb/user?user_id=168767">Stuart Moxham - Finland</a> <a href="../member-status-icons"><img title="Frequent poster" src="../v3graphics/member-status-icons/1roll.gif" alt="" /></a>, Nov 13, 2010; 11:57 a.m.

 

<p>I think she wants a small compact you know the kind of one that fits in a pocket and doesn't make you look like a photo geek when you pull it out at a party. Something to carry and not worry about.</p>

 

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<p>That comment nailed it. I wish I was that concise. </p>

<p>Thank you all for your suggestions. I gave me a place to start! I've found a couple that I'm leaning toward, so I really do appreciate you all taking the time to point me toward options. Thanks!</p>

 

<p>Ok, the D60 might be a good suggestion for someone starting out, but I have 4 film slr's and 3 dslr's, along with a big bag o' stuff that goes with me to my high-volume portrait 8-5 job and weekends to weddings. I really really really want small. Forget it is there small. Think "having beer(s) at a cook-out" small. Think "I don't want to worry about if I've had too many of said beers" point and shoot. Think "I'm just the aunt, not the professional photographer brought in to document the birthday party" point and shoot. </p>

<p>Again, where should I expect to compromise on my list of point and shoot requirements?</p>

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<p>I think your desire for a professional p&s are at odds with your desire to spend $100-150</p>

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<p>What would I be giving up from my list when I look at this price point? Again, I'm flying blind here. I've found the online descriptions of cameras geared toward ease of use and great-pictures-minimal-effort. Where am I going to have to compromise?</p>

<p>Hello all,</p>

<p>I've searched the forums, and I can't seem to find another question that addresses what I need. If I've missed something similar, please point me there. Thanks!</p>

<p>I am a pro photographer, and I have been asked to make out a Christmas list. I've wanted a point and shoot for a while, but I don't really know what to look for. Honestly, I have never really looked at any seriously, so I'm going in blind here (isn't is usually the other way around- point-and-shoot to dslr?). When we travel, we always have 2 DSLR's with us, so travel and shooting with a purpose isn't going to be a priority with a Point and shoot. We mainly want one for leisurely activities- boating with friends, goofing off, parties, family get togethers, etc. I have no Christmas or birthday pictures simply because I don't want a DSLR hanging around my neck like I do daily for my job. I miss having snap-shots...</p>

<p>What I want in a point and shoot-</p>

 

<ul>

<li>either manual mode or a full array of preset modes so I can control how the camera acts (for instance, drag the shutter then pop the flash, or choose a small aperture at the expense of shutter speed and vice-versa). </li>

<li>I don't want it to go "blink-blink-blink" then take the shot (the red eye thing). That gets on my ever loving nerves, even though I know why it does it. I want to be able to turn that off. This is quite important to me.</li>

<li>Small. I don't want to mess with dragging it out. I want to be able to toss it into this bag or that bag. I do not want one of the almost-a-dslr-but-still-a-point-and-shoot cameras. Too bulky. We need small and compact (pocket size or i-phone size). </li>

<li>I would love a raw option, but would settle for high quality jpgs.</li>

<li>I don't need to print big, but I don't like the idea of limiting myself. </li>

<li>Cost is a factor. I'm looking for less than $200 (more likely around $100-150). This point is also called "cake-and-eat-it-too.</li>

<li>I would rather have the options above rather than pay for a wide zoom range. Around the equivalent of 35 - 80 on a full frame DSLR sensor would be sufficient. </li>

</ul>

<p>Any suggestions? Note that I also need to be able to relate this info to non-photographer family members shopping on black friday, so if you have any suggestions on what to tell them or how to relate to them what I want, it would probably help. Thanks!</p>

<p>Jen </p>

<p> </p>

<p>Nope. Won't do it unless I really really really trust the person. I would hand over raw files to Patrick L (who is on here frequently), but that's all. Tell her that if she wanted them, that should have been discussed prior to the session. Also remind her that you have the contract with her parents and you will be delivering what was agreed upon prior to the session.</p>

<p>We never show the culled images. Ever. We do however explain that their session will be edited and that we always shoot with the expectation of culling images. We are firm in the belief that if we culled it, we culled it for a reason, and that if it didn't meet our expectations, we aren't presenting it to the client. This is thoroughly explained prior to the session. If this is a surprise to the client, you may have to take a different approach though. I stick to my guns on this. They hired me for my expertise- in shooting, editing, presentation... everything, not just pushing the shutter release.</p>