falcon7

<p>I'm a neophyte when it comes to scanning technology, and frankly, sometimes I think if my head absorbs any more tech information (what with digital cameras, lighting, photoshop and other software, ad infinitum) it will explode, so I'm looking for a simple answer to finding some software to scan color photo images with my Canon Lide 70 Scanner. The scanner did come with software, but the color component was basically an advertisement for the software as it watermarks the resulting scanned image to make it unusable. Simply put, what cheap or freeware software can I get to make the simple scanning of these images easy in terms of work flow? (I use PSE 7 and just starting with lightroom 3, btw). Thanks for your feedback.</p>

<p>I use my on-camera flash outdoors for fill-in light - usually for outdoor portraits. I haven't experimented, but would the power-setting affect the amount of fill-in this light provides, in other words, default setting versus 1/2 power, 1/4, 1/8th, etc? And a related question would be whether a diffusion device over the flash would make a difference for this purpose (whether it's a piece of scotch tape or the gizmos you can buy on the net)?<br>

I know that outdoor light will vary according to shade, intensity, direction of sun, diffuse vs. bright conditions, etc. If the power setting DOES make a difference, should I just experiment with varying intensities? Is there any rule of thumb to go by (besides using what works best) and so on. I'm not adverse to experimenting, but when I work with models, and the clock is ticking, I don't like to spend a lot of extra time on "research." Thanks in advance for your suggestions.</p>

<p>I have an idea for a particular photographic 'curriculum' that might intrigue or interest department heads/directors of art departments or photo departments in post-high school education (college, community college, university, online or classroom). Since it's likely that someone looking to hire a teacher for a course already has a course description, and is looking for someone that can fulfill the goals of the course, how open might this same administrator be to getting a 'proposal' to teach a basic photography course with my own 'philosophy,' 'method,' 'syllabus,' 'requirements,' etc? Would that limit my chances of getting a job or increase them? <br>

For example, suppose I were to send out 50 letters/resumes/portfolio samples to the person in charge of hiring an instructor. I could just write a generic letter of introduction (i.e., I'm experienced, talented, patient, thoughtful, brilliant, etc. ; ) OR write a letter of introduction in which I provide my idea for a course using my own syllabus, assignments, requirements, philosophy. I'm going to work with the assumption that the audience/reader of the letter would have a positive response to my proposal even if he/she weren't in the position of hiring anyone at the moment. (As a side note, I have a Ph.D. in Communications--not that that means anything in terms of competency necessarily, but one does associate graduate degrees with an interest in teaching and an understanding of educational processes in general).</p>

<p>I ordered some enlargements of a few jpeg files from Costco (I know they aren't exactly the acme of digital processing labs), but when I received the order, the mail carrier had bent the cardboard mailer to fit in my mailbox, resulting in unfixable creases in the hard copies and ruining them. I don't do a lot of business by mail in terms of sending clients prints of their shoots (if I do, they are 8 x 10, or 11 x 14), but I'm sensible enough to put a bright red 'Do Not Bend' sticker on both sides of the mailer. I'd think a huge business like Costco photo labs would have this feature in their processing/mailing equation, but I guess they don't. Would you consider this an amateurish, thoughtless way of doing business? (I'm not referring to any other amateurish issues regarding Costco's photo service or quality)</p>

<p>I've spoken with someone who gets quite a bit of revenue through selling at arts and crafts shows. He said that he tries to avoid giving out his website URL because when a potential buyer/client asks, it usually means for the person inquiring, something like, "I'm not interested in buying anything, and feel a bit guilty since your a nice guy/gal and talented too. If I ask for your website, I can at least feign interest so we can have a positive interaction." <br>

My feeling is that if you have your contact info (e-mail, phone, etc) on a graphic-oriented business card that you distribute, and the person who requests your card is truly interested in your photographic services or work, he/she will take the small, extra step of contacting you 'personally' to get your web url. This could help build a more personal relationship since you have an additional contact with the potential client prior to talking 'business.' Good strategy?</p>

<p>I've worked in feature films and have always noticed there's at least one still photographer making the rounds of the sets during shooting and while setting up. Is this a particular 'specialty' of photographic work (similar perhaps to live performance photography). Does one get assignments in this field through word of mouth, i.e., friend of the director, producer, actor, etc., or is there a way to market yourself as having this area as a specialty--particularly if you live in an area where there's a lot of feature film shooting? Thanks.</p>

<p>As someone who has published a few textbooks, I've never been involved in selecting cover art. But with my interest and practice of photography, I'm wondering if there is a market for original photographs for book jackets or covers (front or back).Or do publishers simply go through stock photo libraries in search of an appropriate photo that seems just right for the book, regardless of its genre (novel, non-fiction, etc.). Does anyone have knowledge of this area?</p>

<p>More boring images of clouds and mountains. Just what the world needs at the moment.</p>

<p>I'm not sure if this inquiry belongs here or under business of photography, but the question goes more to perception and attitude I believe, than money. I'd like to use Etsy as my 'case study' regarding the sale of photo prints since I studied the site several days ago and was a bit perplexed. <br>

I'm not addressing the intention or integrity or good will of many of the people who offer photographic prints for sale on Etsy; everyone selling in that category seems sincere in their endeavor. And I'm sure there are good photographers who sell there. But it amazes me how poor so many of the images are that are put up for sale. Not to say the photographers couldn't become better or even excellent with practice or experience, but what makes so many think their photos are of a quality high enough for someone to show in interest in buying them? <br>

I suspect it has something to do with the idea that 'anyone can be a photographer.' True, but that has nothing to do with being a good photographer (I'll give this category a some latitude because of course this is partly subjective. But I see many images that just couldn't possible lie within ANY form of accepted latitude. The only analogy regarding the assumption that "If I took the photo, then it must be good" sort of thinking I can make from personal experience is when I worked at a literary agency. We'd get manuscripts that were just incredibly awful--even in regard to the submitter's ability to write a syntactically proper sentence (and there was very little correlation in writing quality and 'formal education or training.' I suspect the same idea was at play: namely the idea anyone can be a 'writer'. All you need to do is write. Do you think that's the basic crux of the thinking behind the photo print offerings that don't seem to have little to offer?</p>

 

<p>Well, I've been away, but thanks for the responses. I wasn't shooting porn, and there wasn't even any nudity. The models just said that once a digital image of something has been created, they have no control over its breadth of transmission. One of them was a runway model, and perhaps she is in the 'public eye' so to speak. I guess I'll just use a standard model release unless I get into the "adult entertainment" business.</p>

<p>As an old-time movie producer said (was it Jack Warner?) a verbal agreement isn't worth the paper it's printed on. </p>

<p>Recently, two models were hesitant about providing a gov't issued ID as proof of ageand identity since each said they didn't feel comfortable having a public record of their name and address available to the public--particularly with their photo on it. I don't blame them. So, I simply had each model place their finger over the place on their driver's license that listed their address when I photographed it. Their name and DOB are still visible. Is this acceptable for a client who needs proof of model's identity?</p>

I read the marketing strategy of a photographer who tries to cover all the bases in presenting his work, and one method he said was effective for galleries/museums/art shows, etc, (for him) was to print about 10 to 15 5" x 7" images on 8" x 10" paper, put them in a cheap presentation box, and just leave them with a gallery or other potential exhibitor. That way the 'target' gets the <em>real thing</em>, i.e., printed photos, also the receiver can keep them, so he/she can look at them or re-look at them if and when they want. If they keep them in their office (even in a file) they can serve as a reminder of you (hopefully a positive one), and they get something free (if they like the work that might be good). In addition, the photographer places model releases in the 'package' to save time regarding any questions a potential exhibitor might have about releases.

<br />For the photographer it's cheap and time-saving--a set of these prints is obviously cheap, you can print out a bunch quickly (either yourself or via a third party), and if you buy the boxes in bulk, that ends up being pretty cheap as well. Also, if you're in a city, you can deliver them in person, so you make personal contact. Think it's a good idea? Any other forms of 'leave-behinds' that could serve the same function. I hesitate giving away mugs or magnets since they are not a good representation of what you have to offer or sell (unless you're selling mugs/magnets, of course).

<p>I recently tried my first venture into camera commerce, albeit, a very modest one. I won an auction for two Nikon cameras from a GSA auction. The price was quite low, although there was no guarantee as to their condition. I did manage to examine them before hand, however. There was a problem with the zoom lenses (these were P&S cameras), but I found an independent camera repair shop that repairs most any P&S camera for $70.00 (including parts and labor and includes a warranty). As it turned out the price per camera plus the price for repairs was still well below the average selling price for the cameras, and I made about $130 per camera. Are there any other sources besides the GSA (gov't) auctions where I could find digital photography equipment and go through the same process--which is basically computing the price of the auctioned camera plus the $70 repair fee--this fee is for cameras not in need of major repairs) , and then price the camera at the average sales price. Naturally, if this were easy, lots of people would be doing it, but perhaps there are some wholesalers or listing sites where I can use this sort of business model. Any suggestions?</p>

<p>I have read consistently that to work on noise reduction for stock submission, one should set the image to be processed at 100% viewing to prepare images for noise reduction and other post-processing for stock submission. Why is this the rule of thumb when the image--if used-- will most likely be used in a size/format that is much smaller than 100%. Additionally, how do you determine if an image is 'overprocessed', a common critique by stock companies, when following the 100% rule? What looks acceptable at 100% maybe look over-processed at say 25% percent since the detail has been reduced. Is there a more accurate way to determine when noise reduction is enough for stock submission, when it is over processed, and when it is 'underprocessed' that is more helpful than the 100% viewing 'rule'? Or is it basically an issue of eyeballing the image?</p>

<p>I found the original inquiry interesting. I have been thinking about doing a photojournalism story about trade unions and the effects of NAFTA in Central America. I've done one in Costa Rica, which was relatively easy because Costa Rica is an open country by Central American standards. I also speak fluent Spanish. I don't mean to hijack your thread, but I'm concerned about political fall-out owing to a lot of instability in the governments in Central America. Has anyone discussed this variable with you? It has been a concern of mine. Have you thought of reaching out to organized labor magazines. If you need someone to translate the writing part into Spanish, I might be able to help. (No charge).</p>

<p>Thanks! I'll send out some feelers, although I refuse to take photos of pet rocks.</p>

<p>alan</p>

<p>I was thinking of creating a 'genre' of portraits to offer as a sideline to conventional portraits that I'd market as 'off-beat' as a way for someone's photo to stand out from conventional ones. Other than actors who might need composites showing them in various guises, moods, characters, etc., do you think there would be a way to market this service? Here's an example; the person in the photo is a fashion model, but is being depicted differently than the way she usually is. I would think it might appeal to somone's network or friends--something like an inside joke.<p><b>Moderator: Attachment removed. Please only upload proper jpeg files for image display.</b></p>

<p>Sorry, not 12mm, but 12 mil. Epson ultra prem. matte is 10.3 mil, and the difference for feeding is a BIG difference. Thanks Charles, that has been my experience. I have heard of Inkaid but it seems 'iffy.' I'll check danielsmith.com. Regarding the thick paper checkbox, I use it, but right now, as I looked for it on the printer menu, I couldn't find it. I think it doesn't show up until just prior to printing.</p>

<p>Thanks for your Simple, clear explanation.</p>

<p>I've been taking a bunch of photos with my D200, using the on-camera flash at 1/32nd power which registers on the plug in on my old novatron power pack, which then ignites the strobes. I get a 'flash fired, return light not detected.' What does this mean and why did I get the message? The mode was set at 'aperture'. Also, I am figuring the shadow on the wall edging the model's arm is a result of the on camera flash. The strobe was outside the doorway, to model's right with door half closed. Thanks.</p><div></div>

<p>I've been using my epson 1800 for two years, printing about 3 to 4 times a week. Thus far, not a single problem ever! (I'm keeping my fingers crossed). I tried one 'specialty' paper, Premierart Water Color ( 11 x 17 size), which I believe has a thickness of 12mm. To get the r1800 to print on it takes some doing. Even with setting up the special single sheet paper, pressing down firmly on the paper to insert it into the printer per manual instructions, it often takes me 15 minutes to get a sheet just right so it prints smoothly (although once it does, the result has been fine). I'm wondering if a 13 x 19 sheet would be even trickier. Something the manual didn't mention is there's a tick box for 'thick paper on the epson printing menu. I tried it; it doesn't seem to do anything. So here are a few questions about the WC paper & the r1800 specifically and 'fine art papers' in general.<br>

1. Any way to feed the watercolor sheets more easily? I'm assuming any sheet with similar specs (12mm, rough wc surface) would require the same maneuvoring.<br>

2. What exactly is meant by 'linen' paper? I've seen some on red river that look promising. I'm looking for something a little less rough than WC.<br>

3. Are there any other terms paper sellers/companies use that mean the same as 'linen.'?<br>

4. Any other 'fine art papers' other than WC and linen? How would I find the differences. Even with ample paper kits; they require that you purchase about 20 different types of papers, and you only get 2 sheets per paper, and they're 8 x 10. Not enough to go by as far as I'm concerned in experimenting.<br>

5. If the R1800 barely allows for the 12mm, what about some 14mm papers I've seen? More difficult?<br>

Anything else that might help me with selecting 'fine art papers'. Don't particularly like the term, especially when some paper companies sell 'fine art paper' AND 'specialty' paper. Also, where does 100% rag paper description fit into the equation?<br>

thanks<br>

Thanks</p>

<p>I've heard that the newer epson photo printers 2440 (?) etc,. with two black & one grey cartridge will output better B&W prints than <strong>my R1800</strong> that has matte & photo black only, everything else being equal. Could I 'compensate' for the lack of the third greyscale creating cartridge by tweaking other color cartridges, i.e., putting a very light tint or combination of tints (for example with ps photo filters or hue applications) to register the same level of gradations of black to white? For example, could find ratios of let's say magenta and green that could result in a 'grey' tone to add to the overall grey scale? Unlike a lot of people who have posted problems with their r1800s (keeping my fingers crossed), I've used my r1800 just about everyday for two years and it's worked flawlessly.</p>

<p>I've done and continue to do a lot of things in terms of earning a living and 'leisure.' It seems that whenever I have time to engage myself in a project, whether it's reading, writing, editing (the written word), translating (English/Spanish), or photography (both the act of photographing, post-processing, printing, etc.), photography seems to be the only pursuit that gives me energy if I'm tired, or elevates my energy if I'm just 'regular.' Everything else results in the diminishing of energy--either gradually if I'm not tired, or if I am tired, enervates me to the point where I just sort of come to a mental tuning-out/exhaustion state. Does anyone experience this? And whether you do or not, does anyone have any ideas why this might be? The odd thing is that I enter into any of these activities with the same enthusiasm but only photography allows me to maintain it.</p>

<p>Well, if anyone is still reading this, I won the auction. It turned out to be two D-40 Nikons, and my winning bid was $161 for both. They had no batteries or mem. cards, but they looked untouched and worked fine when I tested them with my battery. The funny thing (I guess there's always something funny when dealing with the gov.), is that I called the contact number to make an appt. to see the cameras. I just got a voice mail. But since the address, even the floor # was listed in the announcement, I went there, was directed to the appropriate person who said, "You can't just walk in and ask to look at what's up for auction." Luckily, she was holding the cameras in her hand, so I guess I didn't commit to great a travesty. I don't think anyone was willing to bid higher because the announcement stated there was no guarantee about anything regarding their condition. I suppose others may have called and gotten the unreturned voice mail, but no one else walked in. Luckily. Because I don't think the administrator would be as easy going if there were a line of people.</p>