jaimee_rosko

<p>I have been waiting for months to get one, new, from a real dealer (non-ebay or the like). I figured by the time I was ready to get one they would be available somewhere. Well, I am ready. Where can I find one? I can't find one! Where did you find one?!</p>

<p>Oh, and I guess to specify I mean Lumix DMC-LX3. In black!</p>

<p>Jim, I went on a cruise last fall (Western Caribbean) and bought my D300 with my 18-200mm and 12-24mm. I also brought my weatherproof Olympus point and shoot.</p>

<p>I took about 1 picture with the Olympus. You are going to see all sorts of great things in and out of the ship and I'd doubt you'd want to regret capturing it with a p&s instead of with the Nikon. (Not that the G3 isn't a great camera)</p>

<p>Oh and the reason I ended up taking that one picture with the point and shoot was because we were going on a white water river raft ride in inner tubes and I wasn't able to feel good about leaving my Nikon in a bus all day in Jamaica. I guess that also shows how much less I shoot without my Nikon.</p>

<p>Have fun!</p>

<p>Thanks for all the info Bruce! and thanks to everyone else too!</p>

<p>Sorry, I lied. I will be using ISO 400 film.</p>

<p>If you could suggest a film that would be great. My professor suggested Kodak Tri-X, Kodak T-Max, and Ilford FP 5.</p>

<p>Thanks!</p>

<p>Hey Kids.</p>

<p>I am taking a class using a 4x5 view camera and for the first half of the semester I will be using black & white paper. I have only used resin coated paper in the past so I am looking for some ideas, insight, suggestions, etc..</p>

<p>I think the teacher prefers we use glossy but I'd still like to hear what you use/have used.</p>

<p>For now, we need to be printing at at least 8x10. I would love to use a more square paper if one is made, like my (color) Kodak Supra Endura 10x10 paper.</p>

<p>Okay, whatayagot?</p>

<p>Oh, and I will be using Tri-x 100 speed b&w film. Thanks!</p>

<p>I would add that although it seems like a lot of people have been very lucky with cheaper cards, the cheap cards we use at the studio I work at fail often (the owner is a cheapskate-he recently took over but is not a photographer). With this said, I think two [of my] ideas are supported: one, use small cards, so if it lost of damaged or fails, you haven't lost all your data, and two, use better cards.. I guess it depends on what you're shooting, but still, is it really worth it to save a few dollars? I mean if you have this great, fast camera why not use great memory? You only have to buy it once. To me, its the same as using cheap lenses on an expensive body or printing your portaits you spend time retouching at Walgreens or on a free, four-in-one printer instead of at a pro lab.. Do you want them to last or not?? You know what I mean? And good cards are still available at great prices these days</p>

<p>Also, Garrison is a luckier person than I because I dropped a Lexar card in a puddle, while it was in a case, and it was totally cooked.. All my images gone forever. </p>

<p>I love the Moo cards and have been wanting to order some.. I think I am too lazy to find and upload 100 images! But, I am glad to see good feedback about the company; I think I will give them a try.</p>

<p>Anyways, I created my own card in Ps and it is two-sided, which I think makes a big difference. One side is all black will only my company name in white (su*i ge*ne*ris) but those astericks are dots (like in the dictionary, the pronunciation key) and the back is white with black font and has my name, phone, email, and website "randomly" placed to take up more space on the card instead of being blocked together like most cards. My logo is also on the back, but looks like a watermark (but not covering any text). I have red/burgundy as an accent color (the "dots" on the front, the webaddress, and all the O's elsewhere {because I am Asian}, and in the logo.) Most importantly, it is printed on UV coated, pearl paper. So it is thicker than most cards, and BEAUTIFUL! It totally stands out. I love how they turned out.</p>

<p>I think the important thing about cards is that they say something about you and your style. And hopefully, both you and your cards will be memorable! I considered putting the definition of sui generis on my card (like it appears on my website) but I decided to try to make it myterious so people would go to the site instead to figure it out.</p>

<p>Anyways, I ordered my cards from WHCC. I paid $12 for 50 cards and I received them two days after I ordered them; and shipping was free. I ordered a small amount because this was my first batch but they do have more economical pricing. Also, the pearl paper is more costly than regular, so I think you can get them even cheaper than that.</p>

<p>Eric, I have a D300 as well and I love my 4GB Sandisk Extreme III cards. They have yet to fail (knock on wood) and are SUPER fast. Also, 4 gigs is a nice size for me because of the reason Bernard mentions. I have some other, older cards, including regular Sandisk (non-Extreme III) that are MUCH slower; and my studio (for some crazy reason) uses very, very cheap cards and I can tell a huge difference in the time necessary to save images as well as to review them on the camera, in comparison to the SEIII card.</p>

<p>Also, the EXtreme III cards are said to be waterproof(?) </p>

<p>Hypothetical picture, I found on the internet, hopthetically..</p><div></div>

<p>shoot film!</p>

<p>lomography.com!</p>

<p>don't think, just shoot!</p>

<p>Try a Colorsplash Flash camera or any other Lomo with a color flash. I have a bunch of Lomos, but the Colorsplash (the one that looks like a gun) and the LC-A are my favourites. With the color flash.</p>

<p>I have a Nikon D300 and I love it and recommend it to anyone looking for a nice DSLR. The bodies these days are about $1600 I think.. I keep an 18-200mm 3.5-5.6 lens on it almost always because it have a great range and is very sharp..<br /> It's a little too slow for low lighting but if you have a flash you're fine most of the time..<br /> Unless of course, you are doing something like, say, trying to photograph little tiny turtle hatchlings make their way out to sea at midnight by the light of a flashlight on a beach that is, say, a $45 (scary) cab ride from Miami, and say, a turtle helper lady says something like "Can you turn that light off NOW please so the turtles don't get confused?" when your focusing lights comes on trying to find something in the pitch dark that you could possibly be trying to focus on besides the reflection of the flashlight in the high tide waves that are pooling up gross, slimy algea around your ankles while you sink into the sand and all the while you are thinking "How am I going to get this sand off of my monopod legs so it doesn't get stuck in there forever? I should have listened to that guy at Central Camera and gotten the Giotto that has that vaccuum-suction-seal action so things like sand never get stuck in there.. when he said that I was like, when would I even need that option?" and then say, you crank up your ISO and shoot with VR and really start draining the last bit of juice out of your battery and the shooting the largest RAW file you can even though you have hardly any room left on your card and then, after the ten day, 7day cruise vacation is over, the one where you had to avoid four hurricanes and thus spent over sixty hours straight at sea, you get back home from your trip and load your images into Lr2 and find out that, as it turns out, that sand that is forever stuck in your monopod was for nothing and instead of worrying about that dumb shot that whole time, you should have just left your gear in your bag so you could have just watched the hatchlings make their way out to their new lives and enjoyed it and not worried about dropping or losing your gear or getting knocked over the whole time; among other things.</p>

<p>But that's all hypothetical, of course.. If one was going to go something like that I'd advise them to get the 70-200mm 2.8, of course.</p>

<p>The 12-24 lens is great as well, I don't use it as often as I should and every time I do, I am always really pleased with the results and the way it makes me shoot and I wonder why I do not use it more often.</p>

<p>Lastly, I was just on Central Camera's [Chicago] website, and I saw this: <strong> Canon EOS 50D 15.1 MP Digital SLR w/18-200mm IS lens Kit $1895 </strong> .. Seems like a deal. I switched to Nikon last summer (from Canon) but I would suggest for people like the people you are trying to help out.. However, I do not really know about that camera in particular but maybe someone else here does..<br /> <br /> Alright, well hope that helped!</p>

<p><img src="http://www.facebook.com/photo.php?pid=78798&l=9c218&id=1412439740" alt="" /></p>

<p>http://www.facebook.com/photo.php?pid=78798&l=9c218&id=1412439740</p>

<p><img src="http://www.facebook.com/photo.php?pid=78798&l=9c218&id=1412439740" alt="" /></p>

<p><img src="I have a Nikon D300 and I love it and recommend it to anyone looking for a nice DSLR. The bodies these days are about $1600 I think.. I keep an 18-200mm 3.5-5.6 lens on it almost always because it have a great range and is very sharp.. It's a little too slow for low lighting but if you have a flash you're fine most of the time.. Unless of course, you are doing something like, say, trying to photograph little tiny turtle hatchlings make their way out to sea at midnight by the light of a flashlight on a beach that is, say, a $45 (scary) cab ride from Miami, and say, a turtle helper lady says something like "Can you turn that light off NOW please so the turtles don't get confused?" when your focusing lights comes on trying to find something in the pitch dark that you could possibly be trying to focus on besides the reflection of the flashlight in the high tide waves that are pooling up gross, slimy algea around your ankles while you sink into the sand and all the while you are thinking "How am I going to get this sand off of my monopod legs so it doesn't get stuck in there forever? I should have listened to that guy at Central Camera and gotten the Giotto that has that vaccuum-suction-seal action so things like sand never get stuck in there.. when he said that I was like, when would I even need that option?" and then say, you crank up your ISO and shoot with VR and really start draining the last bit of juice out of your battery and the shooting the largest RAW file you can even though you have hardly any room left on your card and then, after the ten day, 7day cruise vacation is over, the one where you had to avoid four hurricanes and thus spent over sixty hours straight at sea, you get back home from your trip and load your images into Lr2 and find out that, as it turns out, that sand that is forever stuck in your monopod was for nothing and instead of worrying about that dumb shot that whole time, you should have just left your gear in your bag so you could have just watched the hatchlings make their way out to their new lives and enjoyed it and not worried about dropping or losing your gear or getting knocked over the whole time; among other things. But that's all hypothetical, of course.. If one was going to go something like that I'd advise them to get the 70-200mm 2.8, of course. The 12-24 lens is great as well, I don't use it as often as I should and every time I do, I am always really pleased with the results and the way it makes me shoot and I wonder why I do not use it more often. Lastly, I was just on Central Camera's [Chicago] website, and I saw this: Canon EOS 50D 15.1 MP Digital SLR w/18-200mm IS lens Kit $1895 .. Seems like a deal. I switched to Nikon last summer (from Canon) but I would suggest for people like the people you are trying to help out.. However, I do not really know about that camera in particular but maybe someone else here does.. Alright, well hope that helped! " alt="" /></p>

<p><img src="http://www.facebook.com/photo.php?pid=78798&l=9c218&id=1412439740" alt="" /></p>

<p>These are awesome.. I always wonder how people go from no photography to awesome photography.. Its amazing.</p>

<p>I totally agree.. I shot both digital and film and I print using Epson 4800s and also the B & W and COLOR darkrooms! Have you ever printed in a color darkroom? There are enough variables to drown yourself.. But I tell you, I'd rather print off a roll of 36 in the color darkroom then edit, process, and print from a digital session on a Mac and an Epson. Maybe since when you're working in the darkroon, everything costs so much more? Per print, I mean; that you just don't sit there trying to make twenty great prints when you really only have five? Like with digital, everything is fixable..nearly.. So you can end up spending so more time on extra frames. With film, if its blurry, its blurry.. There's no smart filters..</p>

<p>Anyways, I found that I can get a whole session/days worth/memory card done in Lightroom 2 faster than I can get, say, ten images done in CS4. Lr is amazing, saves times, converts RAWs and still allows you to easily open images in Ps that need additional work. I suggest it for anyone and everyone. If you haven't tried it, you should. You can download a trial from Adobe.com for free. And if you decide to buy it, I strongly suggest you go with Lightroom 2 and not the original.. 2 is way better!</p>

<p>I agree with Harry. I do not like the font; but I mean along the top of the website [header/banner]. I think the rest of the type is fine. I think you should change "Black n' White". I think you should either use "&" or "and" to replace " n' " . It seems too casual (and perhaps less professional) the way it is.</p>

<p>Oh yeah, I forgot to mention that I would love to teach photography one day.. Thus, a Master's would be important.</p>

<p>Where can I find a Ricoh GX-100 to see and try out? I have never heard of that brand.</p>

<p>Thanks for the response Mark.. Chas- why do you seem mad at me for asking?</p>

<p>I have three more semesters till I get my BFA in photography. My school offers a MFA in Photography and I am deciding a) if its worth it b) if others feel they have used their Masters or if they feel they could have lived without it and c) what other schools are out there and how people liked them.. Right now, I go to Columbia College Chicago.. I really like it but I think I'd like to see other schools too.. The Art Institute is here, but they are super duper expensive (almost $2000 a credit hour!) and whenever I search the top grad schools online, I always get Yale as the number one masters program for photo.(?). Now, that doesn't really make sense to me and also when I forced myself to check, I couldn't even find a photo program.. so what do I know..</p>

<p>Also Mark, where is that school? Did you like it there?</p>

<p>And where did you get it and when?</p>

<p>And how many of you have a bachelors or ba in photography?</p>

<p>So I just sold my Olympus Stylus to my little brother and am now camera-less.. well, point & shoot-less.. I had my Stylus for about three or four years and it was a gift so I actually have had no experience camera buying for myself. I have purchased very simple p&s's for my husband and father [both cameras had an "easy" button] but otherwise, I haven't even looked at more advanced point and shoots.. I would like to get a new camera. I am open to purchasing used if the camera is still somewhat new (1-2 years old) and has good features. </p>

<p>The catch- although I'd love to drop some cash on something fancy like the new Leica or Canon g9 or g10, I simply cannot. I'd like to stay under $300 if it's new.</p>

<p>I really like the underwater Olympus' as I do spend a lot of time underwater, lol.. Well, I like to bring my camera everywhere and some of the best pictures I have I took with an underwater 35mm in Hawaii. Also, I like the features on Olympus cameras.. I am not sure how quality compares to other brands however.</p>

<p>The most important thing to me is short lag time. Also, I like being able to review shots and then being able to go right back to shooting, without pressing or swiching anything. This is not super important but I do like the option. I like having some control as well.. A manual setting would be ideal but I'm not sure how many point and shoots boast that splendid option.</p>

<p>So, whaddaya got for me?</p>

 

 

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<p>Nikon 18-200 VR<br /> and the<br>

Nikon 80-400 VR<br /> I have found these to cover my bases</p>

 

 

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<p>hmmm... what do you do if it's dark?</p>

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<p>I vote for the 18-200mm as well.. I have a d300 with several lenses and the 18-200 is on always unless I switch it for a particular event</p>

<p>I use Zenfolio also.. It's great.</p>

<p>Hi Kira. I landed a job at a local studio; very high end.. I was trained in the off season (unpaid) and then paid thoughout the wedding season. I was paid $10 an hour (average wedding cost there is $5000) and carried heavy crap around all day and got hot and stressed in the summer sun but I got the opportunity to work with many great (and some Master) photographers and I ended up learning more in one wedding season that I did throughout all my years as a photo student. My final projects and assignments were better this semester than ever before.. By the middle of the season, I was promoted from assistant to second photographer.</p>

<p>There were days I wanted to quit; for example my first wedding. I had known I would be carrying stuff all day and acting like a gofer but it was way worse than I had expected.. My advice, do whatever it takes and don't give up.. It will really pay off in the long run!</p>

<p>Oh, and congratulations! (and get the coffee, lol)</p>

<p>I have the Logan compact mat cutter 301-m and I really like it. Mat board is expensive so I also like precutmats.com</p>

<p>Sorry! typo! I meant "in dark receptions you'RE flirting.."</p>