henkelphoto

I have the silent option on my Olympus e-m1, but there is a problem with the rolling shutter effect when shooting silent, so I shoot with the mechanical shutter.

The price seems to be very reasonable to the value one would get from a look into AL's mind.

I started my PJ career in 1976 so was using film for a long time before digital came about. I was working as a photo editor at The Associated Press when digital hit big time. We first used the Kodak NC2000 which had a 160 meg (yes meg, not gig) hard drive which you inserted into the camera (these were converted Nikon slrs), I was editing then so I didn't have to use those terrible things. And they were really expensive, I think the first one I saw at the AP was something like $20,000 or so. The shooters were issued b/w only mac laptops (which had those big slots to ingest the photos from the hard drives) so they would tone the photos by using the white and black setting on levels in Photoshop and then send them into us to fix in house before we transmitted them to the wire. The cameras wouldn't accept intense colors so when our guys were covering wildfires, the flames always came out as purple instead of yellow.

 

As time passed and the digital revolution produced better cameras and better computers, I saw film go by the wayside in an incredibly short time, I would say that pretty much all journalistic endeavors were using digital inside of 12-18 months after the Nikon D1 and the Canon equivalent became available. Bear in mind that until about five years ago, digital couldn't compare to film for quality. Now, I can't even imagine film being used except for nostalgia or special projects.

 

I once called a friend of mine who I started with in 1976 and said, "wouldn't you love to have the cameras of today with the access we had back then?"

<p>The best way to find out what to charge would be to contact some portrait photographers in your city and ask them what their rates would be. You might have to pose as a customer to find out, but many people post their rates on their web pages. <br>

If you are going to give people full-size jpegs, then resign yourself to the fact that they will not only make prints off them, they will give copies to every newspaper or website that wants a photo to use with an article about their new book or artwork. So you might as well offer an unlimited use license with the photos. <br>

As for a contract, I would suggest you look to the ASMP for guidelines. </p>

<p>I only carry liability insurance, $2 million. The policy costs me $450 per year. I self-insure my camera gear. However, at home, I keep all gear in a large, heavy gun safe which is bolted to the floor. </p>

<p>really need to know what the project entails. Landscape, street photography, convention, other?</p>

<p>Depending on where you live, you might be able to get into a "co-op" studio. You basically rent a portion of the time available in a week for a shooting studio. Sometimes they include an office space, I've even heard of one such studio having a secretary that all the renters pitched in to pay for. </p>

<p>This way, you still don't have to file all those forms with the city, and the time that you would be idle, you're not paying for. </p>

<p>I can't imaging going to a shoot, setting up lighting, going back home (or studio), dumping the images into the computer via, what software? and then giving the client 20 images for $150. And it seems you are working in a large city, probably with plenty of competing photographers. Which means, no offense intended, that you are driving down the price for everyone.</p>

<p>As for your upcoming project, I would talk with the contractors and try and come up with a package deal with each one. Say, you work with him at various times over a year of doing the projects for $5000 (or whatever price you arrive at). That way, he feels he's getting a consistant product and you save yourself the trouble of trying to price out each job separately. </p>

<p>Sorry this is happening to you. As to the repair costs, Olympus has a set price for camera repair, at least in the U.S. I think the price for the e-m1 is something like $185. Doesn't seem to matter what's wrong. </p>

<p>I live in Las Vegas and they have the full-body scanners. It only takes a few seconds in the scanner and then you're through. </p>

<p>Although I watch my camera bag and other valuables as they move on the conveyor, I'm not too worried. I've been through security at a number of places (I'm a photojournalist) and I don't think anyone is too interested in making a commotion at the TSA security area. If I were to see anyone touching my stuff I would yell at the top of my lungs that someone is stealing my things. </p>

<p>I always take off my watch, and put that with my keys, wallet and any thing else in my bag well before I get to security, out of the view of others. </p>

<p>have you tried pulling the battery out yet?</p>

<p>I don't fly a lot, but recently few from Las Vegas to Sacramento, Las Vegas to Springfield, Mo., and Las Vegas to Cozumel via Houston. None of the locations asked me to unpack either my phone or my e-reader.</p>

<p>And the only time in the past I've been asked to unpack my camera gear was once in Reno, NV., shortly after 9/11. I was still allowed to carry it in the plane, but they swabbed alcohol all over the lenses, including my filters, which I complained about to no avail. And once in Houston on a flight through to Guam with stops in SFO and HNL by a snotty little kid in 1988 (who I hopefully got fired) when I complained to security. </p>

<p>Perhaps the poster wants a P&S camera because he has limited funds and doesn't want to invest in numerous lenses. Or perhaps, he never enlarges a photo bigger than an 8x10. Perhaps the poster simply likes the size of small P&S cameras. </p>

<p> </p>

<p>Hi Gerry. <br>

I use the Think Tank modular belt system and recently picked up the Hubba Hubba Hiney pouch. It will hold my e-m1 with the 12-40 Pro lens attached, the fl-600r flash, 9-18mm and the 45 1.8mm lenses. I use a Lens Changer 50 for the 40-150 Pro lens. The HHH pouch also is slightly curved for the torso and comes with a shoulder strap should you want to use it that way. </p>

<p>Richard,</p>

<p> Is this primarily a hiking/snorkling trip or a photo trip. That would make a big difference on gear. For instance, if a h/s trip, I wouldn't worry about raw images. After all, you would be basically documenting your vacation. If a photo trip, then I would get out the D700 and go from there. I have a Lumix that I use on vacations and outside of the slow shutter lag and the fairly useless flash, it takes great photos.</p>

<p>Craig, <br>

There are other reasons to buy the grip. I feel the camera balances better with it, also it has a vertical shutter release. And although you say the 8fps is not needed, and I agree that when I was shooting film, 5fps was okay, hey faster is better. As a matter of fact, back in the 80s, Canon produced a pelicule-mirrored camera just for the Olympics that did 10fps. And I believe that the F4 did 6 or 7 fps. So, 8fps isn't all that different today. </p>

<p>Ryan,<br>

I use a D300 which is the prior model of the D300s and also a D700. The biggest advantage of the D3 would be the higher iso capability. The D700 also has the capability of higher iso. I regularly shoot at 3200 iso for interior of night sports. This is marginal for the D300s but works fine with the D3/D700. One thing I would recommend with the D300s would be to get the MB-d10 grip. With it, you can use AA batteries and get up to 8fps. The camera alone will give you 5fps.</p>

<p>Very few hotels/casinos ban photos for personal use these days. If you have "professional" equipment, you might be approached, they are concerned about their "brand" so do not want commercial photos taken without permission. P&S cameras and cell phones are used all the time and not a problem. Closeups of slot machines are a no-no, but if you want a photo of a friend playing the slots, no one usually objects. No flash is the best, of course, but you can get away with flash as long as it looks like you are taking photos of your friends versus just shooting the inside of the casino.</p>

<p> </p>

<p>I believe Simon's is still in business in L.A. And of course, Bel Air camera in West L.A. is still running.</p>

<p>+1 for gaffer tape!</p>

<p>Mark, <br>

I have the 80-200 af-d lens and if I were you, I would consider getting the D7000 and upgrading the lens to a newer model. I find the 80-200 to be an extremely slow focusing lens due to the non-s screw focus. Also, with your wildlife/nature, you'll find the extra reach of a DX camera helpful. However, you're going to need to pick up another wide lens if you go for the DX camera for your group/event photography. It's all a trade-off. </p>

<p>Jerry</p>

<p>Thanks for the replies, a big "Doooh!" for me, I forgot about the diopter adjustment on the camera. <br>

My doctor specifically said that the Restore lens would not be a good choice for a photographer due to it being a "refractor" type lens. He said the image would never be sharp. Crystalens is the one he suggests, but as I mentioned, my eyes don't have enough muscle movement left to make it all that worthwhile for me. I could pay the $5000 for the lenses and then find out that, in effect, I would still have the monofocal lens. That lens is available on my insurance for free. </p>

<p>Thansks all!</p>

<p>Okay, I've done a search and found some information about shooting post-cataract surgery, but not my specific question. <br>

I've worn glasses pretty much all my life. I have never focused a camera without a pair of glasses or contacts. So, if I get cataract surgery with the standard lens, it will correct my distance vision to 20/20. But I will still need glasses for close up and mid-range vision. I've been told that my eye muscles are not strong enough for me to benefit from the multi-focal lenses such as Crystalens. <br>

My question is, what will appear clearly in the viewfinder? My assumption is that I will be able to see clearly to focus the image, but will I also be able to see the f-stop/shutter speed, etc., information clearly? <br>

Thanks for your help. </p>

 

<p>Andrew has some good ideas, personally, I'd look for a good used D200, it is basically the same camera (obviously without the current upgrades) as the D300. It has the same size, weight, controls as the D300. It has better auto focus and more fps than the D80. It's also more expensive. You'll probably need something in the 70-200 range as well as the short zoom. A used Sigma would be the choice. As for meeting your price point, I may be suggesting a camera/lens combo that exceeds your budget.<br>

I'm a working photojournalist and these are what I would consider the bare minimum to operate. That said, if you are just taking a class and really don't have any aspirations to go into pj as a career, stick with Andrew's suggestions. You'll find that the short lens is your most used lens, however if you are shooting football, golf, auto racing, and most other sports, you'll need the long lens. <br>

Good luck!</p>

<p>The reason the chain link fence is there is to keep track debris from hitting people. Getting above the fence is not recommended and may get you thrown out of the venue.</p>