peter_cohen

<p>I think you're missing 4 ;-)</p>

<p>I think you meant Nikon 24-70 2.8. I have both and use them at events. They are totally different lenses as you can tell from focal lengths. If you shoot a lot of wedding receptions and get right in there with the dancing and fun, I suggest the Tokina 16-28. It's an outstanding weapon for an event shooter. The ability to go ultra-wide is great, and the distortion -- especially with camera raw profiles in post -- is minimal considering what you're able to capture. They are about the same weight -- heavy ;-) The Tokina feels like the same pro quality as the 24-70.</p>

<p>+1 for PS CC 2014. Virtually instant opening of the entire image in Liquify. Core i7 3770 @ 3.50 GHz, 32 GB RAM, PS sitting on a fast Samsung 840 Pro SSD</p>

<p>Just got a Sony a6000, which I love for a great travel and walk around camera. I am looking at the HVL-F20M flash. I would like to know opinions from those who own it. (also posted in the Sony forum)</p> <p>Thanks,<br> Peter</p>

Just got a Sony a6000, which I love for a great travel and walk around camera. I am looking at the HVL-F20M. Flash. I would like to know opinions from those who own it.

<p>I would have lit the couple to get some contrast into the image and darken the background. If there were no clouds in the blown-out sky, I would have added them in post. I would have asked the groom to remove his phone from his pocket.</p>

<p>Since I started using a D610 -- my first FF digital -- I notice very bad moire patterns when shooting people with clothing that has small patterns. Is the D610 or FF in general more prone to moire than crop sensors? Is there a way to minimize moire when shooting?</p> <p>Thanks for any help on this. It's driving me crazy in post!</p>

<p>Here you go -- exactly what you want. Buy the hub then as many reader modules as you have cards to offload simultaneously. Perhaps <strong>Ellis</strong> has seen this in use?</p> <p>http://www.lexar.com/workflow?category=203</p>

<p>Sounds like you have it all in line now. Windows Transfer takes care of data, plus whatever settings you select in the setup process.</p>

<p>Done it several times using Windows Transfer. Worked great every time. Just be sure you don't erase your old machine before making sure everything made it over to the new one. And if you have a lot of data, plan on a long process.</p>

<p>And did you provide him with a shot list? Was he working alone or with an assistant? Did you ask him where the other images are? If so, what was his response?</p> <p>As Jeff hints at, if you don't have a signed contract, you might be completely out of options for any kind of recourse.</p>

<p>I've been buying and selling pro-level gear on eBay for years without any incident at all. PayPal gives you good protection as does eBay. In your listing, specify that buyers with fewer than x number of transactions need not apply, which will enable you to take some comfort in feedback ratings of potential buyers. In the past five years, I've had about six sales in excess of $1500 and have made purchases right around $2000 from other pros and have been very happy with the results.</p> <p>Please note that these are my experiences, and others may differ. You have to do what you're comfortable with. Once you have an ebay account, you can search the completed listings for your camera and see exactly what they have been selling for -- $699 to $5100 in your case.</p>

<p>Multiple hard drives with Lightroom, as Jeff noted, is not a problem. I have an internal plus three external archives that are all cataloged in LR. I agree with all the suggestions of replacing your system drive with an SSD having done that myself -- get at least 250 GB; the prices have come down significantly in the past six months. To Dave's point about transferring data from HDD to SSD, most of the SSD retail packs come with software and some even include a cable, to make transfer very easy.</p>

<p>When I do groups like this, I do x times the individual session fee, then give a 15% discount. I charge session fees that include a print credit, so I make sure my costs are covered up front. My guess is that this will be a multi-hour session, so you should charge accordingly.</p>

<p>Kent:</p> <p>The image below is with one click in PS CC2014 or LR 5.6 Lens Correction tab. Not sure if you can get this in CS5, or if you even view this as an improvement to what you have. When you wrote "I'm also open to keeping what I have, since it does work well, and using some sort of software program that's better than CS5 for fixing distortion." I thought I'd give it a shot. No fine-tuning here at all.</p><div></div>

<p>My general rule of thumb is to multiply the cost of the book or album 3-4 times, then add in $300 for design and retouching time. Most album printers have prices online for 10 spreads (two pages facing reach other) with cover for x$. You can then go from there. My general suggestion is to keep it simple. There are literally hundreds of choices out there between sizes, papers, covers, etc. We tell clients that we've done the research for them, and that "this one" is our most popular. It should fall in the middle of three choices you offer, but price accordingly so they see your most popular album as the best value.</p> <p>You should not take any sort of loss, let alone a huge one. You will later regret every price discount and concession you make. If your price for a 20-spread album is too pricey, ask your clients how many spreads they would like to take out. I make my living from photography, so I may be giving you advice that sounds overly harsh. But I'd be surprised if the other pros on here don't agree that a) you shouldn't give anything away and b) keep your prices consistent with the value you're delivering.</p> <p>Years ago I thought our prices were a little high until a client told me what she paid for her last album. That cured my guilt right away. The other photographer was charging $180 for an extra spread that cost him $6 for the lab plus whatever design time it took. And I know he was using a template, so design time was minimal. I'd rather sell six extra spreads at $50 each then one or two at 3x that price.</p> <p>As for the number of images per album, that's going to be totally dependent on your design style. Our albums average 4.5 images per spread in a 10x10 album (so, a 10x20 spread). But that's in a layflat album with no break for the gutter. (http://www.mckennapro.com/products-home.cfm#) If you're thinking about 80 pages, I would think you'd have to go with a press printed book or album.</p> <p>Good luck!</p>

<p>Make sure you're working on a copy of the original layer, and try content aware. Also give clone stamp tool a shot at it. Which version of PS are you using?</p>

<p>Primary difference is in networking and domain management, as I recall. Nothing that you would notice.</p>

<p>Circling back, I have adjusted all the bad times, thanks to you all. In case this happens to you, in LR 5.6, the command "Edit Capture Time ... " is in the Metadata menu. I found two images where my wife and I were firing at exactly the same moment (you can see her flash going off in the image), so I used those as my reference points. It was 31 seconds difference, so I used the serial number of my camera to select all my images and adjusted the capture time accordingly.</p> <p>That said, it's still not as easy as syncing the clocks before heading to the shoot ;-)</p>

Absolutely. I used to have a checklist, but of course, after using it for years, I got too smart for my own good and figured I was remembering everything and stopped using the list. Guess I got what I deserved.

Thanks to all for educating me on the cause and fix for this situation. I do use Lightroom so I'm anxious to try the adjustment.

<p>I have two D610s, the internal clocks on which are about 30 seconds apart. I routinely sync them before a shoot where my wife and I are both working. We photographed a party on Saturday night and I forgot to synch them. It was probably about two months since their last sync.</p> <p>I believe I have read about how to change the time stamp on images to solve the problem of presenting them to the client when they are not in order, so to speak. I'll find those instructions later. My question here is how could these clocks get so far out of sync? 30 seconds is a lot. Once they are set to the same time, why would they ever get out of sync? Lousy clock?</p> <p>Thoughts? Thanks.</p>

<p>Same with my D610.</p>

<p>I would think about why people call you and book you. Do you ask? I'm going to presume that you do, so I suggest you think about how many bookings you have because people said "I read your reviews on Facebook" or "I found your page on Facebook." How many of your 40 came through Facebook? If you can get to that answer, then you've solved your issue one way or the other.</p>

<p>Zenfolio, among others.</p>