paulie_smith1

<p>Rob, I understand the LX5 has a small sensor. Also that the camera is pocketable and I have licensed more than 30 images from it for newspaper and magazine articles. Half were wide angle shots of older buildings and business interiors.<br>

The little camera is not perfect but it works and, as I mentioned, it not intimidating to many when I have it on site and a photo opportunity presents itself.<br>

In a perfect world I would have a Contax G2 digital...</p>

<p>I disagree with Walter, you can save a small fortune in mixing your own chemistry. Artcraft chemicals are excellent. <a href="http://www.artcraftchemicals.com">www.artcraftchemicals.com</a> <br>

Reliable and one of the best suppliers around. Likewise Bostick and Sullivan, though more for alt process work. <a href="http://www.bostick-sullivan.com/">http://www.bostick-sullivan.com/</a><br>

Clean working habits, a decent scale for weighting small volumes of chemicals, decent ventilation and some patience and a whole new world of darkroom work is open to you. The suggestion of The Darkroom Cookbook and The Film Developing Cookbook is a good one.<br>

This is not rocket science and is even more enjoyable when you have more control. You are not at the mercy of companies and shops that don't carry what you would like to try - and the companies that discontinue your favorite products.</p>

<p>TMax 100 can easily be a high contrast film if you shoot and develop for it. You can get 18 stops of information on the negatives, much more than you are able to print. If you need more contrast you can increase development a bit.<br>

Henry Horenstein has some excellent books on B&W photography that will help you. B&W Photography, a Basic Manual and Beyond Basic Photography, a Technical Manual.<br>

Both will help with understanding what you are doing and getting the results you seek on a regular and repeatable basis. They are more than worth the cost.</p>

<p>Can you have your Blurb published books be ordered by the customer contacting and paying you - and then you fulfill the order through them? This would mean you get all the information but also have to have a credit card payment system set up with your business.</p>

<p> </p>

<p>Can you have your Blurb published books be ordered by the customer contacting and paying you - and then you fulfill the order through them? This would mean you get all the information but also have to have a credit card payment system set up with your business.</p>

<p> </p>

<p><a href="http://www.cradocfotosoftware.com/fotoQuote-Pro/">http://www.cradocfotosoftware.com/fotoQuote-Pro/</a><br>

This is a starting point.<br>

Your bank will not accept credit lines in payment of your home or auto loan.<br>

You can't eat credit lines.<br>

You are a business, or you are not.</p>

<p><a href="http://photobusinessforum.blogspot.com/2011/02/copyright-enforce-it-wherever-possible.html">http://photobusinessforum.blogspot.com/2011/02/copyright-enforce-it-wherever-possible.html</a><br>

<a href="http://www.photoattorney.com/">http://www.photoattorney.com/</a><br>

<a href="http://www.phototour.minneapolis.mn.us/essays/copyright_lawsuit">http://www.phototour.minneapolis.mn.us/essays/copyright_lawsuit</a><br>

<a href="http://williambeem.com/2011/06/27/jay-maisel-vs-andy-baio/">http://williambeem.com/2011/06/27/jay-maisel-vs-andy-baio/</a><br>

If you have not formally registered copyright to the images - get it done immediately. You have a 90 day window after finding the infringement. Formal registration gives you some legal clout in collecting for copyright infringement, the top one being the ability to collect attorney fees. This will help if you contact an attorney. Without registration no IP attorney will touch you without up front payment of a retainer. With formal filing you may find many who will take the case as they know an award of fees is possible and a percentage of any award can be theirs. At the very least knowing you have formally registered gives you clout when they send a demand letter for payment on your behalf.<br>

Did you save a screen capture of your images on their web page?<br>

Do not make an offer of settlement in writing, just the bill.<br>

Be willing to elevate this AFTER you have formally filed for registration. That is what will give you clout in the courts and if they talk with an IP attorney he will know this and tell them to pay the bill fast and keep from costs going through the roof.<br>

<a href="http://asmp.org/tutorials/copyright-overview.html">http://asmp.org/tutorials/copyright-overview.html</a><br>

Above all, remember that you are a business, not the mafia. Keep it professional. Make no threats or innuendo that may be taken that way. It is a simple business collection question - one that is entirely in your favor if you have formally registered copyright to the images. Forget small claims and the like - this is a FEDERAL case of copyright infringement.<br>

Take it seriously, file the paperwork, contact an attorney and have a letter written and, if pushed - go after them for copyright infringement.<br>

"It's business, nothing personal" is what you live by.</p>

<p> </p>

<p>When will these makers realize 24 or 21 at the wide end and f/2.0 wide open?<br>

With the Panasonic LX5 I have a 24 and the wide aperture in a carry around body that fits in a shirt pocket. The OLD G3 Canon I have has an f/2.0 lens.<br>

If they would add those features in something like this I would gladly buy one. As it is, the LX5 is perfect for a carry around and light newspaper work as it is non-threatening to many folks who definately notice the bigger SLR bodies.<br>

Really, I would love to see a digital equivalent to the Contax G2. I liked it much better than the M6 Leica.</p>

<p>The color photo has what appears to be a nice sharp Left eye. All else is off the plane of focus.<br>

Looks like a depth of field problem. Stop the lens down and your problem will most likely be solved. This is the look many of us like and use the 85 f/1.2 for. You pick your plane of sharpness and use it to your advantage.</p>

<p> </p>

<p>Have, use and carry around the Panasonic Lumix LX5. My regular cameras are Canon 1DMkIIn's which I use for my newspaper shooting most every day. I carry the LX5 in my shirt pocket or in a waist hoder like a cell phone. Small, the image quality is very good. The f/2.0 24mm wide end is very handy for city council meetings and such. The wide aperture is good for low light work. The 90mm long end is just right for a lot of people photos including portraits. The fact it is not seen as a 'pro camera' helps a lot at times.<br>

It is light, quick to operate and the image quality is fine for what I do.</p>

<p>After looking for awhile I got the Panasonic Lumix LX5. For me it is just fine. Focuses quickly enough to so some sideline photos of High School football. The f/2.0 24mm wide end is really nice to have. the 90mm f/2.3 on the long end is enough for me for most situations. The image quality is fine. The camera fits in a shirt pocket which means I carry it with me to many places I leave the SLR bodies behind. Some locations it is nice a it is not 'threatening' to folks like the SLR is and it is not the curiosity on a tripod the old Deardorff is.<br>

A nice complement to what I own. I am pleased with it, most especially with the 24mm wide angle equivalent which I find I use a lot.</p>

<p>You really have to buy a commercial product?<br>

Making a bean bag for a rest is pretty simple and easy to do.</p>

<p><a href="http://www.boston.com/bigpicture/2011/12/50_best_photos_of_the_natural.html">http://www.boston.com/bigpicture/2011/12/50_best_photos_of_the_natural.html</a><br>

Some nice work here.</p>

<p>Not all are strictly nature but worth a look.</p>

<p>What do you consider a large group? 50? 150? More?<br>

Why not fill the frame and shoot in sections and stitch them together after the fact? I have done this successfully with the 1DMkIIn and when the group understands what you are doing they are usually cooperative. Makes it easier to replace people with eyes closed and whatnot as I do at least three passes of the group.<br>

Other than that I shoot it on 5x7 or 8x10 film and enlarge from that.</p>

<p>"What are you talking about? You have never needed, with any IS lens, to change IS modes when changing shooting orientation. If you are shooing handheld and trying to keep your camera still, choose mode 1, if you are panning, choose mode 2, that isn't too difficult!"<br>

After checking a few times with Canon CPS tech folks they agree 'turn it off' when you have to quickly change from horizontal to vertical as action is happening. Mainly monopod use in sports and the change is easy to do with the lens collar a touch loose to allow for quick rotation of the body 'on the fly'.<br>

Reaching around on a 400/600 with a futball player coming at you or by you just isn't in the cards.</p>

<p>You say 'tent, lighting, etc as well' as if that tells us what you are using.<br>

Did you get polarizing screens for cross polarized lighting for the copy work? A quality polarizing filter for the lens you will choose? If you did not you will have problems controlling reflections from the artwork. Some pigments reflect more light than others and controlling them is important in getting both clear and accurate results.<br>

Do you have a color separation chart, gray card and gray scale to put in the frame for a reference shot. Will help a lot when it comes time to make prints.</p>

<p>Had a chance to shoot back to back with the same lens a 1DMkIIn and a 5DMkII .<br>

The viewfinder in the 5DMkII was much darker than the 1D camera.<br>

Is this normal, or does he have a bad sample of the camera?<br>

Shooting in lower light jazz clubs and pool halls and the like I want a viewfinder bright enough to see as clearly as possible. The 5DMkII doesn't seem bright enough in comparison to what I am used to. I like the image files at higher ISO settings but the dim viewfinder has me holding off on getting one. Am not where I can visit stores that carry them to make a comparison of many bodies for sample variation.</p>

<p> </p>

<p>Switching the camera from horizontal to vertical composition, and back and forth when shooting action makes it difficult to keep changing the IS setting. Not enough time as a running back or basketall forward is moving while you compose and shoot.<br>

Most of the time for this stuff I turn it off.<br>

Why the makers don't have a sensor to make the switch automatic is beyond me. Maybe so they can add it later and charge for a product upgrade?</p>

<p>David Bebbington wrote: "Edward Weston's early death from Parkinson's Disease has been linked to his use of amidol print developer."<br>

Please cite a credible source for this information.<br>

Many other photoraphes use and have used Amidol without problems. I believe the assertion is a myth with no scientific foundation.</p>

<p><a href="http://en.wikipedia.org/wiki/Nussenzweig_v._DiCorcia">http://en.wikipedia.org/wiki/Nussenzweig_v._DiCorcia</a></p>

<p>Can you?<br>

Should you?</p>

<p>A lot like when they were going to show high profits with their Gold CD's at $10 each and discovered most would not pay more than about $3 or so for them.<br>

They sell off sections that show a profit but not a high enough profit. That is why they got rid of their photo paper division completely. Didn't lose money, just didn't make enough to satisfy the bean counters.<br>

Looks like a safe investment strategy would be to look at what Kodak does and buy what they don't want as someone else will make it pay well.</p>