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germskr posted:I'm glad you pointed that out since I don't follow the stupid teenager clothing trends. Still looks "unprofessional" in my opinion but whatever makes the product sell I guess.   William T. Hornaday posted:I took this one yesterday and converted it to black and white right away because it looked like way too much work to try and fix it in color; still needs a bit of work yet. 
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May 4, 2010 16:52
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Fishstick posted:I'm doing a macro photoshoot at a diamond dealer of some of his rocks later this week, but I have no experience with that kind of subject. One of the main things I'm thinking about is what kind of background would work best - a whitebox or plain black background doesn't seem like it'd do much to bring out diamonds.
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May 4, 2010 17:58
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Hey all, I was going to start a thread on photo workshops, but I was worried nobody would respond and I didn't know if my ego could take watching it die a painful death as it slowly dropped down the front page with only my original post in there. I figured I'd see if there was any interest in here first and maybe start a thread later. I don't know what the general opinion is on workshops, but I think they can useful/fun. When I first started, I took a general beginner workshop and while I'm not sure if the knowledge I gained was worth what I paid, I don't really regret it. It was fun being around other photographers and sharing info. I'd like to take one of those week long landscape workshops. I've been researching a ton, but it's hard to tell the quality from the crap. Anybody else take workshops?
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May 4, 2010 19:04
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I've never been to a workshop (can't afford it) but my read on them has always been that they are fun and you might learn something as a beginner, but it's silly to think you'll come away with really unique shots. More importantly, reading about workshops makes me want to run a workshop. Seems like some of them more fancy ones are a veritable license to print money.
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May 4, 2010 19:09
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I'm actually helping someone run some one day workshops. At a much cheaper price than a lot of other people are charging - at least initially so we can iron out the kinks. At the end of the day, after the costs of hiring the studios and lights and paying for the model, the photographer is making less than her hourly rate. Hopefully it'll be pretty fun, and worth the time and effort. Some of them do seem ridiculously priced. I'd do your research into the photographer teaching and make sure that's a style you want to learn. Make sure that it's going to be a small class size. I've seen some fashion and wedding workshops (Jasmine Star in particular) that run into high triple digits, and I definitely don't see myself paying that much for it. Having someone in person telling you a technique or an idea can be much better than learning from a book or a manual. I really think PIMM should run lighting workshops in Europe.
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May 4, 2010 19:23
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A workshop thread could be really useful, I say go for it. I'm skeptical of workshops in general as well, but I've attended one really useful one myself, and I know there are other worthwhile ones out there as well!
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May 4, 2010 19:33
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BobTheCow posted:A workshop thread could be really useful, I say go for it. I'm skeptical of workshops in general as well, but I've attended one really useful one myself, and I know there are other worthwhile ones out there as well! I'll try and get it done tonight. I have a ton of links to workshops I can share.
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May 4, 2010 19:57
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Last year when things got slow I started getting so many goddamn emails about AMAZING WORKSHOP OPPORTUNITIES. Like suddenly every catalog photographer become a fashion master willing to teach you the secrets of being a pro for a small fee!!!! I guess it is a sign that the photo industry has recovered some, because I haven't gotten one in a while.
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May 4, 2010 20:54
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I'm doing a 10 week (3 hours a week) lighting course that is costing me $295. At just under $10/hour it feels like a bargain.
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May 5, 2010 00:42
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psylent posted:I'm doing a 10 week (3 hours a week) lighting course that is costing me $295. At just under $10/hour it feels like a bargain. That's something I'd REALLY be interested in. How did you find the class?
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May 5, 2010 03:20
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I would be interested in learning more about workshops in general, but I don't think I would ever shell out a lot of cash to attend one. I was planning on attending a free event next Sunday to hear Peter Turnley speak, but I've realized it's Mother's Day and may have to skip it.
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May 5, 2010 04:13
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I created that workshop thread for those interested.
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May 5, 2010 06:41
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Hop Pocket posted:That's something I'd REALLY be interested in. How did you find the class? It helps if you're Australian and live in Sydney - http://www.acp.org.au/ I'm actually doing the "Advanced Flash" course
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May 5, 2010 09:27
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My parents are guilty white people and they go to Cuba a couple of times a year. This last time they brought a shitload of gifts, like some used laptops from 2001 that they had scrounged, video games, drug samples from a Cuban doctor here, and a bunch of other stuff that's hard to get in Cuba. I gave them an old smartphone and my Coolpix S51 with a broken screen, which led to one of the people they know there showing off how much he loves photography and stuff, but he's running some film SLR and can never get a regular supply of film. I was thinking that it would be great to get a really old DSLR and kit lens or two to send down to them. Accessing and modifying the pictures isn't a problem because the camera would be given with an old laptop, and they can print fairly easily. I was looking at the price of 10D's and they're only like 85 bucks, as well as old powershots which are like 30 dollars. I'm wondering if it would be better to go with another 10D or a D60 (I'd also pick up an 18-55IS or something for each one as well) or a couple of powershots considering that the DSLRs will probably need cards and batteries and the shutter might wear out in a couple of months. There's no hurry because their next trip isn't for a few months, but what do you guys think?
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May 7, 2010 01:46
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tuyop posted:I was looking at the price of 10D's and they're only like 85 bucks, as well as old powershots which are like 30 dollars. I'm wondering if it would be better to go with another 10D or a D60 (I'd also pick up an 18-55IS or something for each one as well) or a couple of powershots considering that the DSLRs will probably need cards and batteries and the shutter might wear out in a couple of months. Sounds like a neat idea, except that the 10D can't use the 18-55. 20D or newer for that. I'd say it would be better to ask him what kind of film SLR he has and then send something that can use the same lenses...if he's got a K1000, send an older Pentax, for instance. And the Powershots will need cards and batteries too...I dunno why that would be a problem with either kind of camera, though, since by now a 4GB card and a couple of spare off-brand batteries would cost you like 20 bucks.
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May 7, 2010 01:51
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tuyop posted:My parents are guilty white people and they go to Cuba a couple of times a year. This last time they brought a shitload of gifts, like some used laptops from 2001 that they had scrounged, video games, drug samples from a Cuban doctor here, and a bunch of other stuff that's hard to get in Cuba. That's a cool idea. I can't speak to what would be a good deal or what would make sense financially, but I'd get behind a group effort to send some cuban a camera. I don't have white guilt (ok, a little, but not for this) but I'd love to see some of the pictures to eventually make their way online.
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May 7, 2010 01:53
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tuyop posted:My parents are guilty white people and they go to Cuba a couple of times a year. This last time they brought a shitload of gifts, like some used laptops from 2001 that they had scrounged, video games, drug samples from a Cuban doctor here, and a bunch of other stuff that's hard to get in Cuba. You could also get a bunch of Arista B&W film in bulk rolls ($20-30 or so depending on type, each 100' gives 18-20 rolls of film), a bulk loader ($15 or so on Craigslist/eBay), and some film cannisters (cheap). If you go the DSLR route make sure to get at least 1-2 extra batteries; the original is probably pretty worn out by now.
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May 7, 2010 03:41
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I made a dumbass mistake. I shot a wedding with two 5DIIs but one of them had a clock that was set back 12 hours (its a 24 hour clock and I'm rather slow). Is there any way to change the file data so lightroom will put them in order? All the minutes line up pretty well its just the wrong hour. Am I going to have to manually place 800 photos in order?
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May 15, 2010 01:49
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This can be done with some (shell) scripting magic. Try asking in "Cavern of COBOL" and make sure you point out the files are on a Windows PC.
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May 15, 2010 02:16
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Wooten posted:I made a dumbass mistake. I shot a wedding with two 5DIIs but one of them had a clock that was set back 12 hours (its a 24 hour clock and I'm rather slow). Is there any way to change the file data so lightroom will put them in order? All the minutes line up pretty well its just the wrong hour. Am I going to have to manually place 800 photos in order? If you select all the wrong time code photos in the library module shifting the time is an option under the capture time box.
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May 15, 2010 02:16
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What kind of metering should I use for a scene like this: Unfortunately I used spot metering (with the spot being on a super dark bison) so my background went to poo poo. Also, is there a good primer out there that describes when it's a good idea to change the exposure compensation? I see some photos where people have changed it but I have no idea why they did it.
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May 15, 2010 05:16
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InternetJunky posted:What kind of metering should I use for a scene like this: I usually use evaluative metering. Generally does an okay job. If you're worried about getting exposure right and it's the kind of thing where there isn't going to be a do-over, auto-bracket your shots.
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May 15, 2010 05:46
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I would have metered the grass. edit: or if you're white your hand is Zone 6-ish, so meter it and stop down 1
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May 15, 2010 05:48
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InternetJunky posted:What kind of metering should I use for a scene like this: Well, you just described an incidence when you would change exposure compensation -- you know that the bison was super dark, and the spot meter read it and so the exposure was too high. Thus, if you were going to spot meter in a situation like that, you would (ideally) dial in exposure compensation to compensate for the fact that you know the thing you're metering off of if is darker than 18% gray -- meaning you'd decrease the exposure with compensation of, say, -1 stop.
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May 15, 2010 05:49
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dakana posted:Well, you just described an incidence when you would change exposure compensation -- you know that the bison was super dark, and the spot meter read it and so the exposure was too high. Thus, if you were going to spot meter in a situation like that, you would (ideally) dial in exposure compensation to compensate for the fact that you know the thing you're metering off of if is darker than 18% gray -- meaning you'd decrease the exposure with compensation of, say, -1 stop.
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May 15, 2010 07:08
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Wooten posted:I made a dumbass mistake. I shot a wedding with two 5DIIs but one of them had a clock that was set back 12 hours (its a 24 hour clock and I'm rather slow). Is there any way to change the file data so lightroom will put them in order? All the minutes line up pretty well its just the wrong hour. Am I going to have to manually place 800 photos in order? There are a shedload of free apps available that will do this before you import into LR. I did try one, but I forget which, maybe this one: http://jpgtime.learsy.com/ But if they are already imported into LR, then 8th-samurai suggestion is best
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May 15, 2010 07:33
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Someone please tell me how to edit raw files, CR2s from a Canon 5D specifically. I want to invert an image and save it as a 5D .CR2...
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May 15, 2010 09:42
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notlodar posted:Someone please tell me how to edit raw files, CR2s from a Canon 5D specifically. I don't think you -a RAW is a raw data dump from the sensor, not an editable format. You can edit the .cr2 and save as a TIF Unless anyone knows otherwise?
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May 15, 2010 10:27
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spog posted:I don't think you -a RAW is a raw data dump from the sensor, not an editable format. You can save Lightroom or ACR RAW adjustments in a sidecar .XMP file.
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May 15, 2010 10:40
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8th-samurai posted:If you select all the wrong time code photos in the library module shifting the time is an option under the capture time box. Thanks for this, you saved me a lot of time.
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May 15, 2010 18:42
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spog posted:I don't think you -a RAW is a raw data dump from the sensor, not an editable format. Tziko posted:You can save Lightroom or ACR RAW adjustments in a sidecar .XMP file. I need it to be in the raw somehow. I want to be able to create a color profile from a color negative, but I can't because all the drat programs* out there go after the raw data... If I make a profile from a tiff, lightroom and it seems like everything else won't let it play with a .cr2 raw... *the are actually a couple that can do what I want but they are way out of my price range. There is also a script that may work once I fix the hosed up greens/blues (both are cyan as of now) in the scans...
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May 16, 2010 08:36
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notlodar posted:I need it to be in the raw somehow. I want to be able to create a color profile from a color negative, but I can't because all the drat programs* out there go after the raw data... You cannot alter a RAW file. Simply because it is not an image file - it is the raw data from the sensor - so there is no way for you to create one, apart from physically using a sensor. I can't understand what you are trying to do, but there must be an alternative method of doing it.
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May 16, 2010 08:50
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notlodar posted:I need it to be in the raw somehow. I want to be able to create a color profile from a color negative, but I can't because all the drat programs* out there go after the raw data... What is the exact thing that you're trying to do, from start to finish? From what I understand, it sounds like you're just trying to make a specific set of common adjustments to apply to every file scanned in a particular way, which is trivial to do in Lightroom. You may be over-complicating the issue.
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May 16, 2010 22:36
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Trying to manually balance color negatives - I have a shot of a color card on a negative, I want to balance the colors, right now cyan, blue and green are too similar, this is just the first step. I am doing a project and study on the bridging digital and film photography. Right now I use the xrite color checker software to create profiles. Adobe's DNG editor almost works, but doesn't. If I could apply the camera profile from a tif, then that would be awesome....
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May 17, 2010 00:14
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I've got a Rebel XT and I've noticed that what I see through the viewfinder doesn't match up with the actual photo that's taken. The bottom edge lines up fine, but there's an extra 5-10% on the sides and top edges showing up that aren't visible when I'm composing the shot. Granted, all I have to do is crop off all the extra stuff, but is this normal?
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May 18, 2010 04:29
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Yeah, the Rebel XT has 95% viewfinder coverage IIRC. Sounds normal.
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May 18, 2010 04:31
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William T. Hornaday posted:I've got a Rebel XT and I've noticed that what I see through the viewfinder doesn't match up with the actual photo that's taken. The bottom edge lines up fine, but there's an extra 5-10% on the sides and top edges showing up that aren't visible when I'm composing the shot. Granted, all I have to do is crop off all the extra stuff, but is this normal? Yup. Generally only high end cameras have a 100% viewfinder.
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May 18, 2010 04:34
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Martytoof posted:Yeah, the Rebel XT has 95% viewfinder coverage IIRC. Sounds normal. I had a minor revelation regarding composition when I realized this. Even my 5D is 96% 
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May 18, 2010 04:35
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Get a rangefinder. They have like 110% coverage or whatever.
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May 18, 2010 04:46
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Why not make SLRs with >100% viewfinder coverage and framelines?
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May 18, 2010 05:37
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