I wasn’t sure of this was supposed to be for Apple or Google when it first came up. Ever notice how they’re all kinda starting to look the same?
Yep.
The Truth: What a Client Really Wants from You
While the article linked below is aimed at writers, the same holds true for pretty much any freelance creative.
The Truth: What a Client Really Wants from You
TL;DR – Don’t be a douchebag and believe in yourself.
Reproducing looks with curves adjustments
Curves are a pretty versatile and powerful feature of any image processing application when you know how to use them, especially if you want to try and automate parts of your workflow.
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Work Hard or Work Smart?
This post is the consequence of a conversation I had yesterday evening with my sister, chatting to her about the upcoming South Lakes Interclub Photography Competition, and how the whole thing works.
But it is also kind of the point I was attempting to make on my previous post about fixing things in Photoshop that you could’ve resolved at the time of shooting (well, one of the points I was trying to make).
In previous years, we’d remained at the venue (as a competing team, not as host) until at least 11pm usually (once past midnight – after which we had to make an hour and a half drive back home) due to waiting for technological hiccups to be overcome so that we could continue, but last year was different.
Moving Linux to Smaller SD Cards
SD cards are pretty cheap these days, but that doesn’t mean we should let our smaller ones go to waste, especially when a system doesn’t fully utilise the space of a larger one that could be more useful elsewhere.
So, what can we do?
Normally, to backup and restore SD cards, I use Win32 Disk Imager.
The main problem of Win32 Disk Imager is that it creates an image file the same size as your SD card, no matter how much of the card is actually being used. If you’re using a 32GB card with a 4GB partition and the rest is unallocated space it will still create a 32GB image file.
Typically, however, I think most of us will allocate the full size of the SD card to the system.
I’ve been quiet this month…
January was awesome, a super busy month, but I also had a lot to talk about, and a lot that I could talk about, and enough time to talk about it.
February’s been even busier, but most of what I’d love to show off, I can’t talk about (damn those NDAs and that whole “privacy” thing).
I’ve been getting a fair bit of shooting done this month, and I’ve also started working on a rather large web app project – which, again, I can say nothing about.
This all sounds a little like one of those “look at me, I’m begging for attention and some recognition for how awesome I am!” posts you see all too often on Facebook these days, but that really is not my intent.
Eye-Fi on Linux Part 2
When the Eye-Fi works so well with the iPad, why would I want to seemingly make life more complicated for myself by adding more hardware into the mix?
Well, transferring to a Linux based machine like the CubieTruck offers me some advantages over the iPad. Some of them I alluded to in my previous post on this topic, but at the time, my primary thought was really just on-site backup (after making the switch from SanDisk Eye-Fi cards to Eye-Fi Pro X2 cards).
No real interaction, no file serving to viewing devices, just straight up copy the images to the CubieTruck, and then copy it all onto my network when I get back home.
Fix it in Photoshop?
During my talk for Lancaster Photographic Society recently, I was asked a question that I’m also going to answer here. I’m paraphrasing, but it went something along the lines of…
“Is getting the right exposure in camera really all that important? Can’t we just nudge it in Photoshop?”
Before I start, I want to clarify a definition here, and a difference between “right” and “technically correct”. It is perfectly possible to make an exposure that is “right”, but not “technically correct” when you shoot with your post processing in mind in order to maximise the capabilities of your camera’s sensor.
Sometimes intentionally over or underexposing slightly allows you to capture the scene and process it in a way that gives a better final result than if you’d started off with a “technically correct” exposure. So, sometimes “technically correct” isn’t the same as “right”.
But to answer to the question, the short answer is “You can, but if you don’t have to, why would you?”.
Talks and Presentations
I have been a member of Lancaster Photographic Society for about five years now, ever since my wife and I moved to Lancaster.
Each week throughout autumn and winter we meet, and usually the photographers who come and offer presentations to us are detailing projects and genres that are very personal to them.
They tell some amazing stories, they sometimes go pretty in-depth into the technical aspects of how they do what they do, detail the circumstances that led them to be where they are today, and list some of the challenges they have faced along the way.
Occasionally we have a speaker from our own membership, somebody interesting, worldly, and presenting images the rest of us could only dream of creating. So when I was first asked to present a talk, I was quite surprised.
Sekonic L-758DR “Digital Master” Light Meter
In photography, there are many items we would buy if only we could find a viable reason for putting down so much cash.
First, for me, was the 70-200mm f/2.8VR. For years, I lusted after one, but didn’t really had a legitimate need for one that would justify dropping £1600+ until about four years ago.
Then there was the 105mm f/2.8D AF Micro-Nikkor. As much I would’ve loved to have been able to splurge on one, it was an expense I couldn’t justify until last year. That was another one that had been on my wishlist for about a decade.
The Sekonic L-758DR falls into that same category. It’s a handheld light meter that I’ve wanted for years, but with a retail price of £399, it just wasn’t going to happen. Certainly not when my L-718 has performed so beautifully the last few years.
Continue reading Sekonic L-758DR “Digital Master” Light Meter