I saw that you featured my tip on adjusting your camera’s clocks at the start/end of Daylight Saving Time. I actually noticed this when you first published episode 198, and I enthusiastically showed the notes to my wife on my phone.

Anyway, I thought it might be worth mentioning a related issue: fixing the timestamp in post.

I’ve documented my process here:
http://www.pentaxforums.com/reviews/put-an-atomic-clock-in-your-camera/capture-time-matters.html

The same process could be used for fixing the timestamp on your photos, when you suddenly discover that you forgot to adjust your camera’s clock at the DST change, and you’ve got thousands of photographs that are an hour off.

What I use it for most, is synchronizing the timestamps from multiple cameras, in post. Whether it’s a wedding with multiple shooters, or just a simple portrait shoot with multiple cameras, sync’ing the clocks in post is a lot easier than trying to remember to do it at the start of the shoot. Plus, it allows you to fix the problem when you’re actually sitting in front of your computer and faced with the problem.

Instead of regret and frustration, it’s a two minute fix.

I know you are a Lightroom user, too. I hope you or one of your listeners finds the process useful.

–Nathan Chilton

The link I am referring to is the one on each ep “Feel free to make a small donation through PayPal.”. It appears that the one on the right hand side works correctly.
As for the email address, see if your web guy can replace it with a form so that your email address is not revealed and add a captcha on to help block bots from using it.
I did send an email to that address, had been listening to the archive so didn’t know better, will have to dig through my sent box and resend it… I do wonder how many legit email’s get lost in that inbox.

Thanks for the podcasts, but hurry up and get the next one up I have listened to the last ~50, not sure I am game enough to go back further

Tony.

Another photographer movie I’m looking forward to, being South African and having read the book, is The Bang Bang Club. See the trailer on YouTube at http://www.youtube.com/watch?v=DxLrdzvGQE4

I just spotted this and knowing how much of a Nikon lover Shelton is thought he might find it amusing – http://gizmodo.com/#!5766065/nikons-limited-edition-lens-box-another-reason-to-wish-you-were-swedish

Under Fire, 1983
Nick Nolte, Gene Hackman and Joanna Cassidy play journalists caught up in Nicaragua’s 1979 civil war.

“Watch here for Nolte’s authentic photojournalist. They must have hired a consultant for this one. The equipment is period and authentically beaten to a pulp. They even dubbed over the correct motor drive sound effect for the Nikon F2 he uses — as opposed to most films which feel the need to use a motor drive sound on a hand-wound camera. Nolte faces several ethical questions about taking sides in his work.”

Then there’s another one called “Salvador”
James Woods
James Belushi
Michael Murphy
John Savage

http://www.imdb.com/title/tt0091886/

“A journalist, down on his luck in the US, drives to El Salvador to chronicle the events of the 1980 military dictatorship, including the assasination of Archbishop Oscar Romero. He forms an uneasy alliance with both guerillas in the countryside who want him to get pictures out to the US press, and the right-wing military, who want him to bring them photographs of the rebels. Meanwhile he has to find a way of protecting his Salvadorean girlfriend and getting her out of the country.”

1) Drive the boat away from the sun.

2) Shoot skier with sunlight from behind, backlighted, and use a reflector (or two) in the boat to light the front of the skier from the cameras point of view.

3) Shutter speed to taste to stop action. Aperture for DOF, and ISO for what the shutter/aperture require.

Isn’t that the easiest way?

SO wrong yet hilarious.

(http://labs.adobe.com/technologies/lightroom3)

you will be able to use beta 2 until June 30:

“You can download the beta and use it until the product expires. The current Lightroom 3 public beta 2 will expire on June 30, 2010.”

(See? Case in point from a Photoshop fanatic. Can’t even bring myself to think of Lightroom in that way.)

In all seriousness, a tablet and stylus are a brilliant addition to your repertoire while doing post work on photos. It certainly doesn’t need to be one or the other – I use both tablet and mouse in tandem on just about all my creative ‘manips and even photo retouching and after the initial learning curve (which is sharp but not nasty) you won’t look back at all. Come on, Shel, I turned from the dark side (Pentax) to Nikon – learn to use a tablet.

The best thing about tablets is for the reason that Bruce said – you have the control to build up an effect. It’s brilliant.

Can I suggest a tip, Bruce? Learn some of the keyboard shortcuts for some of your most common actions for which you go digging through menus in whatever application you use, specifically Photoshop. It helps you to stop reaching for the mouse so much and you can utilise both hands a little more to save on the RSI.

(Please note, nothing will prevent RSI if you spend as much time on the computer as I do. Oy. And ouch!)

OK. Will shut up now, except to say that I sooo want that Intuos Wacom. Seriously need an upgrade to my eons-old Graphire, it’s starting to show it’s age. How about a retouch competition detailing precisely how you did what you (we) did? Post before/after shots on Shutters Inc flickr group? I promise, hand on heart, to do everything with a mouse.

Ok… NOW I shut up.

PS… The day they introduce adjustment layers into Photoshop is the day that Erin throws herself off something very, very, VERY high.

http://www.alienbees.com/cybersync.html

My settings for the umbrella shots were ISO 400, f16, 1/100 which seemed to work quite well

The a850 (and a900) will automatically crop DT lenses like the 18-70, 18-200, etc when you attach them. The APS-C mode in the menu is a manual option to use crop mode on full frame lenses or for third party APS lenses which may not automatically select crop mode. The 75-300 you have is a full frame lens and thusly will not crop.

Unfortunately, you can’t turn the automatic APS mode off for those DT lenses that automatically set it (which would be Minolta/Sony official DT lenses).

Also, what RAW converter do you use? You may want to consider DxO or CaptureOne instead of ACR/Lightroom for better noise performance.

Also, the camera that did the auto AF point detection based on eye position was the Canon EOS 3 and ELAN 7n. From what I can remember, it didn’t work very well.

http://www.usa.canon.com/consumer/controller?act=CanonAdvantageTopicDtlAct&fcategoryid=111&id=2649

The DRO options on the a850 actually work very much like Joe was imagining for adjusting area-specific contrast and range. It requires dedicated hardware in the camera and relies a lot on the special meters in the camera, but it does work pretty well. The a550 has a neat auto HDR mode that works surprisingly well to reduce noise as opposed to making bizarro images…

Ciao.

I bet that Shelton Muller will be not happy with that!!!!!!!!!!

It was still a great interview. Well done guys.

Happy Holidays everyone!

Dave

http://www.izotope.com/products/audio/alloy/

we neeeeeed a pro like you to cast light into the differences between these two products! (sorry I had to be dramatic)

laters lad…

Within the last week I heard and read your tips on field recording. While I have been practicing the recording and interviewing techniques you note, I haven’t had a good procedure for processing the recordings. Today I tried your limiter and compression sequence and was very satisfied with the result. Thank you, thank you, thank you.

May you find some time to relax during the holidays. Best wishes.

Before you completely switch to photography and forget about us audio freaks I just wanted to chime in and ask (if it has not been covered before) the best way to prepare and add art work and metadata so that whenever the song is played the artwork is displayed properly and how to avoid pifalls such as the chipmunk effect (never encoding above 44100 and etc)

Second topic

You may be interested in the way sound looks in real life more specifically a technique used to photograph shockwaves

http://www.americanscientist.org/issues/feature/high-speed-imaging-of-shock-waves-explosions-and-gunshots/1

well that is it, if the artwork and metadata has been covered before could you please tell me what number on BTP or SL?

keep up te art!
bomar

Also THANK YOU so very much for your introductory remarks about your tests with your KonikaMinolta and the new Sony.
I recently got an old Nikon D70 for, what we in germany call , “an apple and an egg” (around 100us$). And since it’s obviously older gear, you made me really nervous for one minute, when you said how you saw this huge diffrence on the screen, and a big sigh of relief when the biggest diffrence really was the screens.
That gave me hope I can achieve my vision with just enough practice. In the end it’s really only about the photographer (and the lenses )and not so much the gear. You saved me from GAS , because it’s just me that has to improve.

And having listened to shutters inc gives me a great headstart. Even before owning an DSLR I got the feeling the way I look at things has changed. So thanks again.

Cheers, Jan

PS: The Link to the blogpost doesn’t seem to work, I get a wordpress login-screen only

I use this because I only shoot B&W, so I set Lightroom to open everything with my basic greyscale settings. I also set B&W on my D700′s display, so I only ever see color if I need to reference it in raw for adjustments.

I would love to hear from Joe McNally and I think it would be interesting hearing how David Oliver’s semi recent transition from shooting all his weddings with film to shooting digitally has changed his work flow and shooting style.

Feel free to send the dvd’s on down, I will put them to good use

I must say that your results surprise me, but they don’t effect any of my reasons for an upgrade. The reasons for selecting a new camera were ergonomics, ability for tethered shooting, more configuration for exposure bracketing, full frame (been a but 35mm shooter for more than 25 years, and I do miss the full frame a lot, that’s just me, I don’t think that full frame is generally better than crop sensors). For me it wasn’t a matter of comparing data sheets, these are the requirements caused by my kind of photography.

I recommend checking out the Photo Legal podcast. It’s UK based, but has good info.

ggreetings fgrom fgrance (with peter sellers accent)

http://www.tamaleaver.net