Zach Matthews
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Hey Richard –
I lost a sale lately (“High Water” in the Photoblog) because my D70 couldn’t go double-truck and hit anything close to the 300 dpi asking range for American Angler. Do you know of any way to interpolate an image out of my camera up to 11X17 at 300dpi without looking pixelated?
Have you sold any double-truck images from your D200?
Zach
Yeah, Richard is absolutely right here; I misspoke and remembered later but I didn’t go back and correct it.
Hey Richard –
I understand what you are saying: technically the difference in saturation isn’t in when the flash is firing but in how long the shutter is open.
Whoops, my bad, the program is ‘Lightroom’ although it is an APPLE Aperture clone.
As of yet I don’t think there’s a windows version but you could always have a look around the net.
Zach
Hey Jack –
Yeah, the rod’s a St. Croix Pro Graphite and the line is a very crudded over XXD Comp (the older one that was just a longer XXD – it’s 125′).
Trumpy –
Download and install Adobe’s free Lightroom program if you have a mac available – it will do everything you want in a very simple format. Other than that, you are probably best off using Powerpoint and a separate audio.
Zach
If I were dealing with your image, to get to 8X10, I would do the following:
1. Image Size – Enlarge to 3000px on a long side (probably you are in 4:3 ratio so I don’t know the other length.
Hahah, thanks Eric. I will probably always regard myself as a writer first – afterall I trained for 8 years to learn the craft and it is kind of an ego blow to think you could pick up something else in a year or so and get better at it. 🙂
I appreciate the compliment. I’m not sure I agree with you about me having a style. I guess I just figure we all have certain tricks that we come back to.
Incidentally; here’s my working list of how I see a few other full-pro photographers’ styles (all better than me):
Denver Bryan – Lots of bent fish, held low to water; not a big focus on contrast or color; extremely strong composition.
Brian O’Keefe – damn fine saltwater landscape artist; good with blues and greens and whites (weird, but I noticed it); work somewhat less consistent than Denver’s. Best caster in the bunch. *G*
Dusan Smetana – great portrait work, very creative angles there, but seems to rely on western-isms and let the landscapes appear natural rather than looking for the best angle to jazz them up
Val Atkinson – probably the best one out there now, *great* color, particularly in the reds, solid low light photographer and wonderful sunset/sunrise work. Seems to like sinuous lines.
Barry Beck – not sure how much Cathy takes photos or just contributes to the image with excellent modeling, so it is hard to sort out who’s doing what. I know from my own work with Lauren that styles will blend, particularly if one person does the editing. The Becks are very good at landscapes and probably have the best feel for magazine needs of any of them. Solid wide shots – their double trucks usually accompany my articles.
Me – good with oranges, tend to oversaturate. Influenced by Ken Rockwell, Galen Rowell, and Michael Clark. Doesn’t give a damn for accurate representations of color. Not strong with sharpness, limited geographical area, blows a lot of good chances due to lack of expertise. Composition usually acceptable, rarely exceptional.
FWIW,
ZachThe grandaddy of them all:
Nikon F camera
No, trumpy, the answer is I only recently realized myself what an impact auto ISO was having and switched back to all-200.
Zach
Thanks Paul –
It was a last second purchase as I was leaving town – something of a souvenir, since we have nothing like it out here.
Zach
Here’s the problem with auto ISO.
Say you are shooting in a normal outdoor light situation. If you were using ISO 200 film, typically you’d choose a mid-range shutter speed of, say, 1/125th and an aperture in the mid range of f/11 or f/16.
Now if you were in that same situation and you happened to have ISO 800 speed film loaded (i.e. two stops faster,) you’d have to compensate to achieve the same result by closing down the shutter speed to 1/250th and maybe bringing the aperture down another stop as well.
This is because ISO 800 speed film *exposes faster* than ISO 200 speed film, so you have to *give it less light* to get an equivalent image.
Most professional magazine work is done with Fuji Velvia ISO 50 chrome – a very slow slide film.