Neal Hinkle

Tired of hearing about Ice. Karma’s a bitch boys.

What’s the 12 inches of steel between the tripod and the camera?

Exactly. Any fault is instantly passed on to the consumer. Can’t blame them.

Could also be dirty inside the shutter. Doesn’t take much to fowl up a connection. I’d also try a different sync cord if possible.

Canon batteries come with a cover like that. I assume it’s cheap insurance for the manufacturer incase of fire or some mishap caused by shorts from conductive materials touching the contacts.

I fully support tearing down his tacky party room and restoring the site to its original state once he’s gone.

Well yes. I’m just saying that currently available digital capture mechanisms all have essentially same properties. Example; if you want different tone curves, that’s post processing as opposed to selecting a different film stock. Look at dpreview’s studio scene. All the photos look the same.

Because the vast majority of digital sensors all look the same. And that’s boring.

A Leica and Xpan could get him a complete Hasselblad system!

Scanning is a chore. Innovation in that area has been stagnant. Especially on the software side. I’d love to see Adobe integrate negative conversion tools into camera raw. That would be huge.

An impromptu polar bear plunge. That would wake a person up!

I missed that video post of you swimming! Always next time. Bet your water is cold there!!

I do recognize that. Parts of the industry need a digital workflow. Many others accept it because it’s cheap and easy, not because it’s better. 90% of the time I put forth the effort and time required for a film session, it pays off with better images. 95% of photographers aren’t doing the work.

Maybe.. kind of agree …
Working professionally with film today is definitely not what it was once like. It’s a different mindset today. More like that of a traditional artist. If that makes sense.

Way too many 5 foot tripods being made. No wonder people hate using them.

The Holodeck always seemed a little suspect.

I used to have a designer who worked for me that did airplane graphics. It would often be a make one change- go to lunch and see what happed afterwards kind of thing. Photoshop v6 era (not to be confused with CS6).

I measure the rest of my career by how many more times I’m willing to go through the hassle of migrating my data. Two max. One if the world doesn’t implode.

Pretty sure smoke would roll out of the vents of my computer if I tried to work with a file that was several hundred gb. Fortunately, my world largely exists within an 8.5 x 11 page. Occasionally a double page if I’m lucky.

Same. Drives me nuts when the meta has been wiped.

Guess what always works when there is an IT problem… those discs. I’ve never had a single problem with them. Other than when one gets accidentally misfiled. Large files did become problematic. Hence the use of Blueray. Rarely does a single project need more than the 50gb limit on those.

I just don’t rename the raw. Each camera’s raw file name has a unique prefix and a lot of information at a glance; which camera, date range, studio or location job and so on. Has worked wonderfully since integrating digital capture around Y2K.
Wish my film work was organized that well.

Our systems aren’t that different. My archive is set up: each job has a unique number based on date and then alpha numerical if multiples occur on same date. Every job is archived on an optic disc- cd, dvd or blueray. People laugh, but those have saved me many times. Everything links to a database.

Everyone obviously has their own workflow and needs. It’s very rare that I rename a raw file. Sequential numbers, time signatures and dates are far more important.

I recently got rid of a Mamiya C330 for basically the same reason. Nice camera, but I couldn’t figure out how to get along with it. Clunky was a perfect description for it. It had zero sentimental value, so it’s gone.

Because importing files is a redundant process that creates bloat. If you must rename files, I’d do that when saving the converted raw files. For me, saving raw files as untouched as possible is very important.

I’ll be polite and just say that it doesn’t help me work more efficiently. Very bloated in the way it operates.

I have never understood the attraction to LR. If that were the only option, I’d abandon digital photography.

Better is very subjective. My percentage of good photos is far better when a little more effort is required. Using a Hasselblad doesn’t have to be a limitation. It is a different way of seeing. A good way to mix things up. Throw the fuji in you pocket just in case.