By Ryan HillSee the entire article on the LensRentals Blog.
Two or three times a week here at Lensrentals.com, we get one of two common support calls. Scenario number one is that someone thought they transferred all of their footage over, but later found that they missed a couple of clips and need us to send them their rental cards back. If we haven’t inspected those cards yet, we’re happy to do that, but if our techs have already inspected them, that’s a problem we can’t solve. We perform a full and secure format at inspection to make sure previous customers’ footage isn’t recoverable on subsequent rentals. Once the footage is gone, the footage is really and truly gone. No amount of file recovery software can bring it back. That’s never a fun phone to call to have.
The second scenario is that someone did manage to transfer over all of their footage, but one of the clips was corrupted in the transfer. Typically this realization comes during the edit, after we’ve already formatted the original media. That’s an equally tough phone call. True, sometimes file corruption happens in-camera, but nine times out of ten, the file was corrupted during the transfer from the card to the computer or hard drive. These kinds of problems aren’t something you can avoid entirely. There are inherent risks in working with digital media just like there are inherent risks in working with tape or film. However, there are steps you can take to mitigate that risk and to ensure that, if a problem arises, you’re prepared to work around it.
|Angle of View||113°|
|Lens Structure||15 elements in 10 groups|
|Min. Focusing Distance||12cm|
|Dimensions||60 x 53mm|
|Mounts||Fuji X, Sony E, Canon EF-M|
The New York Times is a worldwide leader in photojournalism, earning multiple Pulitzer Prizes and World Press Photo awards in recent years and establishing standards for excellence and innovation that have been deeply influential across the industry. Photography is a central part of our identity. It’s how we bear witness to events that matter, and our Photo department is one of the treasures of our newsroom.Apply to be the New York Times Photo Director
Now we’re looking for someone to lead this talented and diverse team and to become part of the visual leadership of the organization. We want to continue integrating photography and other forms of visual journalism into the fabric of our report — as closely as our words.
This role is one of the most important and high-profile jobs in visual journalism, and we’re seeking candidates with a rare combination of journalistic experience, organizational expertise and extraordinary visual talent.
Candidates should demonstrate excellence in all aspects of photo editing, including:
- Daily leadership of a large staff of photo editors and photographers who work across the globe, covering all subjects.
- Candidates should be able to maintain high journalistic standards and sustain a level of excellence that makes photography a core component of The Times’s identity.
- Sophisticated news judgment and a compelling vision for how The Times can produce world-class journalism and innovative storytelling. We’re looking for a strong digital sensibility, including the ability to recognize emerging techniques and platforms and a clear understanding of how to define a modern photo desk.
- Strong grasp of feature and portrait photography and the ability to improvise visual solutions for news coverage that may not be obviously visual.
- Sharp eye for talent and ability to recruit a diverse, first-rate team of photo editors and photographers.
- Strong management skills. Able to motivate and guide a large and complex organization, including responsibility for staff members in harm’s way.
- Sophisticated sense of design and how photography contributes to the overall visual excellence of The Times.
- Deep understanding of the collaborative nature of work in the Times newsroom.
- Candidates should know how to maintain highly-productive relationships with other visual units including Video, Graphics, Design and development teams, and they should be able to develop strong relationships with reporters and news desk editors.
A wide variety of photographable wildlife is available to everyone, in fact many may live close to your home. How do you find suitable spots where photographable wildlife is plentiful?See the entire article on the Canon Digital Learning Center.
Start with the Internet
A tremendous amount of wildlife information is easily found on the Internet. Search for potentially wildlife-rich places in nearby national parks, nature centers, lakeshores, state and city parks, seacoasts, public swimming areas on local lakes, boat docks, fishing lakes and hunting areas. And don’t forget local, state, and national wildlife refuges. Most of these places are open to the public.
Our current STE Student/Education, Creative Cloud Photography and Acrobat CC plans will see no pricing adjustment.Adobe announced this price increase this past October at MAX 2017.
Prices will vary by plans, for example:
For an annual plan, the price will not change until the following annual term.
- Creative Cloud for Individual Single App plans will increase to $20.99 per month from $19.99 per month or $1 per month
- Creative Cloud for Individual All Apps plans will increase to $52.99 per month from $49.99 per month or $3 per month
- Creative Cloud for Teams All App plans will increase to $79.99 per month from $69.99 per month or $10 per month
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