Martin P Wilson

In post processing one of the first things I often do is to set white and black points to ensure I use the full brightness range. That then gives a full width centred histogram. I may move the mid-point (readjust the b& w points as necessary) to brighten or darken the mid-tones to give the image a lift. In camera I work by exposing to the right and just avoid clipping the highlights (the very brightest specular highlights do clip) so I then usually have to open up the shadows., especially on bright day. I usually use the evaluative metering on auto, with a touch of exposure compensation based on experience (can be +1-2 stops for snow scene), unless liughting is particularly difficult. As Bryan says, check and take another if possible, and practice, practice, practice when you get the chance - and analyse the results carefulloy and crically, make notes to help internalise the thinking and decision making. It is possible to get it right in camera, in the days of film we had to, especially if we were shooting transparencies. I work with 16bit in post-prod and do the adjustment in curves/histogram adjust or whatever it is called in your raw converter. I ALWAYS start with a raw file as that has maximum information, with jpgs you can end up with banding/posterisation. I may use shadow/highlight sliders to tweak things.

Wim is right, inadvertent changeof source is the most common cause, and cheapest to fix. There is usually a row 4-6 buttons either down the side or under the bottom edge. The function legend is sometimes just a small moulded icon and may be difficult to see. On mine it includes the on/off button but that is not always the case. Google the monitor spec and search for the manual.

With a very long lens esp like a 150-600, the OP's 100-400 is maybe more marginal, I would be using a monopod in the lens tripod bush anyway (essential in the days before IS). In that case I would carry it over my shoulder like a brickie's mate's hod; lens pointing down my back. Easy to swap shoulders to share the load or to bring it into use if you keep the monopod extended; just make sure it is well padded. You can also carry it by one's side, in the hand with straight arm with the lens pointing down (as soldiers do with heavy guns), monopod is probably better unextended in that case. I don't think my neck and shoulder would cope with it on a strap these days! I used to shoot sport, and you will often see sports photographers carrying them that way at events. At a motor-racing, rowing or cross-country equestrian event for example I would cover many miles. Perhaps not as many as a day walking on safari, but with a major course being several miles round I would cover it at least once, often more, during a day. Bear in mind I would also go back to the media centre to upload between the main races. I reckon I would do at least 8-10 miles a day.

Forum is still all over the place. A thread I posted on has lost several hours of posts.

I agree. CameraBits support has, for me at least, been very good. When I got a new laptop with a high resolution screen the dialogue boxes etc were way too small. An email to support and they sent me an unreleased build with the necessary fixes to tide me over until it was included in a production release. Photomechanic has always been one of those wonderful, and rare, pieces of software that is highly focussed on its purpose and just does what it needs to. CB do not do bloatware that adds new functionality just because the developers could. As a former software developer (and manager of same) I really appreciate that arrow-like focus on real user need and avoidance of marginal functionality just for sake of having a longer feature list.

According to previous discussion on the Camera Bits forums it should have DAM cataloguing capability, so a major update, although it is not mentioned on the preview page. I too am a long time PM user but will probably wait until first maintenance release of 6, CB are pretty good at releasing fixes etc. Like others I do not have a pressing need to change.

What is not to like, it has reduced distractions and has helped me detach from Alamy and spend my time more productively.

It is the pound/dollar store model, volume is all. If a 5% fall in price increases volume by 6% or more then it is a win, at least for the sales aggregator. But probably not for most individual suppliers who are constantly squeezed on margin for the benefit of the end seller.

I think I will try SWNS; I am sure they were who I had in mind, but there are others (Solent, Cambridge and Birmingham/West Midlands also have similar outfits). Especially if I have a story where I can put some words to the pictures.

I would have to do more research but there is London News Pictures, Rex (sort of), and the there are the news agencies that handle news stories (with and without pictures). South West Press rings a bell, there used to be a regular contributor on these forums who took employment with an outfit in Birmingham as I recall. His name escapes me at the moment, (Michael ??)

It would be very worthwhile if they didn't simply rollover and licence the infringement on current discounted terms, use the calculator as a minimum reference price. A few high-profile punitive awards and clients would wake up to the fact that it was going to be very expensive and bad press if they don't stick to licencing terms, and pay promptly. A certain Tier 1 library sends very high bills to infringers, gets a lot of press and sends a clear warning, pour encourager les autres! I know of photographers (including ex-Alamy) who make a significant additional income by chasing infringements, especially in the USA, using specialist detection and collection services. As I replan my non-Alamy photography life that is a route I will probably go down. I will register copyright in the USA to allow punitive damages on US infringments.

You could have held the library's feet to the fire and pointed out that it was a new licence ( for a new edition, new ISBN ), they were no longer representing you so their licencing was a breach of your copyright, as well as the unlicenced publication of your IP by the publisher. They would probably have had to settle with your own view of the correct fee otherwise they would upset their client relationship. No skin off your nose unless you were expecting to do business with the client on your own account. Just a thought.

If the police do not have those rights (which the guidance makes clear) than no one else does, at least in a public place.

Do not confuse exclusively represented (ends with the end of contract) and an exclusive licence. The latter are usually exclusive to a sector, time period or purpose (say as a book cover) or a territory or some mix thereof - I have never been exclusively represented by Alamy but had exclusive licences as described, usually sensibly time limited. Outside those limits it can usually be licenced freely; but it could under Alamy's post-contract terms be relicenced for a renewal of the same purpose on the same (selectively exclusive) purpose; it should follow on seamlessly from previous licence, not after a break as that should be a new licence in my view and outside the terms of the contract. A totally exclusive licence (all uses, all terroritories, in perpetuity or very extended time, say more than 5 or 10 years, should be effectively as expensive (very!) as a copyright buyout as it cannot be used for any other purpose. If you change to new exclusive representation and have been exclusively represented by Alamy, or have had exclusive licences (especially if they are still active) then you should discuss the specifics with the new library.

The definitive England Wales police policy is here: https://www.app.college.police.uk/app-content/engagement-and-communication/media-relations/ Particularly note 'Reporting from the Scene' - this has all been agreed, I believe, with the major media bodies such as NUJ. I do carry an official UKPCA/NUJ press card (rarely use it), in the UK any 'press' ID that is not UKPCA is not worth the plastic it is embossed on. It might impress a gullibloe security 'official' but should not wash with a police officer. There may be an additional ID (Metropolitan Police) required at some public locations (Palace Green, Westminster?) in London I seem to recall and of course a Press Card does not give you access to private property, that requires separate accreditation through the venue or, usually, the event organiser. Usually needs to be arranged well in advanmce, I have already had notice about accreditation for events in February/March next year.