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Bill Brooks

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About Bill Brooks

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    Forum regular

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  • Gender
    Male
  • Location
    Toronto
  • Interests
    Photography, Outdoors, Hiking, Travel, Reading, Philosophy, Shoveling Trouble

Alamy

  • Alamy URL
    https://www.alamy.com/contrib-browse.asp?cid={F0453AA0-D41A-421F-B4D6-F125791B632D}&name=Bill+Brooks
  • Images
    14888
  • Joined Alamy
    03 May 2004

Recent Profile Visitors

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  1. I like it too John. Looking at an attractive person, an idea reenforced by the sign.
  2. RF, exclusive to Alamy, $$. Iconic timeless image with room for type. Shot on film late 1980s Pentax 6X7 400mm lens - 200mm equivalent. This image was part of a part time 3 year image collection maintenance scanning project that is still paying dividends. Collection maintenance, such as scanning film, updating keywords, deleting weaker images, and trying new things, is really important. Even if the photographer only started with digital. Sunrise behind the west mitten butte in Monument Valley, a Navajo Tribal Park on the Navajo reservation in Arizona USA
  3. Royalty-free exclusive to Alamy $$ Calendar; Print run: 20,000; Start date: 1st Jan 2020; Duration: 1 year; Worldwide; Includes thumbnail use on the back page Sunrise on one of my favorite beaches on Maui just 5 minutes down the road from our rental condo. I easily cloned out a distracting photoshoot taking place up against the distant hedge. 30 years ago I used to have these early morning beaches to myself but with pros shooting families for facebook page, or weddings, or commercial clothing shoots, or selfies, or the pesky stock photographers breeding like flies, no more. Maybe Alan Beastall (see above) and are in the same calendar
  4. About 5 KM from home. November 7 and an early snowfall when the last of the autumn leaves are still on some trees. A rare occurrence for Toronto, as first snowfalls are usually not as early as they were this year.
  5. Editorial royalty-free $$ exclusive to Alamy 50% direct to client sale Usage: Single company - multiple use editorial only. Local landmark about 15 KM from home. Took shot in 2007 when building was new. Converted from RM to RF editorial only in AIM. Today nothing has changed from this vantage point. Always try to arrange composition so that the image does not date itself. People on sidewalk for scale. The car is starting to date the image, so maybe it is time to get out the ultra wide angle lens for a reshoot. Maybe at dusk/night around 5:15 PM at this time of year.
  6. Agreed, and no sense for a photographer being left to pick over the RM rubble. Expect Getty to run a expensive social media public relations campaign with big time art directors and influencers extolling RF. Probably not the price, but rather the convenience of pay only once and no record keeping or having copyright problems, and the vast choice of RF. The ability to put an RF on the client's internal databases for use in multiple offices worldwide. Also if the buyer wants to, it is always possible to buy an exclusive for a new RF image that has not been sold previously. This will help sales of all RF images across the industry, not just the RF images on Getty. It may even raise average prices for RF. There is always opportunity in change, if you can get ahead of it when it is new.
  7. Getty was the first agency to restrict photographer submissions to digital files. Photographers could no longer submit film. Getty was the industry leader, so within 6 months all major agencies had followed Getty's digital only lead. Photographers with a never digital, only film business plan were very disappointed. Getty is the industry leader and has been working with major RM suppliers on this RM to RF changeover for several years. Getty recently sold their PicRights copyright enforcement division, another sign of diminished expectations for RM. As many of you have pointed out, Alamy has been selling RM images with RF terms. Why not call it what it is? Sign of the times. Like it or not, for stock sales RM is on life support industry wide. I am talking about stock photography above, not news photography.
  8. For consistency in post processing it is important that all of your lenses give the same colour balance. So this is why all of your UV filters should have the same colour. If you change lenses you do not want the colour balance to change because of one particular UV filter on one particular lens, even if you can correct it in post. This is also the argument for having all of your lenses from the same brand, as those lenses should give the same colour balance. In high end video productions with big budgets, cinematographers will pay extra to use a colour matched set of lenses. This is so that no matter how much the colour is changed in post processing it all starts from the same lens colour no matter which lens they use. A unannounced switch in colour balance by switching lenses can be a big problem in post. Here is a set of Zeiss prime cinema lenses, encompassing 21mm to 135mm, with all kinds of things including consistent colour balance. A steal at US$ 192,225.00 Note B&W recommends protective filters. https://www.bhphotovideo.com/c/product/1473964-REG/zeiss_2329_639_supreme_prime_9.html
  9. Here is a pixel peepers site that deals with UV filters on lenses. https://diglloyd.com/articles/Filters/neutrality.html One thing that he brings up is that UV filters can have slightly different colours on page 4. Also be sure to read page 3 where he deals with sharpness. I once had a 15 year old B&W polarizor go warm over time. It started out neutral but warmed up over the 15 years. My other B&W polarizors were still neutral. So I had one lens warmer than the others. I took it to the Canadian distributor more as a curousity than anything. After all it was 15 years old. They saw the change and gave me a new one on the spot! It might be a good idea to look at all of your UV filters together on top of a light balance light box or a white background on a light balance monitor. If there are differences in colour temperature between filters it will be obvious. You want all of your lenses to create the same colour temperature. I agree with MDM the most important filter problem is flare.
  10. One way to prevent this duplication, and eliminate the subagents cut, would be to have images exclusive to Alamy. This is probably why Alamy photographers are given the option. The other problem not mentioned is Alamy collecting on stolen copyright for images not in the public domain. It becomes almost impossible if they are all over multiple sites. Another reason to be image exclusive to Alamy. The term is image exclusive so you could have different images with a different agency. Just not the same images.
  11. Test files are long gone, but the methodology is as follows Brick wall shot with filter. Second brick wall shot with no filter. The no filter shot should be refocussed as the filter could change the focus point slightly. Best if you are a long way away from the wall. Load the two shots as two layers in a single file in Photoshop. Align the layers in photoshop to take care of any possible camera movement and slight change in magnification when you refocussed. Change the layer blend mode to "difference" on the top layer. If there is no difference between the two shots the image should be entirely dead black. Where there is a slight difference in one area of the image then that particular area of difference will be slightly lighter. Maybe a value of 10 instead of black 0. I noticed higher values near the edges of the image. You have a flat piece of filter glass in front of the lens. This means a light ray coming in from the side transverses more filter glass thickness than a ray coming straight in. Particularly in a wide angle lens. The front element of the lens has a slight curvature to compensate. The filter does not. So maybe this can be a problem. Maybe not. Speculating. Calibrated monitor, dark room, let eyes adjust. Measure with your info panel and the curser at a big sample setting to allow for changes due to different noise in each layer. I have also used this method to judge the amount of JPG compression changes for different jpg settings on the same image.
  12. Forget CTR the most important measure is V/S. That is Views divided by sales. How many views do you have to have, to make a sale? If the figure is low then your images are great, and your keywording is also great. If the figure is high then you are wasting the clients time as well as your own. So take the number of views for a year, and divide by the number of sales in that year. What is your V/S 200? 400? 800? 10,000? V/S may be the secret sauce in the Alamy calculation. It should be anyway.
  13. RF $$ editorial only, non exclusive, public domain image. Usage: Magazine, editorial print and digital use, up to 1/8 page, inside, repeat use within a single issue I hand held photographed this painting of Montcalm. A Canadian historic figure that is on display in a museum, with my Sony RX100 version 1. The problem was when I lined up the camera square with the painting there was a white reflection of the ambient lighting on the surface of the painting. I moved to the side to eliminate the reflection. Shooting from offside at an angle resulted that the painting was no longer square. I squared it back to normal with the lens module in Adobe Camera Raw and then cropped the painting's frame. The other problem was colour balance. In a second image I underexposed the white information sign beside the painting giving me a grey reference for Adobe Camera Raw.
  14. I use UV filters, but only as a screw on lens cap. Regular lens caps can pop off in the camera case and grind the front element. The filters are covered with tape so I will not forget, and shoot through them. Using the difference function in photoshop I can see a slight sharpness degradation on all of my Zeiss prime lenses and Cannon 70-200 F4 L lens at 200MM. This is sharpness only, and not a test for flare which I deal with below I saw no sharpness degradation on other Canon L wide angle zooms with a filter because I think they were already soft enough that it did not become a factor. If you have a very bright 255 type straight line beside a 0 black background you can sometimes see an offset ghost image caused by the filter. It is not flare as we think of it, but a subtle second ghost image offset from the main image. It sometimes looks like over sharpening, but it is not, as it is too far offset. Forum regular John Mitchell once asked a question about this effect. I have dropped three lenses without a UV filter, in one case it made no difference, second case the lens had to be repaired, the third case the lens had to be discarded. In every case the front element was in pristine condition after dropping. The ideal bad weather kit for me would be a 24-105 Canon L lens on my 5Ds with a UV filter attached. The UV filter to make the lens more water/sand resistant. The Zoom lens so I do not have to risk internal camera damage by changing lenses. The UV filter will not be a quality factor on this lens used under these conditions. See the forum discussion on weather photographs, started by Colin, for the wonderful use of a UV filter. I like to shoot in cross lighting or into the sun, so flare created with a filter attached is a big problem for me. I also do not want to pause while unscrewing the filter in some flare prone instances, so I go without. Images shot in flare prone situations like this, that were shot without a filter. Note the shadows.
  15. How is this for a quick turnaround? I only uploaded it 3 weeks ago. 60 KM round trip from home, using a very large size electric drone. RF exclusive to Alamy. Alamy direct to client sale $$$
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