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Posts posted by IkonographyCollection

  1. I started an upload this evening and then went out for an hour or two.  I came back and the process seemed to be stuck on the 10th photo of 75.  I tried pausing and restarting the process, but the "thermometer" goes up to 4% or 5% on a smaller file and then hangs.  Anyone else having a problem uploading tonight?  Should I just try again tomorrow?

  2. I'd just pick a few that were zoomed and not sold. Partly it is my skills improving, but also the software improvements since my old ones are 10 years old now. I've reprocessed one seller but kept the original one too. I think that the new processing is better, but I'm not a buyer. They may have preferred the grittier, blown out style of the original. I have to remind myself that my biggest seller is a photo that I was about to relegate to a "less than steller" pseudo when it sold for a huge price the first time. I haven't been tempted to reprocess that image and the licenses and periodic renewals keep on rolling in.


    That is useful info, thanks.  Do you know if the book/magazine etc. has to be Canadian?  If so, any tips on how to find Canadian usage?

    Most of the stuff I find is published in the USA.  Now I'm wondering if I should sign up with a US outfit.


    It only has to be available in Canada.  Thus world-wide distribution counts for Canada (and part of funds collected in the UK or Europe does find its way back to the Canadian Copyright fund).  When I signed up with Access Copyright they needed a book or perhaps two that has included your work.  I used google books to find them.  I think that they were both American books -- one a Psych textbook, another a Fodor's travel guide. Amazon.ca sold them and it had a valid ISBN so it counted.


    Thanks for this info. I haven't joined Access Copyright, but I'm aware of them. Can you clarify what you mean by "Canadian-only revenue"?


    Sorry for the slow response -- I've been off in the wilds of Quebec (well only about 90km north of Ottawa) with out running water, let alone phone or internet coverage...


    As I understand it, libraries, schools and Universities (until they all started opting out over the last year), contributed to the copying fund in Canada.  Access Copyright is charged with getting these fees back to the content creators in a roughly fair way.  Since some of the creators are from the UK or the Netherlands, etc a portion of the Canadian fund goes to these "sister" organizations, but the assumption is that schools and libraries here in Canada have a bias toward Canadian content!  So the majority of the money goes to the people registered with Access Copyright.  

  5. I'm a Canadian resident.  In Canada copyright royalties are distributed by Access Copyright (accesscopyright.ca). They only allow Canadian citizen or a permanent resident (not residing in Quebec -- there's a separate Quebec organization) to be a member.  


    I've been collecting from Access Copyright for at least 4 years now.  It is similar to the DACS process (except that they don't accept the Alamy spreadsheet but initially require a couple real ISBNs and some proof that you've actually been published).  As I understand it, DACS and other national organizations pass some of their royalties around to sister organizations in other countries and if you collect from your local society, you can't (shouldn't??) collect from the foreign ones.  It is interesting that DACS doesn't seem to have restrictions on residency (or being a member of another copyright collection society.  I wouldn't be surprised to see that they respond to applicants from Canada by saying that you should join your local since they already send a chunk of their UK money to Access Copyright and it would seem that they'd be paying twice.  If you can get around that by hiring a local agent (like Alamy) then they have a flaw in their process.



    On the Access Copyright site it states (my emphasis):

    Who can become an affiliate of Access Copyright?
    If you are a Canadian citizen or a permanent resident, outside the province of Quebec, you can register with Access Copyright provided that you meet the following requirements:
    -You own reproduction rights to at least one work published in a print format such as a book, magazine, newspaper or scholarly journal and is also commercially available.
    -You are not already affiliated with any other reproduction rights organization (such as COPIBEC in Quebec). 
    -You are a writer, editor, translator and/or visual artist (i.e. illustrator, photographer, designer). 
    I guess that technically it is saying that if I was already a member of DACS then I couldn't join Access Copyright, but I could always join DACS later... 
    Canadian creators may be missing out on some Canadian-only revenue by not registering with Access Copyright since it would make sense that more of their revenue would come from Canadian sources than a typical Brit.
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  6. After the recent sale of one of my old (2004) shots I took another look. I was a little embarrassed by the quality especially for a calendar shot. So I improved the image substantially using Lightroom for the raw conversion. No problem with QC on the resubitted 6Mpixel image (from the original Canon Rebel). I may remove the old one since the colour, detail recovery and sky rendering is so much improved in the new shot, but perhaps the buyer liked the special look of the original upsized shot, so I'll probably leave them both. I worry more about sales than rank. Most of my sales don't even show up in the search stats.

  7. I've used a a very simplified MR form for years before Alamy posted an example. I pre-fill it out for my common models (family members). There is no thumbnail or image number, just a date and an image title or location written in. I always get a fresh signature (and thus ask permission). Seems to be OK for Alamy so far,but if they need more for a specific shot then I could get a more detailed release.

  8. If you do it in-camera using your lens, no. If you select it in Photoshop and apply blur, yes - altered.

    And I'd add if you do it in camera without the lens (using some miniture setting, for example) then it would be digitally altered. Anything beyond dust spot cloning, exposure "dodging" and "burning", contrast tweeks and minor colour balance modification and I consider the image altered.

  9. Thanks for the heads up, something to check for when things go strange. 


    I'd rather clean the rear end of a lens than a sensor any time.  Especially a sensor with anti-shake and ultrasonic cleaning.  My wife knew to steer clear of me for a while when I'd decided that the Canon 5d needed a cleaning.  It was always a long and somewhat frustrating experience for me.  No problems so far with my Olympus mirrorless although I have seen a few artifacts that were probably dust that just didn't stick for long.  Also with micro 4/3rds and great panasonic and olympus lenses I don't tend to use small aperatures much.

  10. I heard that a laser pointer would be a very useful accessory for helping autofocus at night. I have a series of slightly out of focus photos of the Ruins at Tulum taken by moonlight at a once-in-a-lifetime visit.  So now I carry a small pointer in my bag. But I've never used it in the field.  I find that now that I've basically switched to a micro four thirds kit, auto focus or, in the dark, magnified focus works perfectly.  Of course the pointer is still taking up space in my now small bag and I probably will never be visiting any Mayan ruins at midnight again.

  11. Problem is I will have to stay with Canon or change completely - I cannot afford to build a new system without selling the old kit so I can't run a new system in parallel as an evaluation.

    I was in a situation much like you: wondering if it was just time to bite the bullet rather than going back to a APS frame camera.

    You might want to investigate buying from a dealer that will allow a reasonable trial period.  Locally here in Ottawa, Canada most camera shops will allow a return in 2 weeks and sometimes longer.  I've used this to reject a Panasonic LX-5 that I was considering as a light carry-about camera and for a 20mm Panasonic that was just too frustrating to use inside. That said though, it is pretty hard to figure out if a  new system is the right system in 2 weeks, but it is way better than switching and then regretting it.  It does require that you can be out the cash for 2 weeks or at least carry the cost of the new system on a credit card for a bit.

    During my transition I also found that I could bring myself to part with a Canon 70-200 that I told myself I would upgrade to the IS version if the m43 thing didn't work out to provide some initial funding (or actually mid-evaluation funding in my 10 month evaluation/transition).  I was lucky once the decision was made. The buyer of the 70-200mm liked it so much that he kept coming back and eventually bought 3 of my lenses leaving me with a 50mm for the old 5d.  (He was just discovering the joys of full-frame as he shed his EF-S collection.)

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  12. You know, I'm probably guilty!  Even though I've always practiced the lens in/down carrying technique with my SLRs (some old hand must have mentioned it to me when I was a youth...), the lightness of the lenses with the OM-D meant that the technique didn't work as well. I was also afraid that the aftermarket hood on the 45mm which is bayonetted but rather loosely might disappear when aimed in.  Once I noticed the glue failing on the eyecup I was much more careful and skipped over-the-shoulder carrying altogether.  Eventually, it was further off every time the camera came out of the bag. And then it was gone, lost in the red sands of Colorado de Provence.

    My camera dealer suggested today that I write to Olympus about the failure. Perhaps they'll replace it as a goodwill gesture.

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  13. Linda: I guess since I moved from a Canon 5d (classic), I never did have very good focus tracking so I didn't have great expectations.  I've always had to prefocus for those bride down the asile shots.


    David:  I asssumed that there were just more programmers optimizing the Canon/Adobe RAW code since Canon Raw files must be an order of magnitude more common.  But I have to say that I'm enjoying the greater bit depth of the Oly files.  There seems to be always lots of room to damp down a highlight or bring up a shadow. 

    The Panasonic 25mm f1.4 will likely be my next addition to the EM-5.  Just working out what may be a mis-aligned 12mm first.  I hope that the Olympus warranty is good...


    One problem that I forgot to mention in my initial post is that the rubber eye piece on the OM-D isn't very good.  I haven't lost an eye piece since the late 1970s on a Nikon FM, but the rubber on the Olympus kept separating and then finally disappeared on a recent shoot.  I carry the camera on my shoulder when it isn't actually in my hand (which actually is most of the time since it is so well balanced) and I guess that it just can't take the rubbing.

    • Upvote 2
  14. Last year I switched from a Canon 5d to the Olympus E-M5 as my primary stock/travel camera. I've been very happy with the results.   I recently sold most of my Canon glass (but not the 5d yet -- the market is much smaller for an older camera).   The switch reasons were mostly weight and size, but also image stabilization and image quality. The 5d was starting to show its age (and it has always shown its dust spots :-).  The Canon even with its nifty 50mm lens now seems huge in my hand.

    On the OMD E-M5 I shoot in the 4:3 format although I'll sometimes crop to the more familiar 3:2, but more often recently I just crop for a more asthetically pleasing composition.  The squarer original (and of course the extra pixels of this more modern camera) seems to give me more scope.  With the OMD I shoot almost entirely with primes (primarily the 45mm f1.8 and the 12mm f2) so I guess in some sense, cropping becomes my zoom in those situations when you just can't get closer.  The quality of the images and lenses makes this entirely feasible (within limits, of course).

    I was hoping to use some of my very old manual Nikon lenses with the m43 camera, but I've been a little disappointed with the results.  I guess that my old lenses aren't up to modern lens snuff.  I have got some use out of an old 135mm though.

    There are  a few things that I miss from the DSLR -- sunny day composition is a big one.  The viewfinders or rear display on the OMD while good, don't give a good indication of what is possible in opening up shadows.  The 5d's optical viewfinder, by comparison gives a much truer preview. I have to keep reminding myself that that solid black part in the viewfinder will open up just fine in post, but sometimes you just don't take the shot since it looks so stark in the finder!

    Another is processing speed.  For some reason, the Olympus raw files are much tougher on my computer than the Canon ones.  I don't think that it can be the 12M to 16M, but it could be.

    I'm still growing the Oly system especially now that the Canon lenses are gone, but I think that I'll be with M43 for a good long time.

    • Upvote 1
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