"Don’t agree with the ‘anyone can do it’ thing, sorry. Anyone can publish a book with Blurb or whatever doesn’t mean that it will be automatically better or more interesting than someone’s ‘straight to web’ photos. I think the medium is somewhat important from a contextual point of view, but i’m mostly interested in the actual photographs."
"There’s no reason why can’t you create a solid body of work, get it printed and then put it on the internet later. In my opinion, if you want to make a living from shooting skateboarding these days, and you don’t have some sort of internet presence, you’ll probably get left behind. I think putting out quality is still the most important thing though, the volume and the medium much less so."
"Taking out poles and power lines is lame, it’s not too often you really can’t compose them out of the way. If you really can’t do that, then you can usually reduce their impact using lighting, depth of field or whatever. In my view a skate photo is not just a record of the trick, but also of the scene, removing permanent elements of a scene just because you don’t like the look of them is weak. On the other hand, I’ve definitely taken out filmers by shooting on a solid tripod, and then shooting a frame with no one in it immediately after the make. I’m not 100% happy about it, but the the resulting file is pretty much pixel for pixel identical as to what it would be if the filmer wasn’t there… It definitely keeps the filmers and skaters happy (they don’t have to do it twice) which in turn can buy you a bit of favour when you really want to shoot fish and you want the filmer out of there."
"Why don’t you just correct the distortion in ACR? For a ‘do all’ lens I’d much rather be stuck with a 35 or 28 than a 24."
"I’d take anything Mr.Rockwell says with a pinch of salt… That lens is ok for the money but it’s noticeably worse than the 28-70 which in turn isn’t as good as the 24-70. Having said that, If you’re shooting film I doubt you’d notice a lot of difference. I doubt it would hold up too well on the higher res Nikons (D800, D3x etc), and that goes for pretty much any AF Nikkor released in the 1980s (with the exception of the 50 and the 85)."
"But yeah doing everything in ACR seems pretty good for both quality and convenience. You can specify the exact output size by putting the dimensions in the crop tool. I’ll use a small amount of capture sharpening and then usually just select the ‘standard’ sharpening on whatever paper in the output panel and that’s it. I’ve been doing that for the last few months and couldn’t be happier with the printed results, feels kind of weird just letting Adobe work it’s magic but whatever, it works."