When a client contacts a photographer for a job, there are several key questions and pieces of information that the photographer should gather to provide the best possible service. Some of these include:

1. Type of event or photoshoot: The photographer needs to know what kind of event or photoshoot they will cover, such as a wedding, portrait session, corporate event, etc.
2. Date and location: The photographer will need to know the date and location of the event or photoshoot.
3. Duration: The photographer will need to know how long the event or photoshoot will last.
4. Client’s vision and style: The photographer will want to understand the client’s vision and style for the event or photoshoot, including any specific ideas or themes they have in mind.
5. Budget: The photographer will want to discuss the client’s budget for the job, including any specific concerns or constraints.
6. Prints and products: The photographer will want to know if the client wants any prints or products, such as albums, canvases, or digital files.
7. Editing and retouching requests: The photographer will want to know if the client has any specific requests for editing and retouching, such as specific filters or effects they wish to be applied.
8. Contact information: The photographer will want to get the client’s contact information, such as their name, email address, and phone number, to stay in touch and provide updates on the job.
9. Deadline: The photographer needs to know when the deliverable is expected. Sometimes the client even needs photos during the event or within the hour after the event. Most of the time, they are comfortable with a few days before getting the deliverable, but you need to know their expectations.

By gathering this information, the photographer can better understand the client’s needs and tailor their services to meet their requirements.

Ending the Phone Call

Before ending a phone call with a client, the photographer should summarize the key points discussed during the call and confirm the next steps. For example, they might say something like:

“Okay, so I understand that you’re looking for a photographer for a wedding on June 12th, and you’re interested in having a mix of posed and candid shots. You’re also looking for a package that includes a digital album and some prints. I’ll send you a detailed estimate and some examples of my work in the next few days. Thank you for the call, and I look forward to hearing back from you.”

Regarding giving a formal estimate to the client, it is a good practice to send it in writing after the call rather than giving it verbally. This provides a clear and detailed record of the agreed-upon services and costs, which can be referred to later if necessary. Additionally, it allows the client to take their time to review and consider the estimate, and it gives the photographer a chance to carefully consider the client’s specific needs and requirements before putting together a proposal.

Most of the time, end the call so you can work on the estimate

When you need to end the call and let the client know that you need to work through the numbers before providing a quote, you can use polite and professional phrasing such as:

“Thank you for taking the time to speak with me today. I have all the information I need to provide you with an accurate estimate. I’ll consider all your requirements and preferences and get back to you as soon as possible with a detailed quote. If you have any other questions, don’t hesitate to reach out. Have a great day!”

This lets the client know that you are taking their request seriously and working on providing a comprehensive quote. It also demonstrates professionalism and customer service, which can help to build trust and establish a positive relationship with the client.

When You Must Give a Quote Right Away

Sometimes, a photographer may need to give a quote before the end of the call, such as when the client has a tight deadline or when they need to make a decision quickly. For example, suppose a client contacts a photographer for an event that is taking place the following week and needs to secure a photographer as soon as possible. In that case, the photographer may need to provide a quote during the initial call. In these cases, the photographer should still try to gather as much information as possible about the client’s needs and requirements and then provide a quote that is as accurate and detailed as possible, given the limited information available.

For example:

Client: “Hi, I’m interested in hiring a photographer for an event next weekend. Can you give me a quote?”

Photographer: “Of course! Can you tell me a little more about the event, including the date and location and what kind of coverage you’re looking for?”

Client: “The event is next Saturday, a corporate function downtown. We need someone to cover the event for 5 hours, including both posed and candid shots.”

Photographer: “Okay, I can certainly do that for you. Based on your information, I can give you a rough estimate of $X. Please keep in mind that this is a rough estimate, and a more detailed quote can be provided once I have more information. Does that work for you?”

In this scenario, the photographer provides a quote as requested by the client but notes that the quote is a rough estimate and that a more detailed quote can be provided later. This allows the photographer to secure the job and provide a more accurate quote once they have all the necessary information.

As a photographer, technical skills and subject knowledge are the most critical factors for taking great photos. However, as I was reminded this week, there’s a crucial aspect that often goes overlooked: your relationship with the subject.

I recently worked with Baptist Children’s Homes of North Carolina, photographing their executive director and leadership team. But the connection between us went much deeper than just a client-photographer relationship.

My father was a pastor at Kennedy Home in Kinston, a part of Baptist Children’s Homes of North Carolina. Growing up, I received the Charity & Children newsletter and even wrote to Jim Edminson, one of the leaders, to connect and let him know about my background and interests. This connection paid off years later when Jim thought of me to celebrate their executive’s 40 years of service.

Additionally, my grandfather, Rev. Knolan Benfield, was a respected North Carolina pastor, with most of his career spent in Hickory and Morganton.

But there’s another layer to this connection. Don Ball was the first director of social work at Kennedy Home and later created the social work program at East Carolina University, where I got my degree in social work. And when I was introduced to the team, they immediately knew of my background and connection to the organization. They treated me like one of their own, making for a relaxed and comfortable photoshoot.

This experience taught me the power of pedigree in photography. When looking for clients or subjects to work with, take notice of the connections from your past. See who might overlap with your skills and background, and reach out to those people. You never know what opportunities might come from those connections.

In conclusion, while technical skills and subject knowledge are essential, consider the impact of your relationship with the subject. Your pedigree can make all the difference in creating a comfortable and successful photoshoot.

Nikon has always been a trusted brand in the photography industry, and the recent release of their Nikon Z9 camera and lenses has only solidified their position. As a photographer, I have always relied on the versatility of zoom lenses, but with the new Z system, I can now confidently say that most of my jobs can be done with just three lenses: the Nikon 100-400mm, 24-120mm f/4, and 14-30mm f/4.

Gone are the days when I had to carry a bulky kit of lenses to cover different focal lengths. These three lenses provide a versatile range, from 14mm to 400mm, that can handle various shooting situations. The sharpness of these lenses, especially compared to their f-mount predecessors, is a significant improvement that has made a big difference in my work.

Of course, I still keep a few prime lenses, like the 85mm f/1.8 and the 35mm f/1.4, as they provide excellent image quality and offer a more shallow depth of field. But for events, I now have a much smaller selection of lenses that can handle everything from intimate wedding shoots to more significant events like sports.

The versatility of the Z system has allowed me to simplify my gear, and I appreciate Nikon’s continued innovations in this area. As technology advances, I believe it’s essential to evaluate your gear and make changes as needed. By replacing older lenses with new ones, I have been able to stay up-to-date and get the most out of my gear.

In conclusion, the Nikon Z9 and its lenses have been a game-changer for me, and I highly recommend them to anyone looking for a versatile and sharp camera system.

[NIKON Z 9, NIKKOR Z 24-120mm f/4 S, Mode = Aperture Priority, ISO 14400, 1/250, ƒ/4, (35mm = 24)]

Nikon DSLR & Digital cameras have come a long way since the release of the Nikon D100 in 2002. Over the years, Nikon has consistently pushed the boundaries of photography with innovative features and advanced technology. Here’s a look at the evolution of Nikon cameras from 2002 to today’s Nikon Z9.

2002- Nikon D100

The Nikon D100 was the first digital SLR camera from Nikon and marked the beginning of the digital age for Nikon. With a 6.1-megapixel sensor, the Nikon D100 was ahead and quickly became a popular choice for professional photographers.

2004- Nikon D2X

The Nikon D2X was an upgrade from the D100 and featured a 12.4-megapixel sensor, improved autofocus, and higher ISO performance. This camera was well-received by professional photographers and set a new standard for image quality.

2010- Nikon D3

The Nikon D3 was a game-changer when it was introduced in 2007. One of the significant innovations of the Nikon D3 was its high ISO performance. Before the release of the D3, digital SLR cameras struggled to produce high-quality images in low-light conditions. The D3, however, was capable of producing clean and noise-free images at ISO levels that were previously unimaginable. This was a significant breakthrough for professional photographers who often work in challenging lighting conditions. Shooting at high ISOs allowed photographers to easily capture fast-moving subjects and produce images with exceptional detail and clarity. Its low-ISO performance below ISO 800 is practically noise-free and retains many details and colors to ISO 12,800.

2012- Nikon D4

The Nikon D4 was a significant upgrade from the D2X and featured a 16.2-megapixel sensor, an advanced autofocus system, and improved high ISO performance. This camera was popular among sports and action photographers and remains a classic today.

2016- Nikon D5

The Nikon D5 was the next generation of the D4 and featured a 20.8-megapixel sensor, an advanced autofocus system, and improved high ISO performance. The camera has 102 more focus points of 153 vs 51 in the Nikon D4. Also it is 2x better video recording quality of 2160 x 30fps vs 1080 x 30fps than with the D4.

2012- Nikon D800

The Nikon D800 was a significant leap forward for Nikon and featured a 36.3-megapixel full-frame sensor. This camera set a new standard for image quality and was a popular choice for landscape and studio photographers. I did not buy this camera or use it, but I was aware of the megapixel count going up.

2018- Nikon Z6 & Z7

With the release of the Nikon Z7, Nikon entered the mirrorless camera market. The Z7 featured a 45.7-megapixel full-frame sensor, an advanced autofocus system, and a sleek, compact design. This camera marked a new era for Nikon and paved the way for future mirrorless cameras. The Nikon Z6 is a full-frame mirrorless camera introduced in 2018 alongside the Nikon Z7. The Z6 is positioned as a more affordable alternative to the Z7 and features a 24.5-megapixel sensor, advanced autofocus system, and 4K video capabilities. The Nikon Z6 is a versatile camera well-suited for various photography genres, including portrait, landscape, and action. The compact design and fast autofocus make the Z6 an excellent choice for photographers who need a reliable camera for both stills and video. With its advanced technology and affordable price, the Nikon Z6 is popular with amateur and professional photographers.

2021- Nikon Z9

The Nikon Z9 is the latest and greatest camera from Nikon. This full-frame mirrorless camera features a 45.7-megapixel sensor, improved autofocus, and 4K video capabilities. With its advanced technology and sleek design, the Nikon Z9 is the ultimate tool for photographers.

In conclusion, Nikon has come a long way since the release of the D100 in 2002. With each new release, Nikon has pushed the boundaries of what is possible with digital cameras. From high-quality sensors, advanced autofocus systems, and sleek designs, Nikon has consistently delivered cutting-edge technology to photographers worldwide.

As a freelance photographer, I know it is crucial to grow and evolve to continuously succeed in a competitive market. However, growth can also bring challenges, and if not approached carefully, it can lead to the downfall of your business.

One significant danger of growth is the potential for the business to outgrow you. When starting, it’s easier to understand every aspect of your business, from client relations to editing techniques. However, as your business grows and you take on more clients, it can become challenging to maintain the same level of control and involvement.

This can result in a decline in the quality of your work, decreased client satisfaction, and, ultimately, decreased profitability. To avoid these outcomes, freelance photographers must continuously improve their skills and develop their craft.

Additionally, having a clear growth strategy and regularly evaluating and adjusting your plans are crucial for sustainable growth. This will help you stay on track and achieve your long-term goals.

In conclusion, growth is a critical component of success for freelance photographers. By continuously improving your skills, having a well-thought-out growth plan, and regularly evaluating and adjusting your strategy, you can ensure your business continues to thrive and succeed as you grow.

Here are five inspiring quotes on the topic of growth and continuous improvement:

1. “Growth is never by mere chance; it is the result of forces working together.” – James Cash Penney
2. “The only way to do great work is to love what you do.” – Steve Jobs
3. “Successful people do what unsuccessful people are not willing to do. Don’t wish it were easier, wish you were better.” – Jim Rohn
4. “The only limit to our realization of tomorrow will be our doubts of today.” – Franklin D. Roosevelt
5. “Successful and unsuccessful people do not vary greatly in their abilities. They vary in their desires to reach their potential.” – John Maxwell.

These quotes remind us that growth and success result from hard work and determination and that we can reach our full potential by continually striving to improve.

Using two Nikon Z9 cameras to cover events can provide photographers with a versatile and efficient solution. One camera equipped with the Nikon 24-120mm lens offers a wide range of focal lengths that are ideal for capturing wide-angle shots and portraits, while the other camera equipped with the Nikon 100-400mm lens provides longer focal lengths that are useful for telephoto shots, such as zooming in on details or capturing far-off subjects.

The Nikon Z9 is a high-end camera that is well-suited for event photography. Its fast autofocus, high resolution, and fast frame rate make it an ideal choice for capturing quick-moving action and keeping up with fast-paced events. In addition, the camera’s high-resolution viewfinder and tilting LCD screen make it easy to compose and review shots, even in challenging lighting conditions.

When using two Nikon Z9 cameras, photographers can quickly switch between lenses to take advantage of different focal lengths and shooting perspectives. For example, during an event, the photographer could use the 24-120mm lens to capture wide-angle shots of the entire scene and then switch to the 100-400mm lens to zoom in on a speaker up on the stage.

In addition, having two cameras also provides a backup in case one camera malfunctions. This can be especially important during high-stakes events where missing a vital shot could have serious consequences. Finally, two cameras allow photographers to have multiple memory cards to help store and organize photos.

Overall, using two Nikon Z9 cameras with different lenses offers a flexible and efficient solution for event photography. With the ability to quickly switch between wide-angle and telephoto perspectives, photographers can capture a wide range of shots and provide comprehensive event coverage.

How I Carry The Gear

The HoldFast MoneyMaker 2-Camera Harness is an excellent solution for photographers who need to carry multiple cameras while covering events. The harness is durable, stylish, made from chestnut English bridle leather, and features black hardware. It allows you to comfortably have two cameras at your hips, with the straps forming an X pattern across your back for added support.

The speed clutch mechanism of the MoneyMaker Harness is a standout feature, allowing your camera to easily slide along the harness to your eye level when you’re ready to shoot. This mechanism will enable you to quickly and easily access your camera, ensuring you don’t miss a critical shot.

Attaching your cameras to the harness is a breeze. Screw the two camera accessory clips into the 1/4-20″ tripod threads of each camera or lens. There are two metal D-rings on each strap’s front and back, which can be used to attach optional camera straps and accessories. If needed, you can attach an optional camera leash to the front D-rings, securely securing a third camera to the harness.

In conclusion, the HoldFast MoneyMaker 2-Camera Harness is ideal for event photographers needing multiple cameras. Its sturdy construction, ease of use, and versatility make it a must-have accessory for photographers who need to be ready for anything while on the job.

When traveling to different time zones, it’s important to remember to adjust your camera settings rather than changing the clock itself. This is especially true for the Nikon Z9, which has a built-in location data unit that records the camera’s current latitude, longitude, and altitude, as well as the current time (coordinated Universal Time, or UTC).

One of the main advantages of adjusting the time zone setting rather than the clock is that it ensures all your images will sync with each other when sorted by capture time. This can be especially helpful when working with multiple photographers, as it makes it easy to ensure that everyone’s images are correctly aligned.

To adjust the time zone setting on your Nikon Z9, ensure the location data function is turned on. This can usually be done by going into the camera’s settings menu and selecting the appropriate option. Once this is done, you can set the clock to synchronize with the time reported by the location data function.

It’s also worth noting that when you turn on the location data function, the Nikon Z9 will automatically adjust the time to the correct time zone for your region. This means that you won’t have to worry about manually changing the time every time you travel to a new location.

In conclusion, when traveling to different time zones, remember to adjust your camera settings rather than changing the clock. This will ensure that your images are correctly aligned and that you can efficiently work with other photographers. Also, remember to turn on the location data on Nikon Z9 and turn on the option to synchronize the camera clock with the time reported by the location data function.

As we age, it’s natural to have concerns about how our abilities will change and how they might impact the things we enjoy. For photography enthusiasts, the fear of losing the ability to navigate the complex menus and settings on cameras and the memory recall required to process RAW files using software like Lightroom and Photoshop can be particularly daunting.

But it’s important to remember that just because we may experience age-related changes in our brain and memory doesn’t mean we have to give up the things we love. On the contrary, we can employ many strategies to maintain our cognitive abilities and enjoy photography as we age.

One strategy is to stay active and engaged in activities that challenge our brain, such as learning new photography techniques or taking on more complex photo editing projects. Keeping our minds busy and engaged can help maintain cognitive function and reduce the risk of age-related decline.

Another strategy is to seek assistive technologies that can help simplify capturing and editing photos. For example, artificial intelligence (AI) is increasingly used in photography to automate tasks and make it easier for users to achieve professional-quality results with minimal effort.

For example, AI-powered photo editing software can automatically adjust exposure, color, and other settings to achieve a desired look without requiring extensive manual adjustments. Similarly, AI-powered cameras can automatically change settings based on the scene and subject, making it easier to get the shot you want without navigating complex menus.

In conclusion, aging can be daunting, but it doesn’t mean we have to give up the things we love. On the contrary, by staying active and engaged, seeking out assistive technologies, and utilizing artificial intelligence, we can continue enjoying photography throughout our lives. And with technological advances, the future looks bright for photography enthusiasts of all ages.

As a photographer, one of the most important things to consider is how to back up your images correctly. Whether you’re a professional or an amateur, you’ve likely spent countless hours capturing the perfect shot, and the last thing you want is to lose all of that hard work due to a technical glitch or equipment failure.

For years, I had used the basic plan on PhotoShelter, a popular online storage platform for photographers. Unfortunately, I had never considered upgrading my plan, so I wasn’t taking advantage of one of the essential features for photographers – backing up your images online.

That all changed recently when my good friend Ron Sherman mentioned that he had unlimited storage on his PhotoShelter account for around $500 a year. I was shocked to realize I had missed out on this valuable feature, and I immediately upgraded my plan.

Since then, I’ve been uploading all of my images to PhotoShelter, taking advantage of the platform’s geographically redundant servers to ensure that my pictures are safe and secure. This is the “C” in the A, B, & C of a backup plan, as the A & B have multiple copies on different devices.

In December 2022, when ASMP member John Harrington did his business practices presentation in Atlanta, he also mentioned keeping all of his files on PhotoShelter. This further reinforced my decision to upgrade my plan, and I am now confident that my images are protected.

The next step is to reach out to my clients and let them know that I have their images archived on PhotoShelter. This way, if they ever need access to those images again, they know I have them saved and available.

In conclusion, I am glad to have discovered this “diamond in the rough” and taken advantage of the benefits of PhotoShelter’s unlimited storage plan. I highly recommend this service to any photographer looking for a reliable and cost-effective way to back up their images.

I recommend PhotoShelter, and here is a link to signup.

We’ve all been there – on both ends of the relationship where we are the one making the phone call and interrupting our friend, or where we are the one working on a project and our friend calls. As creatives, we understand the importance of focusing on our work to be successful, but we also value our friendships and want to be good friends. Unfortunately, this can create a sense of inner conflict and lead to guilt or frustration.

When a creative is in the zone, their mind is entirely focused on the task at hand, and it can be difficult for them to disengage and shift their focus to something else, such as a phone call. This can make them feel more frustrated with themselves because they may feel unable to control their attention and focus.

On the other hand, when we make phone calls and interrupt our friends, we may not realize the impact of our actions. We may think that our friend is just busy and no big deal, but in reality, they may be in the middle of a project and fully immersed in the process. This can lead to frustration for both parties, as the creative may feel they missed an opportunity to connect with their friend and let them down.

So, what can we do to balance our work and our relationships? One solution is to schedule time specifically for our friends. By setting aside time to focus on our relationships, we can be more intentional about being fully present. This can help to alleviate guilt or frustration when we are working on a project and a friend calls. Additionally, by scheduling time to be with friends, we can better balance our time between work and relationships, which can be essential for maintaining a healthy work-life balance. It can also prevent us from missing important moments and memories with friends and loved ones, which can be valuable for our overall well-being.

In conclusion, it can be challenging for creatives to balance work and relationships. However, by scheduling time specifically for our friends, we can ensure that we can be fully present for them while also being able to focus on our work. This can help us to maintain a healthy work-life balance and to avoid feelings of guilt or frustration. Remember, it’s essential to balance our work and relationships so that we don’t miss out on the critical moments and memories with our loved ones.

What about work and our relationships on the job?

Being results and relationship-focused means balancing the need to achieve specific goals and objectives with maintaining positive relationships with colleagues, clients, and other stakeholders. In addition, this approach recognizes that workplace success often depends on individual performance and the ability to collaborate and communicate with others effectively.

Being results-focused means setting clear goals and working diligently to achieve them. This includes being efficient and productive, taking the initiative and consistently delivering high-quality work.

On the other hand, being relationship-focused means building and maintaining positive relationships with others. This includes being a good listener, empathetic, and able to communicate effectively and collaborate. It also means being aware of the impact of one’s actions on others and making an effort to build trust and respect.

By balancing these two priorities, one can achieve personal and professional success while fostering a positive and productive work environment.

The gear and software I used to convert 35mm color negatives to digital JPEGs

1. Nikon Z9
2. Nikon FTZ II
3. Nikkor 60mm ƒ/2.8
4. Nikon ES-2 Film Digitizing Adapter Set
5. Light Panel MicroPro LED Light for Light Source
6. Smart Shooter Plugin
7. Negative Lab Pro
8. Lightroom

Here are the basic steps to follow:

1. Mount the 60mm ƒ/2.8 macro lenses on your camera and attach the Nikon ES-2 Film Digitizing Adapter Set to the lens.
2. I use the Auto ISO with ISO 64 for the lowest setting, 1/60 shutter speed, and Aperture Priority of ƒ/8. Matrix metering and the one thing that changes with exposure is your ISO. It will hover around ISO 100-200 most of the time. I am shooting RAW and exporting it to JPEGs.
3. I have the camera tethered to my computer using a USB-C cord and the software Plugin. Go to that website for instructions. Once the plugin is installed, you will restart Lightroom when you select tethering.
4. Put a light [Light Panel] to light up the diffuser. See photo.
5. Do a custom white balance. The white plastic diffuser will serve as the grey card.
6. Insert the color negative into the negative holder, ensuring it is properly aligned and focused.
7. Compose the shot and adjust the focus as needed. I liked seeing just around the negative. You can shoot tighter if you choose.
8. Take a test shot and check the exposure with Lightroom.
9. Once you are satisfied with the composition and exposure, start copying away.

It’s a good idea to use a tripod for stability and take some test shots before the final copy. I used a copy stand.

Once your negatives are prepared, go to Lightroom and select the negative CMD+A on Mac or CTRL+A on PC (or group of negative) you want to convert, and open Negative Lab Pro.

On the Mac, you can open Negative Lab Pro by hitting the CTRL + N shortcut key. Or by going to File -> Plug-in Extras -> Negative Lab Pro.

On Windows, go to File -> Plug-in Extras -> Negative Lab Pro to open. Or if you have the Windows Hotkey running (new in v1.2), use the hotkey combo for the nationality you have selected in your Lightroom language preferences:

Conversion Settings

Before you begin the conversion process, you have a few options to help shape your final conversion. This happens BEFORE the conversion process because Negative Lab Pro needs the data as input for calculating the conversion itself.

Don’t worry too much about getting it right the first time. You can always experiment later. Just un-convert your negative, try different settings, and re-convert. And since this is all non-destructive, you can also make virtual copies in Lightroom if you want to compare!

COLOR MODELS

Color Models help get your scans closer to the classic colors that were previously only attainable through pro lab scanners.

Basic
This color model offers a more neutral rendition of colors (for those who do not want to emulate lab scanners and are more interested in color accuracy).

Frontier
Based on the Fuji Frontier scanner. This model produces beautiful the teal-blues, golden yellows, and warm tints, which are widely associated with the film.

Noritsu
This color model is based on the Fuji Noritsu scanner. While it shares many of the qualities of the frontier scanner, it is generally not as warm.

B+W
You should use this mode whenever you’re working on the black-and-white scan (or you want to convert a color negative to black-and-white).

NONE
This turns off all the settings affected by the color model section and defaults to your profile before opening Negative Lab Pro. This is useful if you want to use your own profile/calibration/color settings, as this will ensure that NLP doesn’t override those existing settings when you open it.

Once ready, just hit the “CONVERT NEGATIVE” button to initiate the conversion.

Depending on your computer, this can take a while, especially the more photos you choose to run at one time.

When it is finished, you can go one by one and adjust each photo. I suggest playing with all the sliders to get a feel for what each one does. The idea is to get the best color and exposure before clicking on the Apply button. I clicked on the arrows in the bottom left and went one photo at a time, color correct, exposure and contrast, etc. So I was working with about 280 images. It takes a little time to finish all of them, but when I click on apply, you can always select an image in Lightroom, relaunch Negative Lab Pro, and change your settings.

Workflow Tips & Tricks

There are a couple of little “hidden” features of Negative Lab Pro that can speed up your workflow and help in a pinch:

• To reset any individual setting, just single-click on the setting name. For instance, if you want to zero out the “Brightness” slider, click “Brightness,” and it will be reset to zero. (Several users have suggested a “double-click” on the slider itself, but this isn’t feasible in the SDK)
• Where you see it, click the ⟳ button to cycle through dropdown options. It can be unpleasant to repeatedly click on the dropdown box to see the different options. It’s much faster to click the ⟳ button and cycle through the options until you find the one you want!
• Hover your mouse cursor over most setting names to get more details about that setting. For instance, hover over the “Tones” setting name to see a description for the tone profiles.
• You can get more accuracy over the sliders by clicking the number box beside it and using the UP and DOWN arrow keys to change it. Holding the SHIFT key while you do this will make larger steps.
• Once you select an edit box, you can use the TAB and SHIFT-TAB shortcuts to jump between boxes.
• For many of the controls, even if you reach the max of the slider, you can still push it further by directly changing the number in the box. For instance, even though the “Brightness” slider maxes out at 30, you can now edit the number up to 50.

Once you click Apply, you are back in Lightroom.

All the sliders in Lightroom will not behave the same way with the color negatives you have converted. This is why Negative Lab Pro suggests doing all this work in their software. Fixing dust, burning, dodging, and other touches up are best done in Lightroom.

On the afternoon of May 20, 2013, a significant and highly violent EF5 tornado-ravaged Moore, Oklahoma, and adjacent areas, with peak winds estimated at 210 mph (340 km/h), killing 24 people and injuring 212 others.

Photographs hold a special place in our hearts and minds. They capture moments of joy, love, and laughter and preserve memories of people, places, and events that are important to us. But what happens when these precious photographs are lost due to fires, floods, or other disasters? The loss can be devastating, leaving us with sadness, loss, and grief.

Some common expressions and comments from people who have lost photographs due to fires and other disasters include:

“I lost all my memories.”

“I feel like a part of me is gone.”

“I wish I had taken more pictures.”

“I wish I had backed them up.”

“I’m so sad that my family’s history is gone.”

“I feel like I’ve lost a piece of my past.”

“I wish I could go back in time and save them.”

It’s important to remember that photographs are often irreplaceable, and the memories they hold are priceless. That’s why taking steps to protect and preserve our pictures is so important. Here are a few tips on how to do just that:

1. Please back up your photographs digitally: One of the easiest and most effective ways to protect them is to back them up on your computer or cloud-based storage service. This will ensure you have a digital copy of your photographs if the physical copies are lost or damaged.
2. Keep your photographs in a fireproof safe: A fireproof safe can provide extra protection for your pictures in case of a fire. Choose an appropriately sized safe for your collection that is certified as fireproof.
3. Organize and label your photographs: A system for organizing and labeling your pictures can make it easier to find what you’re looking for and to preserve your memories.
4. Share your photographs with others: One of the best ways to preserve them is to share them. Share them on social media or print them out and give them as gifts. The more people who see and enjoy your photographs, the more likely they will be preserved for future generations.

If you lose photographs due to fires or other disasters, it’s important to remember that it’s not the end of the world. While you may feel a sense of nostalgia and longing for the memories and moments captured in the photographs, it is still possible to remember them through other means, such as talking to people there or trying to recreate the memories in different ways.

It’s also important to remember that photographs are not the only way to preserve memories. We can also preserve memories through diaries, videos, and other forms of documentation. And even if all physical forms of memory are lost, the memories will remain in our hearts and minds.

In conclusion, photographs play a vital role in preserving memories, and protecting and preserving them is essential. By backing up your pictures digitally, keeping them in a fireproof safe, organizing and labeling them, and sharing them with others, you can ensure that your memories will be preserved for years.