A while back I had approached a few companies about putting together an article on how to create panoramas. One of those companies was PTGui – and I’ve finally had a chance to put together a few images through their software to take a look at the processing and stitching quality. First impressions are good…what I especially liked is that the software has the ability to render both panoramas as well as HDR processing algorithms. While a dedicated work flow that addresses panoramas and then a separate work flow to address HDR work may yield better results, I’ve gotta say that PTGui does an impressive job for a multi-function program: Continue reading “Creating HDR Panos with PTGui”
Category: Articles
Copyright Isn't Just for Photographers….
The web makes for an interesting place, and often I get emails from folks asking for suggestions and recommendations on how to best protect their images from being used without their permission (and let’s not mince words here – nobody wants to have their work stolen). Often my response is a bit of this and that, suggesting to make images “web-safe” (i.e. low resolution so they can’t really be re-printed), and to limit the images you publish. (The more you put out there, the more you have to monitor.) Continue reading “Copyright Isn't Just for Photographers….”
Digital Photography: Where do we go from here?
I’ve often wondered about the development of technology and the patterns that go with it. As technology has advanced in other areas such as computing, the World Wide Web, and mobile platforms, cameras have also seen similar changes in recent years. The difference between cameras and the rest of the industry though is that with cameras, it’s been a very recent development. Photography has been around a lot longer than the digital world, and the underlying principles and foundations that are the basis for the craft haven’t changed much. Shutter speed and aperture size are still the dominant forces that control exposure in images (along with ISO – which when combined gives us the exposure triangle): Continue reading “Digital Photography: Where do we go from here?”
Putting Your Best Photo Forward
Yesterday I talked about resources available to find buyers for your work and talked about a great guide, The Photographers Market. In the post, I mentioned briefly the idea of a query letter, and today, I’d like to take a closer look at that aspect of selling your work, because it’s just as important as the work itself.
You see, the age old adage of putting your best foot forward is a good one, and when submitting work to potential buyers, the same holds true. Of course it goes without saying that you are also putting your best photo forward, but the photography isn’t all that you are showing. When submitting work to buyers, whether it be magazines, galleries, or other publishers, what should often be included is a query letter.
This is a tough situation because just like anything else, putting together a query letter takes some time. You want the query letter to be well-written, and writing is a skill, just like anything else that must be honed. A query letter should have a couple key facets:
1. Short and to the point – Editors, reviewers, and gallery owners get lots of requests, so respect their time by getting right to your point. While you don’t want to just say “Here’s my work, buy it”, you also don’t want to submit a query letter detailing your growth, develoopment, your sources of inspiration, or other tangential information. It might be nice for an “Artist Bio” or “Artist Statement“, but it really doesn’t belong in a query letter.
2. Accurate – One thing that is something of a pet peeve of mine is spelling and grammar. I’ve seen a lot of just lazy spelling and grammar errors in the online community, running the gamut from forums to blogs, and even articles at major publications like USA Today, the Wall Street Journal, and others where someone couldn’t take the ten seconds to run a spell check on their work. It’s very easy, and most writing resources out there today even have built-in spell checking – including your browsers! So, check your work, and make sure it’s accurate. If you know you are a bad speller, then have someone proof-read your work.
3. Include your work! – So many people tell me they are concerned about people stealing their images, even buyers and publishers, but you are not going to get anyone to buy your work sight unseen, so simply get it out there. If it’s a series of themed images, include low-resolution copies. If it’s an article idea – submit the article! While some unscrupulous publishers may take the idea and have someone else write a version that is similar, this is more the exception than the norm.
There’s more of course, and while I could go on with many more facets, sometimes it’s just easier to see it rather than explain it. So, here’s a few articles I’ve read on the subject of writing a query letter that hit on some of the points I’ve discussed, and also include sample letters:
As you can see, this whole idea is nothing new, and the practice of writing a query letter accompanying your work is of utmost importance. Writing a good one will make you stand out, and writing a bad one (or not even writing one) can land your email or letter in their trash bin. So do you want to stand out or be thrown out? Take the time to write a good letter, and when possible, have someone proofread it.
There you have it – that’s the nuts and bolts of query letter writing. For the other photographers out there who have practice or experience with this – what would you include or add to the conversation? Did I miss anything? Extra tips or suggestions? I’d love to hear others thoughts, so feel free to sound off via the comments or email. Happy shooting all and we’ll see you back here again tomorrow!
What makes you a professional?
Photography has become a huge industry, within a very short period of time relative to the presence of the field. Think about it – the technology to capture images has been around since the 1800’s with the first pinhole cameras, and metal plates of silver halide that were then reversed onto copper to produce an image. Even when film became a more cost effective method of producing images, we still have not seen such an explosion of interest in photography as we have in the past 5-10 years. With the growing interest, many have hung out shingles, offering their photography services, trying to make a living at it.
Now, while I grant you that some are more talented than others, and even have vision that others lack, there is a disctinction that exists around photographers – lines in the sand, so to speak. And these lines pretty much have divided us into one of the following categories:
- Professional
- Enthusiast/Hobbyist
- Amateur
Here, the ‘amateur” or beginner is pretty much evident by recency or lack of experience, but it’s the other two where there has been a blurring of the lines. Traditionally, the difference between a professional and an enthusiast is the former made a living at it. But then, enthusiasts and hobbyists decided to throw their hats in the ring and earn a buck or two. So, the definition became more strict – a pro is someone who earns more than 50% of their income from it. While that still exists in many cases (and I think fits for tax purposes), the quality of the results is much more blurred than before.
With the advancement in gear, things like image stabilization (vibration reduction for Nikonians), and some just astounding increases in ISO handling, shutter speeds, and everything else, including cleaning things up in post production, some not very good photographers have been able to maintain a living at it. Meanwhile, “enthusiasts” are out there pouring their heart and soul into work but are tossed aside, simply because they don’t make money (or enough money from a percentage perspective) at it.
Clearly, enthusiasts can produce professional results, and equally, there are professionals that have produced, well…less than professional results. So, with that in mind, I would submit that the definition of a professional (for me) really is defined by the quality of the product. Consistency, reliability, knowledgeable, and high quality is what I look for when hiring someone to do anything. And if someone can do that, regardless of how others classify them, to me that is the very definition of professionalism.
So, where did this come from? Well, after the success of the article I put out for people in Shutters and Apertures Explained, I decided to start assembling all the articles I had previously written in various capacities with the idea of putting them out as a collective bundle for people to enjoy. Once I got everything assembled, I was astonished to find that I have produced over 20 articles on photography alone, and countless others on various computer topics, including Helpdesk documentation, Service level Agreements, Helpdesk and Desktop support documentation, along with many other types of technical content.
All told, I have over 150 publications under my belt in the writing world. Yet prior to “Shutters and Apertures“, I had not earned a single dime. Does that mean I am not a professional writer? While my earnings have been a mere pittance compared to many in the field, the quality of content is something I am proud of. Even this blog has been a huge commitment of time and energy which requires research, editing, proof-reading, and much more, way before I ever press the “Submit” button!
So, with over 150 articles and writing credits, and over 6 years of writing experience in various capacities, why do I not consider myself a professional writer? I think the answer lies in how you perceive yourself. Where you think your strengths are, and where your ambition and passion lie. When does one become a professional anything? I’ve got my own reasons for choosing IT as a career path, (and photography and writing as secondary income sources), and while most define me by my predominant income source – I would classify myself as a professional in all of them.
Quite an extensive narrative, eh? But, it does bring up an interesting question of “What makes anyone a professional?“! So, with that in mind, let’s turn the question outward and see what answers we can find! What makes you a professional? Is it your income ratio, the quality of your work, or something else? What defines you? Sound off in the comments – I’d love to hear what others think on this topic!
Must Read – Rangefinder Magazine
We all have our periodicals that we subscribe to, and while differences of opinion abound about which ones are the “best” ones out there, there is always good content available. One that I subscribe to is “Rangefinder Magazine”, which has great reads on up and coming artists, good food for thought, and other items of interest on a regular basis. Their most recent issue (April 2010), had an article that also boils down well for blog posting, so today, a nod goes out to Rangefinder magazine, particularly Alice B. Miller for the article:
12 Ways to Land Your Next Magazine Assignment
Here she looks at things to do and not to do when trying to stay current in the ever-demanding world of “publish or perish” in periodicals and online print circles. The entire article I would classify as a “must read”, but for here, the bullet points suffice. Enjoy!
- Stay Current on World Events
- Pursue Your Own Projects
- Don’t become a prisoner of your style
- Look the Other Way
- Let the Freedom Begin
- Stay Positive in Slow TImes
- Stay Fresh, New, Vital
- Shake off the Doldrums
- Focus on Stories Close to You
- Learn How Editors Want Material Submitted
- Be Interactive and Engaging With Clients
- Plan Ahead
As you can tell, there’s more here than just the bullet points, and thankfully, Rangefinder also keeps current issues available online for easy viewing, so head on over there to enjoy the full length article. Surely though, there’s more content out there that others know about too, so feel free to share links to either your own work, or other articles of interest in the comments. What magazines do you like? Any particularly useful articles? Sound off to spread the word! Thanks for stopping in and we’ll see you back here again tomorrow!
A Primer on Licensing Your Work
With so many people likely covering the CS5 launch event later today (http://cs5launch.adobe.com/), I thought I’d take a different tack on things, since the launch really is just talking about when it will be available. (In other words, everything you hear today will be nothing more than hype and PR excitement. Nothing to really sink your teeth into…except pricing, which has already been leaked):
- CS5 Regular Price is $699 for the full version and $149 for the upgrade…
- CS5 Extended Pric is $999 and $349 respectively…
So, for something to sink your teeth into – here’s the latest short of an larger article I am working on that covers the exciting, heart-stopping, living on the edge, never-say-die, run ’til you drop matter of…
Photography Licensing
Okay, so maybe it’s not that exciting, but think about licensing for a minute. There are so many terms bandied about when it comes to licensing and usage, fees and rights, that it can be very difficult to navigate the jungle of not only what to charge, but which licensing approach will work best for you and your style of work. Well, fear not fellow photogs! Today, I’m going to take a look at some of the basic concepts and terminology of licensing. While this is not legal advice, consider it a resource that you can use as a springboard or basis for understanding.
First off, let’s get a handle on what exactly the term “licensing” means. Licensing (in a very general sense) means that you are giving permission to print your work. Whether that permission is granted to an individual or a company can define particular licensing options for you, in the end, it’s permission to re-print or re-use your work that licensing grants the buyer. (Yes, this means you as the photographer are the seller!) Also, as a general rule, if the buyer wants to use your work a lot (say National Geographic wants to print it in their magazine, on their website, and include in videos and email flyers) then you can usually command a higher price than someone who just wants to buy a single print of your work (smaller usage). So, more use equates to a higher fee.
Now that we know what licensing is, and how pricing in general is structured, let’s take a look at some of the more common forms of licensing that you will see. There are several categories of licensing and it can get confusing when you start to cross categories, so let’s talk about categories first, so we can distinguish all the elements involved. The first categorization generally used is between commercial use and non-commercial use. Other categorizations include Rights Managed and Royalty Free. Before delving into details on other types of licensing available, let’s cover briefly what each of these means.
Commercial Licensing
Commercial licensing means that whoever is purchasing wants to turn around and make money off your images. They are likely going to redistribute usually in the form of print publications like magazines, corporate papers (like annual reports, brochures, and other types of media that is distributed to a decent sized audience like their stockholders, prospective clients, etc.). As a general rule of thumb, the wider the distribution (more copies of your pictures are being printed/used), the higher the fee for usage.
Non-Commercial Licensing
Conversely, a non-commercial usage generally means that the use is not going to be generating any money for the person/company that is buying the license. It also means that the image purchase will not be redistributed elsewhere and this is usually part of the terms of the license. Here, a good example would be a medical office buying an image to hang on their wall, a church making a flyer, or some other instance like that. Since this is a much narrower distribution (a.k.a. usage), the fee will not be as high as it would for commercial work.
If you think that was a lot of reading, there’s so much more! Licensing can be customized for pretty much any use by an attorney! You can cross any of these and get a literal jungle of licensing protocols, including others like First Use, One Time Use, and much more! Attorneys are available that specialize in licensing and copyright. If you really want to get into the nitty gritty talk with them! This is just a beginning dialog…
Speaking of dialogs – got any stories of licensing or copyright that helped save your bacon? I’ve read a few in the NAPP forums, and from several other outlets too. Feel free to share your own thoughts and questions in the comments or via email! Who knows – the podcast that’s coming out soon may feature a question or two! 🙂
In the meantime, keep on shooting, and we’ll see you back here again tomorrow!
Trade show transitions…
In the most recent podcast Erik and I talked about several upcoming trade shows, including PMA, WPPI, PSW, and GPP to name just a few. Lots of acronyms though and it can leave many questions open about which ones to attend. While we tried to cover the nuts and bolts of each, one thing was not really discussed to a great degree, and I thought I would share my own thoughts on the future of trade shows here today. To do that though, there are two key news nuggets that tie into today’s post to kind of set the stage:
- This year marked the first year that Apple declined to participate at Macworld…
- This year Canon also decided to not have a booth at the venerable PMA Show…
This may be the tip of an iceberg or a coincidence, but my guess is that it is a hint of things to come. With technology changing more quicky than many can even keep up, the trade shows of yesterday are not going to be the trade shows of the future. I hate to sound like an old fogey, but back in the day, trade shows were the platform that vendors used to announce new products that spent years in R&D. Not anymore, as the window for R&D has dropped significantly, and tailoring your development to an annual trade show could lead you down many dangerous routes as a vendor…
- Dangerous route #1 – Technology changes at a pace faster than you anticipate and when you launch that 8MP camera in a market where 18MP is the latest and greatest, all that R&D, marketing, and advertising money was pretty much burned for nothing.
- Dangerous route #2 – You predict a pace of technology and make projected announcements on that prediction. Tech moves slower than anticipated and the 18MP camera you promised at next years show is only a 12MP. An equally embarrassing fiasco for the PR dept to deal with.
So why attend trade shows? I don’t think they will last much longer as venues to “pimp new products”. Sure there will always be secondary and tertiary players that introduce new gear, but I think the trade show will turn more toward a networking show where professionals can network with one another and with possible vendors. From a personal perspective, I’ve already talked to several contest sponsors from previous contests that have asked if I will be attending show X or show Y so we can talk about new sponsorships.
The face time and interaction between the working folks and the vendors is what gets deals done. Vendors get evangelists that talk up their products and pros get gear and software deals at pretty good discounts (and sometimes free). It’s a win-win situation for both, and the larger community can also put a personal spin on the gear they want and/or like. It also comes down to the 6 degrees of separation mentality that people associate themselves with. They associate with another photographer or a professional who uses a certain kind of gear, and they see the results of that, and it’s only natural to think that the gear may have something to do with it (and sometimes it does…). Here’s a few good examples of the line of thinking:
- “Hey, I was at a Scott Kelby seminar and he talked up that Elinchrom light set…I should take a look at that…”
- “What was that lightbox thing Jason and Erik mentioned on their last podcast?”
- “Alex on the photo walk last month mentioned some book on workflow in Lightroom for photographers…gotta make a note of that…”
You get the idea…Scott Kelby is a pretty big name, and while we’re not as “well-known” as Scott, we do have an established set of followers or regulars that read our material. Photo walk leaders also carry weight in their messages too, and Alex is no exception. He is a great photographer, a super friend, and when he recommends a product, you can bet I will listen to what he has to say.!
So, I think the networking and social connection aspect of trade shows will really be the impetus for the future. It always has been to a certain degree, but not nearly so much as I think it will in the future. That’s just my two ¢ though, and you know what they say about opinions – they’re like…..haircuts (everyone has one).
Speaking of which, what are your thoughts on the next phase for trade shows? Will more big names bow out? Or is it just the economy and as soon as we’re back on solid ground they will come back into the mix? Having not attended any, I gotta say I am kind of guessing from the outside looking in, so if anyone has attended trade shows themselves, feel free to chime in here.
Which ones have you attended? What did you gain or get from the show? Positive experience or worst thing ever? Sound off in the comments. In the meantime though, there’s only a few days left in the Flickr contest for February, and the theme is Height!
How To Make Your Pictures Sing!
While recently listening to This Week in Tech (a great podcast, and I highly recommend it), the show host, Leo Laporte, made an interesting observation about the advancement of technology. He was musing about the changes that have happened in audio consumption. We listen to much of our music in iPods and portable music players, when not too long ago, we were confined to a certain space. To that end, he noted that the technology of audio in those days revolved around things like the number of amps, tweeters and woofers, quadraphonics, decibels, and much of that technical information. We jam-packed our houses with stereo components, our cars with subwoofers, and on and on. To get truly high quality audio you needed to have resources (a.k.a. money), and the producers of that audio content was restrictive because of the costs.
Not today – these days you can plug a $5 microphone into a USB port on a $400 computer, say or sing anything you want, and almost instantly have beautiful high quality digital recordings of whatever you like. This is a good thing though – because even though more people are recording audio, what matters is what the message of that audio is saying. I can’t just go on the podcast and talk about nothing because no one would listen…although sometimes it feels like I am blathering on and on! 🙂 As the old saying goes, “content is king“! Leo’s observation was that in the audio world, it’s a wonderful thing because anyone can produce audio, and there are now more voices for creativity. With the lower cost of entry to producing high end audio, two questions came about. The first is “What does that content say (what is the point, or message)?” The second is “How do you want to consume that media?” (With the options being whether you want it on a CD in your car, on your iPod at the gym, on your computer as you work, or where ever.)
It was a very astute observation, and that description applies to other media as well. I am, of course, thinking about photography. Think about the analogy for a minute. For the longest time we had the film world, and as ASA speeds got better, grain got finer, the size and quality of image development improved as technology permitted. With the movement to the digital world, and the subsequent “Megapixel Wars”, capturing high quality detail in your photography was no longer such an arduous process. I believe we are at a crossroad now in digital photography, where the technology has expanded to a quality level that anyone is able to produce excellent quality images, in terms of technical details. The portability factor for audiophiles doesn’t really apply as much to photography though as the medium is more portable by definition. You are also looking at the image rather than listening to it.
The advances in the technology of photography has also introduced a creative outlet for many where it previously did not exist. The decreasing costs of production have allowed many to find their “photography voice”. With the holidays upon us, many are likely to get a shiny new camera with lots of bells and whistles, and for some out there, this will be an opportunity to “sing”! It’s an exciting time to be a part of the chorus because with so many voices, there are lots of melodies and harmonies to be heard and enjoyed.
This will undoubtedly lead many to ask “So, how do I make my pictures sing?” It’s a great question, and one that I have been tackling in some way, shape, or form for some time now from various points of view, including technical, compositional, and subtle intangibles that are all part of this larger question of how to better express yourself photographically. There’s more to come on that, and I’ll be sharing more thoughts on this in the weeks to come. But it is a good exercise, so I would like to throw it to the reading and listening audiences. As we take a blogging break over the holidays, ask yourself (and post your thoughts here in the blog) the following two questions:
- Can pictures really “sing”? Why, or why not?
- If so, what does it take to make your pictures sing?
Share your thoughts in the comments below! As a reminder, you can also now embed photos in your comments by using the link to attach a URL. Happy shooting, Merry Christmas, and we’ll see you back here next week!
P.S. Don’t forget – next week is the last week to add your “Giving” themed photos to the December Giveaway! Should be lots of opportunities to capture some photos with that theme over the weekend! There’s over $400 in prizes will go to one lucky person, so post your best photo to the Flickr thread here. The guidelines are posted there, so be sure to check those to make sure your entry is counted…Happy Shooting and good luck to all!
Grab the Feed Follow Me on TwitterFlickr Plugin for Lightroom
While recently participating in a Photowalk group outing to Rocky Mountain National Park, with the fellow local photogs, I learned about this great little plugin for Lightroom that allows you to export your photos directly to Flickr…all within Lightroom! It’s a pretty cool little plugin, and as you know, when I learn something new – so do you!
This plugin comes courtesy of Jeffrey Friedl, and one of the greatest features of it is the cost – absolutely free! Well, that’s not exactly true, you do need to spend one cent via Paypal, but for a penny, check out what you can do:
I started off downloading the ZIP file (and it works for Windows or Mac) and expanding the archive. Then I moved the plugin to the root of my Applications folder on the Mac (you can choose where ever you want to store plugins, you just have to tell Lightroom – and for me this is an easy place). The icon for it looks like this:
Nothing too spectacular yet, and there’s a little bit of installation and customization needed. Your needs may vary based on how you want to use the plugin, Flickr, and Lightroom, but the cool thing is that Jeffrey has put together a plugin for most online locales including Smugmug, Zenfolio, Facebook, Photobucket, and many more. So, if you use another resource, it’s worth checking out. I’ll continue here for the Flickr plugin and you can decide for yourself if it’s worth adding this tool to your workflow.
Next up, I went ahead and configured the plugin from inside of Lightroom to use my Flickr account. Here’s what I did. To start, click on Export, just as if you are exporting to disk or some other resource
One the export dialog box is open (and here’s the tricky part), look to the far right of the gray bar across the top that says “Export to Disk”. You’ll see two little arrows which means there are menu options:
If you click on those arrows, you’ll get a new dialog box (bet you didn’t know that was there – did you? 🙂 ), and the Flickr option will show up. Select the Flickr dialog one for our purposes here:
Once you select the Flickr Exporter, you will get a new dialog box that will start the authentication process that Lightroom will use to log into Flickr. If you have multiple Flickr accounts, or specific authentication methods you prefer, these steps may change a little based on your needs. But here, I am doing things the most straightforward way:
Next up, if you are logged into Flickr already, the plugin will open a page that will grant access to the plugin. So, it helps if you are already logged into your Flickr account on the internet. So, you’ll get a dialog box that looks something like this from the plugin to that effect:
On clicking the OK button, it will take you to the grant access page, and you’ll get another dialog box that grants the plugin access to post photos to your Flickr account (which, after all, is the goal, right?). The one notable difference you will see in yours is that my face won’t be staring back at you like here. That is the avatar for my Flickr account, so your screen should show your avatar – if it shows something different, then you are in the wrong account (but I guess that goes without saying)!
A second confirmation screen from Flickr will also let you know that this is a 3rd party application, and just acts as a security measure to make sure you are aware of what that means. Click the button that says “OK, I’ll authorize it”, as shown below. Again, while it goes without saying at this point, your dialog will look a little different different. If it doesn’t and you see my avatar in your Flickr account, I am gonna be calling soon! 🙂
Finally, you will get a confirmation screen on Flickr, noting what you’ve done (they make it pretty clear what you’ve done, and how to delete it if needed on the Flickr side):
On return to the Lightroom interface, you’ll get a confirmation screen there as well – just click it to continue:
On granting access, you’ll get an authorization code, which for obvious reasons I am not going to post here, but make a note of that code and enter it back when you return to Lightroom. On completing that you will be presented with the Flickr Uploader Dialog. Here I am going to show you a few key ones that you have to scroll down to be aware of in making your uploading preferences.
- Your Flickr Account login in Lightroom
This first shot (above) shows the top part of the dialog, and shows how you are authenticating on Flickr. Now, use the scroll bar on the right side to move down through the options. First stop, the Photo Set. On authenticating, the plugin will pull your complete list of photo sets from Flickr. If you don’t have any photo sets built, then none will be here. Since I do have photo sets, it will default to the first one alphabetically. You can change the sort order, and specify what photo set (if any) you want the uploaded image to be added to, as desired. For this example, I did not add the photo to an existing set, or create a new one.
Pretty straightforward, but let’s keep scrolling through a few more key items you will want to think about utilizing or disabling depending on your work flow. The next one I think warrants mentioning here is the groups. One of the ways you can increase the visibility of your photos on Flickr is by participating in groups. More people look at them, you’ll get more feedback, and sharing our photos with others is the goal anyway, so go ahead and add the appropriate groups here. I selected the group “CanonBlogger” for obvious reasons! 🙂
Only a few other options that I think are useful from this plugin, so we’re almost done. Next up, is another social networking one that I tend to use fairly regularly – Twitter:
Last but not least are the meta tagging options you have available to you from the plugin interface. The options are just to diverse to go into detail here, and I prefer to tag photos on Flickr differently than in Lightroom, so I leave these blank, but in the interests of full disclosure, here are some of the tagging and naming options in the plugin dialog:
If you think about it, for a penny, this is a pretty good deal (I went ahead and made a donation, which I would also encourage you to do as well – Jeffrey has clearly put a lot of time into developing these plugins, and he needs to eat, just like the rest of us). So, there you have it – the process of finding, downloading, installing, configuring and using the Lightroom Flickr uploader. As I mentioned at the beginning of the post, there are other uploaders available as well, and I am going to probably go get the one for Smugmug as I have an account there too. It just makes the sharing of your photos that much easier. (Who knows, the Facebook one may also make its way into my utility belt at some point once I get more comfortable with it…)
If you have questions or problems with the installation or the uploader itself, Jeffrey has a good FAQ page here that should answer most questions for you. If not, I am sure he has an email address available somewhere for specific questions not addressed online. For my work, I think this plugin totally rocks! It’s going to become a staple in my work flow, and if you are into social media at all, I would highly recommend it for those purposes as well.
In talking about all of this, it bears mentioning that some of us are not fans of Flickr, Twitter, or Facebook, and while I can understand the hesitation of some, it’s really a matter of personal preference, and maximizing the time you spend on your computer. if these outlets aren’t your cup of tea, that is totally fine. But if you have the Flickr plugin – it is that much easier for you to participate in the Monthly Giveaways here at Canon Blogger/Learning Digital Photography!
With those thoughts, I’ll leave well enough alone as this post has gone on long enough for one day. Happy shooting (and uploading) and we’ll see you back here again tomorrow.