Screen grab from Transmit for iOS on my iPad showing a twelve image upload in action.
There are so many ways that I deliver images to various clients these days that I feel that I’m bound to leave something off of this list. The great news for users of the iPad or iPhone to do quick edits of their work is that every single option that I use on the desktop machine is also available on iOS devices;
FTP– I use Transmit on the iPad and iPhone. I also have FTP options inside FSN Pro and Shuttersnitch that can all do a good job but Transmit does it all better.
Email – adding large numbers of attachments on the iPad isn’t my favourite way to send pictures but it works.
Dropbox – The iOS Dropbox app means that I can easily add files to folders on the cloud service and send links to those folders before, during or after the job. It has a very simple interface and works really well.
WeTransfer – I wasn’t very happy when the WeTransfer iOS app went over to functioning as “Boards” – making it a very different user experience from the ever-so-simple desktop version but I’ve got used to it and it works really well.
Photoshelter – The professional image sharing platform has a dedicated iOS app which is fairly easy to use and very functional.
Third Light – This is a niche Digital Asset Management platform used by two of my corporate clients and the iOS app does its job well.
Welcome to the third instalment of my investigation of the best iPad workflow for the kind of work that I do. At the end of part two I came to the conclusion that adding images wirelessly to the iPad (or an iPhone) was the best way to go for me and in the few days since I made that observation I have largely moved towards using FSN Pro to get the pictures to where I need them to be.
I mentioned several times in part two that I wanted, wherever possible, to avoid storing anything in the Apple Photos app without explaining why I am so keen to avoid it. The simple answer is that my normal workflow for several clients involves keeping the original camera filenames intact so that it is possible to follow up at a later date and find them again without having to spend any time looking. Why Apple are so keen to rename every file with the clumsy “img_1234” formula is beyond me. I guess that it must make what goes on inside iOS easier for Apple – if not for photographers. By avoiding the app it is entirely possible to retain the original filename from start to finish. Don’t get me wrong; if I was rushing and getting a couple of quick edits away to a client then I’d happily rename files and/or settle for the img_xxxx option but when there are five, six or more photographs going through then renaming becomes a pain. (more…)
When Canon announced the W-E1 wifi adapter for the EOS7D MkII and the EOS5S and 5SR I was decidedly underwhelmed for two reasons;
The first was that it was not backwards compatible with the two EOS5D MkIII bodies that I had at the time.
The second was that it took away the ability to record to two cards when it was in use.
At the time I couldn’t see any advantage over any of the SD based transmitters from Eye-Fi or Toshiba amongst others. I didn’t buy one and I couldn’t see myself buying one either.
Fast forward ten months and my need to use remote cameras controlled by an iOS devices has grown and I only had one – the wonderfully simple Canon EOS6D. I didn’t want to use either of the EOS5D MkIV bodies as a remote and so I bought the W-E1 adapter to use in my EOS7D MkII. (more…)
When I switched to Canon cameras from Nikon in 1995 the one thing that I missed from my old F4S cameras and my old SB25 flash units was the accuracy and reliability of the Nikon TTL flash. Canon, with all of their promises for the EOS1N and Speedlite 540EZ combination just couldn’t quite match what I had left behind. I have no idea how Nikon managed to get their off-the-film-plane metering to be so good but it was very good indeed.
Coincidentally, it was about this time that I started to use high quality battery powered lights. The Lumedynes that I took delivery of in 1996 changed my professional life and TTL flash became something that I used when I absolutely had to.
Fast forward to 1998 and the arrival of the first decent digital cameras we had (the Kodak DCS520/Canon D2000) and flash took a big backward step. (more…)
I spent some of my day yesterday adapting a 2013 Keynote presentation with lots of my work in it ready to go and give a talk to a local camera club. I removed two thirds of the pictures and added a lot of different and newer ones and the thing that I had in the back of my mind at all times was that I had to have something interesting and/or witty to say about each one. That rules out just showing your current portfolio – although a good percentage of the photographs are the same ones – and means that you spend a lot of time remembering and fact-checking those stories too. It is actually a really good feeling to go back through pictures and smile about them even though they were mostly taken for money and not for the love of taking them. What a great way to make a living!
The promise to do this talk came about after a chance meeting in a cafe last year. (more…)
By the time I leave here tomorrow I will have been in Rio de Janeiro for three weeks. In that time I have managed to take less than a dozen photographs – none of which are of any note whatsoever. I’ve been here as part of the OIS Photos team as one of two editors with my colleague Julia Vynokurova grabbing RAW files from a seemingly endless stream of FTP transfers from the four amazing sports specialists that have been here shooting the Paralympic Games for the Olympic Information Service.
Editing and captioning other people’s work is something that I do from time-to-time and it is a whole different skill set from shooting and editing your own pictures. It may sound obvious but I wasn’t there when the pictures were taken and so I have to judge them against criteria set down by the client and by each individual photographer on the team. (more…)
I had an email from someone who has followed my blogs for many years this week. He’s a working news photographer who I bumped into on a job a few weeks ago. He had noticed some tape on the top of my Canon EOS5D MkIII and my EOS 7D MkII and simply pointed to his cameras and said “snap”. He had tape on his cameras too – doing precisely the same job that the tape on mine does and went on to ask what the chances of Canon making a change to future cameras that would eliminate the need for us to tape that particular feature on our cameras. The email was to remind me that I had promised to do a quick blog post about the issue.
Taped diopter adjustment on a Canon EOS 5d MkIII
The tape on our cameras holds the built-in diopter adjustment dial and stops it from being moved in the bag or over your shoulder – something that happens to me a lot if I remove the tape. I have no idea if anyone from Canon’s design department reads this blog (I doubt that they do) but it seems to me that if enough of us sufferers from this problem mention it to them when we talk to them then they just might do something about it. Nikon have a lock on the diopter adjustment on some of their professional cameras so it has to be relatively easy to do.
The EOS5D MkIV will be appearing later this year if all of the rumours are to be believed so this may be a little late but you have to give these things a try.
Canon employees and dealers reading this… please help to reduce my gaffer tape bill. Soon. Please.