Nikon Camera Bag D60
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SanDisk Extreme HD Video 16 GB SDHC Class 10 Memory Card (SDSDRX3-016G-A21) $14.99 The SanDisk 16GB Extreme Secure Digital High Capacity Memory Card is designed specifically for high-end, professional photographers who work under extreme conditions and expect the very best in products and support services. This SDHC Card has a minimum of 30MB/second sequential write and read speed (based on SanDisk internal testing), which allows for faster capturing of large image files to the … |
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SanDisk 16GB 60MB/s Extreme Compact Flash Card SDCFX-016G-A61 (US Retail Package) $55.00 This Sandisk Extreme CompactFlash Memory Card provides 60 MB/second read/write speeds, and is UDMA enabled. You’ll see it takes more than a great digital SLR camera to bring your ideas to life. SanDisk engineered its Power Core Controller to take whatever your camera’s buffer can dish out. By distributing image data across the card more rapidly and efficiently, this card delivers professional perf… |
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Sandisk 8GB Extreme CF memory card – UDMA 60MB/s 400x (SDCFX-008G-A61, Retail Package) $34.90 This Sandisk Extreme CompactFlash Memory Card provides 60 MB/second read/write speeds, and is UDMA enabled. You’ll see it takes more than a great digital SLR camera to bring your ideas to life. SanDisk engineered its Power Core Controller to take whatever your camera’s buffer can dish out. By distributing image data across the card more rapidly and efficiently, this card delivers professional perf… |
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Bushnell Falcon 10×50 Wide Angle Binoculars (Black) $31.54 Bushnell Falcon 10×50 Porro Prism Black Binoculars 133450… |
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Bushnell PowerView 10×50 Wide Angle Binocular $44.07 Bushnell Powerview Wide Angle Binoculars are designed to provide high-quality optics in a versatile and durable format–at an affordable price. Constructed with a rugged, shock absorbing rubber armor for a comfortable, non-slip grip, Powerview Binoculars are suitable for multiple applications both indoors and in nature. The 10×50 Powerview Wide Angle Binoculars offer powerful 10x magnification wit… |
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Bushnell Doa 600 Trophy Riflescope (4-12×40, Matte) $175.56 The most proven riflescope in history is now deadlier than ever. From the class-leading 91 percent light transmission to the nearly indestructible one-piece tube, every aspect of the new Trophy XLT is optimized, helping America’s best-selling riflescope meet a new standard of excellence. The Trophy XLT 4-12×40 scope–which includes Bushnell’s ultra-precise DOA 600 reticle–starts with fully multic… |
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Canon EOS Rebel T3i 18 MP CMOS APS-C Sensor DIGIC 4 Image Processor Full-HD Movie Mode Digital SLR Camera with 3.0-Inch Clear View Vari-Angle LCD and EF-S 18-55mm f/3.5-5.6 IS Lens $799.99 18.0 MEGAPIXEL CMOS1080P HIGH-DEFINITION VIDEO AT 20 FPS3.0″ LCDISO 100 6400 (EXPANDABLE TO 12800) FOR SHOOTING FROM BRIGHT TO DIM LIGHTDIGIC 4 IMAGE PROCESSORMOVIE DIGITAL ZOOM & VIDEO SNAPSHOTSCENE INTELLIGENT AUTO MODE & PICTURE STYLE AUTO INCORPORATING THE NEW EOS SCENE DETECTION SYSTEM TO CAPTURE BEAUTIFUL SCENES WITH EASECREATIVITY FEATURES INCLUDE BASIC+ FUNCTION MULTI-ASPECT FUNCTION & CRE… |
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Canon Deluxe Photo Backpack 200EG for Canon EOS SLR Cameras (Black with Green Accent) $35.72 Made of rugged nylon, the Canon Deluxe Backpack 200EG holds up to 2 camera bodies, 4 lenses, plus accessories. With its lightweight construction, it also features a well-arranged divider system for a secure storage and an easy access, padded shoulder straps and a comfortable back padding. You can also add tripod carrying straps, and a front webbing ideal for lashing light jacket, sweater, etc… |
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Nikon Digital SLR Camera and Laptop Backpack Case with Nikon 60 Tripod with 3-Way Panhead + Accessory Kit for D40, D60, D3000, D3100, D5000, D5100, D7000, D800, D300s, D4, D3 & D3s $149.95 Kit includes: ♦ 1) Nikon SLR Camera & Laptop Backpack ♦ 2) Nikon 60″ Full Size Tripod with 3-Way Panhead (Black) ♦ 3) Nikon 3-Piece Lens Cleaning Kit (Microfiber Cloth/Fluid/Moist Cloths) ♦ 4) Nikon Microfiber Lens Cleaning Cloth Spudz ♦ 5) Precision Design Deluxe Hurricane Blower Made from rugged, weather-resistant nylon, this backpack will easily hold your camera, … |
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Lowepro SlingShot 350 AW (Black) $179.99 The Lowepro SlingShot 350 AW is perfect for the photojournalist or serious enthusiast who wants a sling-style camera bag that allows easy access while wearing, plus room for a notebook computer. The ergonomic sling strap evenly adjusts weight and easily rotates from back to front—making it simple to work out of the bag. The roomy main compartment is outfitted with adjustable, padded dividers… |
Nikon D40 DSLR compared to Nikon D60 DSLR?
Hi, I am deciding between a D40 and a D60 DSLR. This would be my first DSLR and I am on a budget. Besides the difference in megapixels, I found out that D40 uses D-Lighting whilst D60 uses active D-Lighting. Just to like to ask if there is any big difference in these functions in bright scenes. I found 2 deals both come with dual lens VR lens (15-55mm and 55-200mm) D40 at S$1099 whilst D60 at S$1299. The D60 comes with an extra tripod. Other free gives common for the both include a 4Gb SD card, card reader, lenspen micro(What’s that?), umbrella, Bag(Nikon brand for D40, lowepro brand for D60) Megapixels do not matter to me, just the camera performance. I do need one that performs well at night and during daytime when there’s bright background. Thanks in advance, I need some advice urgently. If anyone has the same type of offer but at a cheaper rate, do let me know where I can purchase them. I prefer to purchase from a shop and not online. Thanks to all.
the D60 give you a number of things you want. It has newer firmware and image processors, designed for the 10 mp sensor. It has an “Active Dust Reduction System with Airflow Control “. Nikon not putting a system on the D40 to deal with dust is one of the biggest drawbacks I see to the D40 ( though I think its still a great camera for the money) If you change lenses dust will get in and the camera needs a system to deal with it. With the D60 you get a VR lens. That will help with low light situations ( they may offer that now with the D40 but originally it was not) . The D60 has Adaptive Dynamic Range. Nikon calls it “Active D-Lighting,” it lets you save some highlights that my otherwise be lost.
Nikon D60 complete kit + 4GB card + camera bag ( good as new ) DSLR
Interview with Lanny Ziering, CEO of SuperStock
John: Lanny, I know you as one of the founders of Blend Images. Now you are CEO of SuperStock. Can you share with us a little of your background and how you came to be SuperStock’s CEO?
Lanny: Well, it’s sort of a kidnapped-by-aliens story. I picked up my first camera when I was about 8 or 9 and pretty much had one in my hand all the way thru high school. I was the photo editor of my high school yearbook and determined to go to Art Center, but I kept looking at pictures taken by guys like Irving Penn, Richard Avedon and David Bailey. The more I looked, the more I thought my own pictures were total crap and would never get better. So, I sold my enlarger and my Nikon F, gave up all hope of ever meeting Jean Shrimpton, and went to UCLA where I eventually got an MBA.
After B-school I had a bunch jobs of including working at MTV right after it launched. Eventually, I went to work at a TV station in LA as the program director. Here’s the part where the aliens kidnap me and I spend 7 years working at PricewaterhouseCoopers in global consulting projects for energy companies and long distance carriers. Fast forward to 2002: IBM buys the consulting business of PricewaterhouseCoopers. I was either pushed or I jumped (depending on who you believe) and before hitting the ground I decided that I wanted to turn back the clock to the summer I graduated from high school.
I couldn’t do much about all my gray hair but I decided to pursue a career in photography. Looking back, it seems like a totally insane notion. However, something very odd happened. A friend producing short programs for a cable network, Fine Living, hired me to shoot stills and we used Avid editing software to animate the stills in a Ken Burns sort of way. I bought a new Canon D60 and never looked back. It wasn’t long before I met Lawrence Manning, a very talented stock photographer. We partnered on a bunch of stock shoots and pretty soon royalty checks started arriving in the mail.
Long story short, I went with Lawrence and Beautiful Betty (Mallorca) to a little meeting of about 30 stock shooters in Las Vegas. Blend was born at that meeting and Rick Becker-Leckrone asked me to help with the formation of the company. I spent the next four and a half years working with Rick to realize his vision. Then we started to wonder, “What do we do next?” A small group of us started kicking ideas around at the NY PACA meeting and Gustavo Baez tossed out the idea, why not buy Superstock?
Why not, indeed. Alan Bailey (from Rubberball) and I flew down to Jacksonville. We woke up from the dream walking out of Federal bankruptcy court having out bid Steve Pigeon for Superstock. In a bloodless ceremony I was anointed Superstock’s new CEO. It was all a bit unreal. In the finest tradition of the stock business we all went out to dinner that night with Steve, drank a lot of wine, and agreed to distribute each other’s content. Is this a great industry or what?
John: SuperStock was purchased in Bankruptcy court. Can you fill us in on the ramifications of what SuperStock has been through and how that will affect it’s photographers and clients?
Lanny: Superstock has been through a trauma. The employees are an amazing bunch and, despite what they have been through, they continue to believe in the company. Virtually every photographer, client, image partner and distributor decided to keep doing business with Superstock.
Ownership of the company is back in the hands of photographers and and Morgan Stanley and the financiers are gone. Superstock is once again a place that is about the photographic image and those who create those images and those who use those images to communicate.
John: What do you think are the strengths of SuperStock?
Lanny: Superstock has three essential strengths. First, hundreds of contributing photographers around the world who supply images to us. This has produced an extraordinary collection of fine art, vintage, travel and scenic, and contemporary imagery. Second, a large base of loyal clients in publishing and advertising. Third, a very talented staff that works every day to bring photographers and clients together.
John: What are SuperStock’s areas of vulnerability?
Lanny: I could tell you but then I’d have to kill you.
John: What is your vision for where you want to take SuperStock?
Our plan for Superstock is pretty straightforward. We are stabilizing the company so we keep the content, clients and staff that make Superstock a great agency. We’ve pretty much completed this phase. Now we’re optimizing the company’s image assets and relationships.
It’s no secret that the Superstock was not very well led in the last few years and there’s a lot we are doing to get more images to market and make it easier for clients to find the images they need. We’re going to compete by continuing to offer clients a unique collection of fine art, vintage, travel, and contemporary imagery along with a deep understanding of how those images are used.
John: Do you have any plans to incorporate Micro stock into your mix?
Lanny: We’re looking at many options but I don’t think Micro will be the first thing we do.
John: Do you see potential in expanding stock sales beyond the traditional buyers of stock?
Lanny: Consumers are the Holy Grail, I suppose. Consumers seem to have a never-ending fascination with celebrities, so there will undoubtedly be new ways to download shots of Miley, Madonna, Rihanna, and next week’s it girl. I can also envision consumers who would enjoy looking at images of fine art, distant locations, and historical events. This is where we’ll be well positioned to serve that market.
John: There is a lot of buzz in the photographic community about the lack of concern large agencies have for the individual photographer. Is the economic viability of the individual photographer important to SuperStock? Should it be important to agencies?
Lanny: I can’t speak for other agencies, but Superstock places great value on the individual photographer. After all, the owners of Superstock are photographers. It’s in our DNA. Blend has certainly proven that an agency can succeed by caring about the success of photographers. We can’t succeed unless our photographers succeed. So we’re creating a very close relationship between our sales people who talk to picture buyers every day and our editors who talk to photographers so they will know the subjects that will sell.
John: Agencies like Getty are constantly reducing the human interaction with photographers as well as clients. Is that something that is inevitable and necessary, even for SuperStock?
Lanny: We think a lot about how to increase the interaction between our editors and our photographers.
John: One of SuperStock’s offerings is subscription. Can the subscription model work for photographers as well as agencies?
Lanny: Different clients have different ways they like to buy pictures. Some have no problem paying $20,000 for the perfect image to go on a can of beans and others need to download a hundred images a day to put in a blog for butterfly collectors. Photographers and agencies need to find ways to make money from either type of client.
John: I am under the impression that the market for stock images is moving away from print and more into the internet as the print world shrinks and the online world increases. Is my impression accurate? If so, does this present a problem in the lower prices charged for internet use?
Lanny: True, there is a shift from paper to pixels. I think it is too early to precisely predict the future shape of the internet market for images. Right now internet audiences are pretty fragmented but as they become more concentrated there may be an opportunity to charge more for compelling images.
On the other hand, the nature of print and the internet are different. A powerful image is probably the key thing to attract a customer to buy a magazine or to stop and look at an ad on a page. But internet browsing is ironically less visual and more text driven than print so images may not have quite the magnetic power (or economic value) they do in print.
John: Along those lines, do you think the pricing structure of RF stock images, and I suppose Micro, needs to change? Do you think it will change?
Lanny: Pricing is alchemy. Get it right and you turn lead into gold. Get it wrong and you turn gold into lead. Nominal RF prices might look like they are rising, but there’s a lot of evidence that overall RF prices are falling (dare I say the words “Premium Access”?). At the same time prices are rising in the micro space. Macro and micro appear to be converging but prices won’t ever meet. Certainly, the 1 to 100-price ratio of two years ago will continue to shrink.
John: Does the increasing use of video threaten the market for still Images?
Lanny: Video will grow, that is inevitable. But there is nothing that has the power of a still image. My generation was shaped by TV, but every major event in our lifetime is defined by a still image. When people think of the Vietnam War they think about the image of the man being shot in the head by the guy in the short sleeve shirt or the napalm-scarred girl running down the road.
When we think of the student revolution on Tiananmen Square it’s the image of the guy with the plastic shopping bags in front of the tank. I believe it was actually shot in video but we remember it as a single frame. And the defining image of Barack Obama is that stolen shot used in the “Hope” poster. I don’t think anything will ever replace the way a still image allows us to do what life denies us: stop time.
John: Do you see SuperStock offering video?
Lanny: Yes.
John: Some are predicting a radically different world of stock images in as little as five years. Do you see any big changes on the horizon?
Lanny: One thing is for sure: search doesn’t work very well for anybody so look for innovations in how agencies enable clients to search for images. I’d also expect a convergence between stills and footage, perhaps packages for integrated campaigns.
John: Do you have any advice for the veteran stock shooter?
Lanny: Talk to people who buy pictures, find out what they want, go and shoot it.
John: Do you have any advice for photographers who are just entering the field of stock photography?
Lanny: As William Goldman said about the movie business, “nobody knows nothing”. Learn everything you can about photography and advertising and journalism and publishing and then let it all go and listen to your instincts.
About the Author
Visit John’s website for unique and interesting concept stock photos: Lifestyle Ethnic People
Visit John Lund’s Photography Blog: Stock Photo Guy