When we start making photos we really like, we often want to share our work with friends and family. Many of this have been doing this through social networks. For the most part, users never read the terms of service put in plain sight by these services. My own experience is that the terms are very clear about what you surrender, what rights you retain and how your work can be used. If you’re going to play in social media, the responsibility for knowing the waters you’ve jumped into is yours and no one else’s.

Adobe Lightroom can be a powerful digital asset manager to help you store, catalog and discover stills and video clips. In this article, Ross Chevalier covers the key components of Lightroom’s asset management functionality.

There’s a rule in information technology that data that hasn’t been stored in three places is not backed up at all. Do you backup your photos and videos? Have you considered keeping a copy off-site? Don’t risk losing those once in a lifetime memories! Let’s talk about backup.

When I speak to many photographers and videophiles, one thing seems to irk everyone. It’s the secret code word, decoder ring mystery of what all the number babble on memory cards means and how to know which one to buy. Let’s cut through all the chaff and get to what this stuff actually means, and why you may or may not care. I will note the four most popular card formats, Secure Digital (SDXC), Compact Flash (Now v4), XQD, and CFast 2.0.

You’ve possibly heard what I call the JPEG Death March. If you shoot JPEG, you give up all control. If you shoot JPEG you cannot make real changes to your images. If you shoot JPEG, the world will end! Okay, maybe not the last one, but you get the point. None of these or similar statements are true. To understand where JPEG fits, let’s take a look at what JPEG was built for and what it really is today.

It’s a fact that the closer you are to your sound source you intend to record, the better the audio and less editing you’ll have to do down the road. This chapter outlines some techniques and tips on using boom mics to do such a task. The length of the boompole is generally dependent on the type of production. Poles for commercial projects like TV, commercials or feature films typically range from 12 to 15 feet. Documentary-style projects like you see on reality TV and the news typically range from 5 to 8 feet.