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I found one much better: http://www.ephotozine.com/articles/360-panorama-iphone-app-review-17293/images/360_panorama_3.JPG

This is just a bad toy, not a panorama app.

Do you mean the app that produced this: http://www.ephotozine.com/articles/360-panorama-iphone-app-review-17293/images/360_panorama_1.JPG ? You can see defects and blurred areas pretty much everywhere ! This is just not in the same league for me.

The article ( http://www.ephotozine.com/article/360-panorama-iphone-app-review-17293 ) sums it up pretty nicely: "Overall, for £0.69, you can't really complain, but there are more impressive apps on the market"

Do you mean the app that produced this: http://www.ephotozine.com/articles/360-panorama-iphone-app-review-17293/images/360_panorama_1.JPG ? You can see defects and blurred areas pretty much everywhere ! This is just not in the same league for me.

The article ( http://www.ephotozine.com/article/360-panorama-iphone-app-review-17293 ) sums it up pretty nicely: "Overall, for £0.69, you can't really complain, but there are more impressive apps on the market"

calling bs on this. Provide citations of ANY of the above happening.

Well, they issued new guidelines, relaxed restrictions on "registered photographers", stopped using section 43 and 44 of the Terrorism act, had a 'snitch campaign', hassle people with commercial permits, and even push people down stairs.

If you aren't aware of the myriad ways in which the London Police have gone completely batshit crazy with photographers .... well, you haven't been paying attention to the news. Do a google search for "london photography police", and read.

There are loads of documented cases of some cop or another deciding they have a law on their side which allows them to do almost anything to photographers. And, in fairness to London, I'm sure this isn't the only place this happens.

The citation for what the GP suggests is bloody easy to find.

Get a Pantone compatible monitor calibrator and software.
Like this one.

In my experience, Epson really cares about color-matching. Their printer ink actually has a larger gamut than standardized CMYK, and their drivers come with very well-calibrated color profiles (and are ColorSync-compatible on the Mac.

... Which is why all the printouts on my iBook with my Epson Stylus Photo 1290 at first had a truly horrible mauve haze to them. Disabling ColorSync and manually tweaking the colour balance has helped a lot, but I must have wasted loads of ink and paper getting the colours vaguely match up with the (calibrated!) display.

I had to do something similar in The GIMP on Linux when the printer was connected to my PC - moving my photos to the Mac, I thought I'd be free of such pain. It would appear not.

Seriously, if anyone knows what might be going on, I'd love to know. The purple problem has stumped everyone I've asked so far... :-)

The way you print a negative will make a big difference when it comes to the final quality.

With machine printing, there are some things you can control. Primarily, overall density and color balance. With digital minilabs you have some control over contrast as well. In addition, the quality of the paper makes a big difference. Some types of film work better with certain types of paper. With most minilabs, you don't have too much control over cropping and rotation. The quality of the operator makes a difference as well.

With a custom color print I can match the paper with the negative I'm trying to print. I have the same controls over overall density and color balance. I have more control over cropping and rotating. Minilabs will generally pick a density and color balance setting based on the overall scene, I can more acurately fine tune that. Sometimes it might be better to have it a little darker or lighter. In addition, I can choose to manipulate the density locally by dodging and burning certain areas, making them lighter or darker in just certain areas of the print.

In black and white custom printing, you have the same controls as in custom color except you have more control over the contrast of the print. There are two main types of paper you can print on and the type many people find to be more aestetically pleasing doesn't work well in an automated feed system and needs to be tray processed, then archivally washed for a long time so that it can last.

Basically, there are a lot of things you can do in the printing stage that give a print more life. These are all subjective judgements and they take some experimentation before you can make the final print.

For a good idea of what it takes to make a fine art black and white print have a look at this page for an example.

wow, he predicted color photography in 1945?

Parent's right, it's too heavy for a PDA.
Let's call this a CDA (Carriable Digital Assistant).

I personally use a Samsung Digimax Battery to achieve around 11 hours uptime with my Zaurus which is definitely more portable than this.

Your statement is certainly true for ultra-wide angle lenses (below 24mm focal length, 35mm equivalent). A moderate wide-angle lens (24-35mm, 35mm equivalent) of good quality should not show any significant distortions, according to this article. I am actually more interested in the range above 35mm, so maybe the term "wide angle" is not entirely correct...