i'll take first crack at it....
ACR + Nik Color Efex
ACR + Nik Color Efex
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One alters a physical object at distance while the other preserves that object in time
No one is a profesional wildlife landscape wedding fashion sports event macro architecture photographer.
I am NOT going to test my guess because the only laser I have access to now is one used to cut steel.... and shining that at my camera is probably not a good idea.
This would be one of the last lenses a wedding shooter should be looking at
You miss the point, she is a way more successful photographer than any of us for whatever reason, but she has the budget to use anything that might get her an edge, she still chooses gear which is regularly denigrated and lambasted on here as being past it. Clearly either she is misguided or the complainers are
It is funny, for all the histrionics that these threads throw out, the highest level pros are still using Canon cameras and 24-70 f2.8 MkI's, just today I came across this video of Patrick Demarchelier shooting Beyoncé for Vouge
Behind the Scenes Beyoncés March 2013 Vogue Shoot Small | Large
Or look at any of a multitude of videos of Annie Liebowitz,
Behind the Scenes: Meryl Streep by Annie Leibovitz for Vogue US January 2012 Small | Large
that show her happily working successfully for the high end of the photo industry with her faithful 1Ds MkIII's and, again, the 24-70 f2.8 MkI.
I got in several disagreements over the "upgrade" the MkII 24-70 gave, these people have more money than God yet they are more than happy with the quality they are getting from "outdated, outclassed, second rate" gear, well if they can do it with what they have surely we should look to ourselves a little if we can't regularly get exposure to within two stops of normal.
In too many instances increased camera capabilities are used as an excuse, by people with ever lower photographic capabilities, for their inadequacies. Rule 1 get your exposure right, rule 101 for RAW shooting Canon users, ETTR