Fortunately, there are ways to boost your productivity without hampering your creativity. Tweaking how you work and the structure of your day can make a big difference when it comes to how much you can accomplish.

In this article, we will discuss why productivity is important for freelance photographers. We will then consider four tips to boost your efficiency and explain why you should use each one. Let’s get started!

Why Productivity Is Important for Freelance Photographers

As a freelance photographer, your to-do list likely seems never-ending. You’re responsible for finding new clients and editing all the photos you take. You also need to find time to handle your bookkeeping and other administrative tasks.

All these small responsibilities can eat up your day, leaving you with less time to actually take pictures. However, they’re also essential if you’re going to continue to make money doing what you love.

This is why productivity tips can be so valuable to freelance photographers. Improving your efficiency leaves you with more time to do everything you need to.

The quality of your customer service may also improve when you become more productive. This can result in business growth as clients will be more likely to recommend you to friends. You may also find that you have more time to plan shoots or offer additional services.

4 Productivity Tips for Freelance Photographers

Overhauling the way you work can be a daunting prospect. However, small changes to your routine may be all you need to boost your productivity. Below, we’ve covered four techniques that may help you make better use of your time.

1. Create a Dedicated Workspace

Working from home brings to mind imagery of sitting on your couch in your pajamas while emailing with clients or editing photos. While a setup like this one might seem ideal, it leaves you open to distractions that may lower your productivity. This is why you should have a dedicated workspace.

In addition to minimizing distractions, dedicated workspaces can also help you stay organized. Ideally, yours will have everything you need to do your job. This may include a computer with your image files and editing software, as well as your photography equipment.

If you have a spare room, you can easily convert it into a workspace. However, you can set up a desk in a corner of your living room or bedroom if you’re tight on space.

2. Automate Time-Consuming Tasks

To be more productive, you should consider streamlining certain tasks such as email marketing, bookings, and e-commerce. One of the best ways to do this is to automate these responsibilities. There are several tools and WordPress plugins that can take care of them for you.

To automate email marketing, you can look into autoresponders. These platforms send all your marketing emails for you at pre-determined intervals. They also offer templates for quick campaigns.

You can automate bookings by using a plugin such as Amelia:

It includes multiple payment options as well as the ability to enable clients to specify locations and two-way Google Calendar syncing.

As far as e-commerce goes, our Photocrati WordPress theme can help. It includes built-in e-commerce galleries and easy Paypal integration. Our automated print fulfillment service makes selling physical copies of your photos easy, too.

3. Jot Down Ideas in a Notebook

Ideas to improve your photography business or practices can strike at any time. When they come, it can be tempting to stop and consider them. However, they can also distract you from other important tasks.

To ensure you don’t forget these ideas, you can keep a notebook on hand to jot them down. That way, you can revisit them later when you have the time. Alternatively, there are several note apps for desktop and mobile devices you could use instead.

4. Schedule Blog and Social Media Posts

Posting on a blog and your social media accounts are prime strategies to market your freelance photography services. However, creating content and publishing it at the most opportune times can break your focus and reduce your productivity.

Planning ahead and scheduling your posts can remedy this situation. You can then batch write articles and prepare content for Instagram or other platforms when it’s convenient for you, and set posts to go live when your followers are most active.

For your blog posts, you can use the built-in scheduling functionality in WordPress. Scheduling social media posts is harder, as many tools for accomplishing this aren’t compatible across networks.

As a freelance photographer, you likely focus most of your efforts on Instagram. Fortunately, there are multiple solutions for scheduling posts on this platform, such as Later:

However, tools like CoSchedule may provide the most significant boost to your productivity:

CoSchedule integrates with WordPress to schedule blog posts as well as content for several social media platforms, including Instagram. Automatic publishing from one tool makes managing your online presence faster and easier.

Conclusion

While there are many benefits to working as a freelance photographer, you may also find yourself with too little time to handle everything you need to accomplish. It’s possible to get this time back by boosting your productivity.

In this post, we covered four productivity tips for freelance photographers:

1. Create a dedicated workspace.
2. Automate time-consuming tasks.
3. Jot down ideas in a notebook.
4. Schedule blog and social media posts.

Do you use any other productivity tips to get a handle on your freelance photography workflow? Share them with us in the comments section below!

We’re happy to share a new tool that is available from our friends at MCP Actions. They’ve created a fantastic set of Lightroom presets that speed up the process for photographers to create blog galleries in a storyboard or collage format.

The video above says it correct. The MCP Actions Lightroom preset for creating these storyboards, really is extremely simple. To top it off, never having to leave Lightroom in order to create one takes the cake.

The sample you see here was one that took about 2 minutes to make.

So will you be giving the new Lightroom presets from MCP Actions a try?

Thanks for reading,
Scott

NAS stands for network-attached storage. It essentially describes network storage options for the home and office. There’s a lot of technical gobbledygook attached to this storage option, but suffice to say that you can use it to share data among computers, use the network drive as a media hub to stream movies and tunes, share printers (via onboard USB ports), and possibly use these drives for data backups as well. Those USB ports can also be used to attach other compatible devices, such as flash drives and even hard drives (for data transfer or backup to the attached hard drive, as applicable). However, be aware that the connected drive may need to be reformatted for this purpose, which means all data will be wiped out.

Network drives look more or less like typical external hard drives, with one exception: They do not connect to your host computer but instead, via Ethernet cable, connect to your wireless network. Any computer on your network can read from and write to these drives once you’ve logged on from that computer. The drive comes pre-configured with specific “shares”—one of which is your “private” or “admin” share.

A share is a shared folder, but that doesn’t mean everyone gets to share it. It could just be shared among computers in your local area network (LAN), specifically your home network. You can password-protect shares and grant limited access, all by setting up user accounts and groups. And you can add to these at any time and adjust other settings using a Web-based administration tool. When you turn the drive on, it may take a few minutes for all the protocols to fall into place. Much of it runs on autopilot. Initially you’ll need to set up a user name and password for login (don’t lose these, or you may have to reset the entire system, which may also erase all data). That’s it in a nutshell.

Network vs. Typical External Hard Drive

One of the advantages of a network drive is that it disregards your operating system. I can read from and write to my NAS drive from Windows or Mac, or the Great Cosmic Computer on Planet 9 (if it speaks the same computer language). With my earth-bound everyday drives, I can only exchange information effectively if that drive was formatted for the computer’s operating system (OS). I might be able to read from the drive, such as copy files, but not write to that drive if it has been formatted for another OS. For cross-compatibility I would need a drive formatted for DOS, which has some inherent limitations. However, sharing data with a network drive is nowhere as fast as with a conventional drive.

Unlike the typical hard drive, which is only accessible from the connected computer, a network drive is accessible from anywhere on the planet via the Internet. It may require setting up a special remote access account initially through the browser login site.

I’ve recently come across several options for creating a home network. These include the Western Digital My Book World Edition (at Amazon: WD My Book World Edition) and Seagate BlackArmor NAS 220 (at Amazon: Seagate BlackArmor NAS 220) for increasingly more demanding work environments, and on a smaller scale, Verbatim’s 1 TB Network Storage Drive (at Amazon: Verbatim 1 TB Network Storage Drive), and SimpleTech’s SimpleNET NAS Head USB 2.0 Portable Dongle (At Amazon: SimpleNET NAS Head USB 2.0 Portable Dongle). That last one is a mouthful and an odd creature, to boot.

RAID Defined

Before we go any further, we need to define a basic term involved in computer storage: RAID. RAID stands for Random Array of Independent (or Inexpensive) Disks. A RAID drive is comprised of two or more disks configured to operate in tandem, within a housing with a central controller. You may be able to hot-swap disks in select RAID drives, but many require that the drives be replaced by an authorized service center, or at the very least, require complete shutdown before swapping out any drive. Normally, the drives in a RAID system must be matched by brand, model, and capacity. Of course, you can’t mix and match IDE with SATA drives, which use different controllers and pin configurations.

The basic two-drive RAID configuration can be set up so that one disk mimics the other, serving as a constant backup in case of failure. This is the “mirrored” drive, or RAID 1. RAID 0 has both drives operating together, but instead of backing each other up, they each hold pieces of information to provide faster throughput, forming a meandering stream of data. The problem is that if one of these “striped” drives goes down, the data may be totally corrupted and irretrievable. The down side to the mirrored drive is slower operation and half the storage capacity. In other words, if you buy a 2 TB RAID 1 drive you’re effectively only getting 1 TB of storage; with a 2 TB RAID 0 drive, you get 2 TB (minus what the system requires in each case).

RAID drives are usually configured one way or the other out of the box. The best way to reconfigure the drive is via a hardware switch. Using software to change the RAID configuration may slow the drive down.

Our Options

Western Digital (WD) has several NAS systems, beginning with this 2 TB RAID edition. It is Mac Time Machine-compatible, but may require that the drive’s firmware be updated (log in via your browser – on Mac, enter via Bonjour – and select the Advanced Mode, then System tab and Update). At least that’s in theory. I couldn’t get Time Machine to use the WD My Book World drive for backups for some inexplicable reason. So I’ll just continue to use it as a shared drive, without backups. After all, the drive is stylish and runs extremely quiet—and otherwise operates quite effortlessly, being readily accessible from any computer I own—PC, Intel Mac, and pre-Intel Mac. It’s also from the generation of WD green drives, so it’s more energy-efficient. This drive was configured out of the box and remains a RAID 1 drive.

Also a RAID 1 drive out of the box, the Seagate BlackArmor NAS 220 is metal and built like the proverbial tank. It consequently has less of an aesthetic than the WD drive, which is all white with rounded corners. The one thing this drive was not configured to do was work with Apple’s Time Machine. But since it is firmware-updatable, that may change in the future.

Both the WD and Seagate network drives are designed to remain on 24/7. That doesn’t necessarily apply to Verbatim’s Network Storage Drive, which is a compact 1 TB solution. This is a single disk drive, so there’s no option for any RAID configuration. This Verbatim drive is a very uncomplicated network solution that you may want to avail yourself of for a home network.

SimpleTech’s SimpleNET NAS Head USB 2.0 Portable Dongle essentially lets you turn any USB hard drive into a network drive. It features FAT32, NTFS, HFS+, and EXT3 (network sharing) file system support. With its two USB 2 ports, it can be used like other network devices, for any number of file-sharing purposes, and is compatible with all current operating systems.

I got my first job in this business because the photographer that hired me didn’t understand the concepts behind digital imaging. He knew f/stops and shutter speeds and watt/seconds like the back of his hand. He could estimate flash exposure (without a meter) within half a stop, and his client relation skills were out of this world. But he had just mortgaged his house to buy a digital camera (Kodak DCS460) and he needed help.

That was 15 years ago. Digital imaging was just beginning to become an acceptable alternative to film for some uses. Royalty free stock photography had just entered the market and pulled the rug out from under a lot of photographers. The global economy was finally starting to come out of a recession. Fifteen years later – we’re (hopefully) coming out of recession, microstock has showed up, pulling the rug out from a lot of photographers, and integrated video is once again, to use a phrase from the ’90’s, shifting the paradigm.

Looking at the past few years, newspapers and magazines have struggled horribly as advertisers have cut back ad budgets and shifted to digital marketing. It’s pretty likely that advertising supported print publications are not long for this world. Second, recent product prototypes by publishers like Conde Nast© and Time/Warner show that e-readers are coming fast. And if Apple launches the iSlate (or whatever they decide to call it,) later this month as predicted, and it’s the game changer it’s expected to be, it’s entirely possible that the newsstand and bookstore as we know it are headed the way of Betamax and CD’s. Right now publishers are simply converting their print publications to electronic versions. But that’s soon to change. Audio and video embedded into magazine, book and newspaper articles are only a software upgrade away.

Those photographers outside of the commercial field are by no means exempt. Moving pictures embedded into family snapshots (a la Harry Potter) are currently technologically possible, but economically unfeasible – and we all know how that curve works. Wedding and event photographers are already combining their stills into slide show movies with transitions and background music. Making the jump to embedded video is a logical next step.

As with any monumental change, there will be those who resist, those who adopt early, and those who go with the flow. It’s probably too late to be in on the early adopter phase, but it’s certainly never too late to be a resistor. After all, there are those of us who still shoot film, and are sought out because of it. There are those who make images using oils and watercolors and etchings, and make livings doing so. I expect that there will always be those who make a living exclusively doing still images with a camera, but they’ll be a minority. What’s left is the middle ground of going with the flow. Usually, it’s said, that standing in the middle of the road is a good way to get run over, and it’s true. But what may be worse is not crossing the road in the first place.

A lot of the skills that we’ve learned as still photographers translate to video very well. Composition, lighting and attention to detail are still important. New skills like capturing quality audio, maintaining continuity and compression codecs steepen the learning curve – so get on it and learn. As with still photography, specialized help is needed in some instances. We hire food, makeup and prop stylists all the time in the still world. It’s no different in the motion world, other than you need more people. Freelance editors, script supervisors, line producers and audio technicians may come into play.

ASMP has just published the results of their research here. It’s well worth reading.

Fifteen years ago I got my start because an industry veteran realized that he knew a lot, but didn’t know enough. So he hired some help. That’s a lesson worth taking to heart. We know a lot, but we need to know more. Either learn, hire some help, or get run over.

Better known for its medium format cameras and digital backs, Phase One -based in Copenhagen, Denmark with offices in New York – is also a software developer. The company’s powerful Capture One program has been available for several years, and was recently upgraded to version 5 with additional tools for even greater versatility. Capture One is described as a workflow package since it offers a full suite of options: control over a tethered camera, image importing, editing and final output. Because it would be impossible to review all aspects in less than 5000 words, I decided to test my own favorite feature of Capture One Pro 5: its RAW file enhancing and conversion capabilities.

Primary Features

Do note that there are two versions of the Phase One 5, Standard and Pro. (For full specifics about the differences, see http://www.phaseone.com/comparison  .) Since 5 Pro offers far more editing tools – including some that are unique – I decided to try this more impressive program. Although I worked only on RAW files produced by an EOS 7D and Nikon D700, Capture One supports the RAW formats of all brands of cameras. Also, some of the software’s editing tools can be applied to JPEG and TIFF files if desired, for making non-destructive adjustments. (In the latter respect, Capture One is similar to software such as Lightroom and Aperture.)

Without re-hashing the entire list of specifications for 5 Pro (available at Phase One) let’s take a look at the features that serious photographers will particularly appreciate. These include multiple monitor support, a customizable workspace and the following editing items that I found to be most useful.

• * The new Skin Tone Enhancer is ideal for people pictures, particularly portraits.

• * Levels and Curves are available with many programs, but 5 Pro allows for adjusting individual color channels; serious photographers will love this feature.

• * An enhanced feature, Lens Correction allows for correcting optical and linear distortion, light falloff, vignetting and chromatic aberration.

• * Entirely new, the Focus Tool and Focus Mask are ideal for checking sharpness.

• * The Mask highlights areas of an image that are in sharpest focus with a green overlay, a very effective method for evaluation.

• * The advanced Color Editor includes many useful items including Smart Saturation; it can also be used to tweak ICC color profiles. Granted, this tool is not simple to use.

• * Like the camera makers’ software, Capture One 5 Pro offers a wide range of creative style modes for quickly achieving a wide range of entirely different effects. Afterward, any of the numerous overrides can be applied to tweak the image. Custom Styles can also be created.

• * Pros will appreciate the ability to add a watermark with a logo or other information to every photo.

Some of the tools provide default settings, useful as a starting point when experimenting with Capture One 5 Pro. As with other imaging software however, few photographers will find the defaults to be ideal, particularly for Sharpening and Noise Reduction. Naturally, it’s simple to tweak any feature to get just the right level for any image to satisfy personal preferences.

After a RAW photo looks perfect, it’s easy to apply the same settings to numerous other photos using the Local Copy feature. This can minimize editing time when a set of images were taken under similar conditions, during a wedding ceremony, for example. And finally, the modified RAW captures can be batch processed as TIFF or JPEG files, with the desired options for compression, bit depth, color space and size/resolution.

Capture One Pro in Use

In order to determine the benefits of 5 Pro with entirely different cameras, I used the new software on NEF files from a Nikon D700 and CR2 files from an EOS 7D. This report is not intended as a comparison test, but I also tried Adobe Camera Raw (version 5.6 beta in CS4), Canon’s Digital Photo Pro and Nikon’s two offerings, View NX and Capture NX. Initially, I used Capture One Pro 5 at default settings, and later I made whatever adjustments were necessary to produce the very best possible results.

Note: While Phase One suggests that Capture One is intuitive, it won’t seem particularly simple to use for anyone who is making the transition from Photoshop and its Adobe Camera Raw utility. That’s true of Nikon’s optional Capture NX too, a program which also includes a vast range of tools that are entirely different than those provided by Adobe. Frankly, I have found all of the camera makers’ bundled RAW converters to be far more intuitive though not as versatile. In order to jump-start the Capture One Pro 5 learning experience, check out the useful tutorial on Phase One’s website .

Nikon NEF Files: As expected, Capture One produced excellent results with the beautifully clean/smooth RAW captures produced by the D700. At default however, the Phase One program provided excessive sharpening. The results were much better after I reduced this aspect by at least a third. Photoshop experts who prefer to sharpen just before making prints – as suitable for the output size – will want to set Capture One’s sharpening at a much lower level.

With well exposed photos up to ISO 1600, there was no need for the aggressive level provided by the Noise Reduction tool; reducing the amount by about 50% from the default provided more natural-looking results. After tweaking with other tools, my converted images look great, with just the right color balance, skin tones and highlight/shadow detail. The photos are remarkably smooth but retain maximum detail. After I became proficient with some of the unique tools available in Capture One Pro 5, this program produced the best results overall with some of my well exposed test shots.

I also worked on some NEF files made at ISO 3200, and one ISO 400 shot that was underexposed by a full stop. After tweaking the Sharpening and Noise Reduction, the converted images look great. Only a faint noise pattern is visible in mid-tones and in shadow areas that were lightened. Overall these images are excellent; the results are cleaner than I was able to achieve with the other brands of software.

Canon CR2 Files: The RAW captures produced by this small-sensor 18 megapixel EOS 7D are not as clean as those generated by the full-frame 12 MP Nikon D700. Hence, I did not find a need to reduce the Noise Reduction amount by a great extent; a 25% reduction from default was fine for ISO 100 to ISO 400 captures. On the other hand, my earlier comments — about using a lower than default  sharpening —  apply for this camera as well. Surprisingly, some artifacts are visible in certain photos after conversion. Other captures look just about perfect, however: crisp, very smooth sharp and richly detailed.

When working with RAW captures at ISO 800 and above, a different tactic was required for the best results with the CR2 files. I increased the NR amount from the default for smoother images and reduced Sharpening by 50% from default to avoid emphasizing the grain pattern or speckles. Subsequent application of Unsharp Mask in Photoshop allowed me to make very good 12×18″ prints.

Processing Speed

Although Adobe Camera Raw in Photoshop CS4 is faster, Phase One Capture One Pro 5 is no slouch compared to some other programs.  Changes to settings with any of its many tools are made almost instantly and the preview image is updated accordingly. (That’s certainly not typical with the camera makers’ bundled RAW converters). The final processing/conversion speed depends on several factors: the image size, the number of features applied to a photo, as well as the computer’s processor and available memory.

For the tests, I used my desktop PC with Windows XP 64-bit, Intel Core 2 Quad Q6600 2.4GHz Processor, 8GB of DDR II 800MHz memory and 74GB SATA 10,000 RPM Hard Drive. On average, Capture One Pro 5 processed a single EOS 7D RAW capture in nine seconds. Batch processing ten of the CR2 files consumed 100 seconds. Because I was able to continue working on other photos during the processing, the “delay” was not an issue at all.

Pro 5 vs. Lightroom 2.6 vs. DPP

While I was preparing this review, a controversy arose about the RAW file quality produced by the EOS 7D. This started with the evaluation in a camera review by Darwin Wiggett on his blog and continued on the Pro Photo Home website operated by Drew Strickland. Subsequent comments by both are particularly revealing. Here is an excerpt from Strickland’s long report.

“Capture One Pro 5 really shines with both cameras [EOS XSi and EOS 7D]. The default settings for this raw conversion tool outshine both of the other major players [Canon’s Digital Photo Pro and Lightroom 2.6]. … Capture One will provide the most pleasing files “out of the box.” Lightroom works pretty well and comes in a close second (except for color issues). DPP is a distant third, as usual. … Obviously, Phase One still has the edge in their camera color profiles and “out of the box” image quality with these two cameras. … Keep in mind there are many, many variables involved with processing raw files. If you want the best results from raw I would suggest a quick purchase of Capture One, or Lightroom 2.6. Canon DPP just doesn’t cut it, at least not for these cameras.”

Darwin Wiggett also provides a meaningful conclusion on his photography blog. Here’s a brief excerpt.

“To me Drew’s tests show the importance of using the best RAW converter possible. … If you use either the 7D or the Rebel, Lightroom’s Camera Raw makes nicer images than Canon’s DPP when both are at the default settings. … What is enlightening is that Capture One Pro 5 is the best of the three RAW converters presented. Anyone getting a 7D will need to invest in Capture One if they want the best files possible.”

Note: Both Strickland and Wiggett tested converter software only on files produced by the EOS XSi and EOS 7D for their current reports. Their specific findings are unlikely to apply to every camera. However, it’s probably fair to make this general statement. The best RAW quality is always provided when using the most suitable converter software. Naturally, the best program may differ depending on the camera and there are many other fine RAW converter programs.

The Bottom Line

Capture One 5 Pro is absolutely loaded with pro-oriented features that provide maximum versatility in editing RAW captures; some of these can also be used on JPEG or TIFF photos. Become proficient with the tools and you can get outstanding quality even with RAW photos that were underexposed or made at very high ISO levels.

While Drew Strickland praises the results produced by the Phase One software “out of the box” (for the EOS XSi and 7D), I strongly recommend making your own settings instead of accepting the defaults. When adjusted to just the right level, Capture One’s Noise Reduction algorithms are particularly impressive in terms of effectiveness with high ISO photos. You may find no need to use Noise Reduction software after RAW file conversion.

The exact settings for Noise Reduction and Sharpening will depend on the camera that you own, the ISO used for a particular photo and your personal preferences as to the “look” of the converted images. Be sure to view the photos at 100% magnification on a high quality computer monitor while experimenting with both tools. (If you intend to make prints, tone down the sharpening as discussed earlier.) Although it’s a complex program with many advanced features, Capture One 5 Pro is certainly not complicated in terms of its primary tools. After a few minutes of tweaking Sharpness and Noise Reduction, you’ll find the levels that produce the effects that you personally consider to be ideal.

Price and Specifications

Capture One 5 Standard and Pro are not yet available from retailers such as B&H Photo and Amazon.com but can be purchased from Phase One’s on-line store. Try the free trial before you buy with a download from Phase One.

Capture One 5 Pro sells for $399; if you already own version 4 Pro, the upgrade costs $99. The Standard 5 version is far more affordable at $129, or $99 for an upgrade from Standard 4. It produces the same quality as 5 Pro, but omits many of the really desirable features.

My brief review has really only scratched the surface of the many possibilities of the full-featured 5 Pro application. If you’re considering an upgrade to an unusually versatile image editor, check out Phase One’s list of new and enhanced features with sample images.

For the full list of amenities visit the Phase One website.

Of course, like photography, productions vary widely. You can shoot a scripted narrative with voice overs and scores. You can shoot a time lapse of the shoot and simply post that. The latter is certainly the easiest to shoot, and the TimeLapser app is designed to make that easy.

TimeLapser uses the built in camera to shoot individual frames, at a user-determined rate and resolution, then stitches those images together into a .mov file (at a user determined frame rate). At its heart, it’s basically an intervalometer that will combine the individual files together for you.

Settings

The app will allow for the following adjustments to the capture, stitching and playback…

• Frame size – Chose the resolution of the images captured, ranging from 240×180 to full camera resolution (note: larger file sizes are not supported but the iPhone, so those need to be emailed out directly from the app).
• Capture rate – Chose how long between each frame captured. Each subsequent generation of iPhone has limitations to how quickly it can capture images. Selectable rates range from 3 sec. (3Gs only) to 5 minutes.
• Delay – Chose the delay between button tap and first frame capture.
• Stop after – Chose the length of time to shoot. Ranges from 1 minute to 24 hours, also can be told to shoot indefinitely.
• Playback rate – From 1fps to 30fps.

Use

While the concept is cool, the interface could be thought out a bit better. First, the control panel is vertically-oriented. While most of us are used to the vertical orientation on the phone, most videos are viewed horizontally. The app doesn’t take advantage of the built in accelerometer, so if you turn the phone horizontal to shoot, you have to work sideways. Not horrible, but not easy either. Of course you should move the phone to airplane mode while shooting so you don’t have an interrupting phone call (which will kick you out of the app and not save your images) and also disable the auto lock feature.

Finally, on several attempts to shoot videos, all of them had significant artifacting. This is the deal killer. As an imaging professional, it’s simply unacceptable to put something out in the world that’s got technical deficiencies. I hope subsequent updates fix this, because otherwise, it’s limited to just a toy. Of course at $1.99 it’s a cheap toy.