Countdown to first wedding . . . pre-flight check:

[pete_s.]

<p>Ralph, you obviously know a lot about lighting.</p>

<p>As an option during the "bride getting ready shots" you might want to try to bounce of the ceiling and/or walls. Usually you could get soft but more directional light that way - if you flag the light. </p>

<p>Wrap 3-4 inches of cinefoil around the flash head so light spill won't hit your subjects directly. I use a cut of black neoprene can cooler to the same effect.</p>

<p>Zoom in the flash head on the flash. Try 85mm or so. Don't bounce like you're trying to hit the bride with your bouncing light. Instead aim the bounce where you would place a light source. Keep in mind that longer distance means less light fall off. Also try just aiming it straight up into the ceiling and place the light stand near a wall or corner where you want your light source to come from.</p>

<p>Give it a shot, I think you might like it.</p>

[studio460]

<p>I said:</p>

<blockquote>

<p><em>• Dynalight Uni400 Jr. w/7" reflector @ full-power: <strong>f/4.5 + 2/3rds</strong> @ ISO 100 @ 30' (measured).</em></p>

</blockquote>

<p>Of course that makes no sense! Sorry--I'm reading the meter wrong--I believe it's measuring 1/3rd of a stop over f/4.0 [i.e., "f/4.5"], plus, 0.2 (two-tenths) of a stop. The meter displays "f/4.5 [2]" where '2' is displayed as a subscript. For convenience's sake, I'd just refer to this as a tiny bit more than, "a 1/3rd over f/4.0."</p>

[studio460]

<p>Thanks, Pete! Yes, but the main reason I'm using silver-lined umbrellas is to maintain more consistent color temperatures (my Photoflex LiteDomes always warm things up a bit). I just think it's better not to introduce off-color hues by choosing not to bounce off of beige or otherwise, somewhat off-white painted surfaces.</p>

<p>The other option was to mount Foamcore to the ceiling or walls, and proceed as you suggest, but I didn't want to muck up any painted surfaces, or mess with boards falling down, etc.</p>

[studio460]

<p>Ian said:</p>

<blockquote>

<p><em>The main thing is to keep loose but focused. And have fun.</em></p>

</blockquote>

<p>That's the plan, Ian! After all this testing, I'm now so confident in my set-ups, that I should be pretty relaxed on the day. The light from all three modifiers is really pretty (46" umbrella, 30" bounce reflector, pole-mounted units). All three are wicked-fast to set-up, move, or re-position, and work from a wide variety of shooting angles.<br /> <br /> I just mounted my second TT1 on a second D3s. So, I've got a 35mm f/1.4 on one D3s, and the 150mm f/2.8 OS on the other D3s--both bodies now remotely firing the same off-camera Speedlight. I've been shooting all around the living room with only the 46" umbrella working (not exposing for any ambient, and without moving the light), and everything looks great!</p>

[pete_s.]

<blockquote>

<p>Thanks, Pete! Yes, but the main reason I'm using silver-lined umbrellas is to maintain more consistent color temperatures (my Photoflex LiteDomes always warm things up a bit). I just think it's better not to introduce off-color hues by choosing not to bounce off of beige or otherwise, somewhat off-white painted surfaces.</p>

</blockquote>

<p>OK, we have a slightly different approach. I want flash to look like natural light so I like the color temperature of flash to mimic the color temperature of the natural light in the room. Since the daylight in the room picks up a little color from walls and every object it bounces off I want the flash to do that as well. Then I can color correct the entire scene in post and decide just how much of the warmth I want to have in the final photo.</p>

<p>More than one way to skin a cat :-)</p>

<p>PS. I like how you approach this BTW. It's better to be well prepared so you can think about making great images and not have to worry about technical details. Especially since you are going with off camera flash and strobes right off the bat. If possible scout all the locations before hand so you know what to expect.</p>

[nicolaiecostel]

<p>Hi, I shoot weddings from 2008. At first, when I started reading your post, I thought you are either buying the base necessities for a movie shoot or you are building a photography studio.<br /> During weddings, you have to keep up with the party. No one has time for you to deploy the mobile studio and you have to learn to use ambient light as a main light source, to bounce the external flash on your camera and to use video lighting for photography or external flash slave, when the situation allows it (time, assistant). As a lone wolf, without assistant, I use 1 body with fast primes, backup body and I carry around 2 light stands with 2 additional flashguns, for the party and staged photoshoot. Go light and use recheargeables !</p>

[studio460]

<p>Nicolaie--if there's pretty, available light to be had, I'll definitely shoot it. I just want to be prepared in case there is none!</p>

[gil_rosado]

<p>Everyone says the same thing.(less equipment) Ralph doesn't seem to hear or care. The wedding isn't about you. The less intrusive you are the better. I'm sure you've heard it a thousand times. "There are no perfect shots, only perfect moments." Be courteous, upbeat. If the bride and groom have fun, like you and you are a halfway decent photographer, they will love your images. Concentrate more on the do's and don't of posing, lighting and making the bride look her best. Be in control. You are the expert. </p>

[studio460]

<p>Gil said:</p>

<blockquote>

<p><em>Everyone says the same thing.(less equipment) Ralph doesn't seem to hear or care.</em></p>

</blockquote>

<p>Ha!</p>

<blockquote>

<p><em>Be courteous, upbeat.</em></p>

</blockquote>

<p>Yes, I think that's one of the most important characteristics of a successful photographer. Keeping it light relaxes everyone. I think confidence in your technique helps you do that. Hey! Congrats on the "Best Wedding Photo" award!</p>

[studio460]

<p>• Update firmware:</p>

<p>Interestingly, all three bodies needed firmware updates. After the update, my Sigma 35mm f/1.4 didn't seem to focus properly--so I updated the firmware on the lens via the Sigma USB dock, and now it works fine. Now, I still have to update/re-program all of my TT5/TT1 transceivers . . .</p>

[pete_s.]

<p>Wow, you're a brave man!</p>

<p>With the current state of low software quality, it's a dangerous game to update just because. While some software bugs may be fixed, others could have just as easily have been introduced.</p>

<p>You open yourself up for potential problems that might just show up in certain scenarios. And you'll find that out on the day of shooting. When you need everything to work. Like your Sigma lens. What if Sigma was still working on their update? Then you'd be without that lens.</p>

<p>PS. I'm sorry if I wasn't clear but firmware is actually software. You know software, firmware, programs, applications, apps it's basically all the same. </p>

 

[studio460]

<p><strong>D.</strong> Inventory essential cables:</p>

<p>• TTL cables [sC-17/SC-29].<br>

• PocketWizard sync cables [mini-mini; mini-1/4" phone].<br>

• CKE high-voltage power cable for Quantum Turbo.<br>

* IEC Edison cables.</p>

<p>I had my SC-17 remote TTL cable shortened years ago, and it's the one I still use today. I don't have a back-up--just an SC-29 somewhere. I just bought spares for all my sync cables. I think I have a spare CKE cable somewhere. I also finally bought a couple of PocketWizard PW-DC-N10 TT1 power cables. It's amazing how quickly the CR2450 coin batteries go down in the TT1s, and often at the most in-opportune times. If you haven't seen these, here's the B+H link:</p>

<p>http://www.bhphotovideo.com/c/product/982497-REG/profoto_804_608_pw_dc_n10_nikon_dslr_power.html</p>

[studio460]

<p>Yeah, I knew that was a potential risk, Pete. Each firmware update was released almost exactly one year ago (for both the D3s and D800/E), with no reported issues that I could find.</p>

[studio460]

<p>Westcott 32" soft-silver umbrella tests:</p>

<p><img src="http://studio460.com/images/west32-1.jpg" alt="" /><br /> Nikon D3s + Sigma 35mm f/1.4 + Flex TT1.<br /> Nikon SB-800 [TTL] + Flex TT5 + Westcott 32" soft-silver umbrella @ 8' [no ambient].</p>

<p><img src="http://studio460.com/images/west32-3.jpg" alt="" /><br /> Nikon D3s + Sigma 150mm f/2.8 OS + Flex TT1.<br /> Nikon SB-800 [TTL] + Flex TT5 + Westcott 32" soft-silver umbrella @ 8' [no ambient].</p>

[studio460]

<p><strong>E.</strong> Test all batteries under load--replace if needed.</p>

<p>Well, as luck would have it, one of my Quantum Turbo batteries just died. If you own a Quantum Turbo, replacement batteries only cost between $16-$20 each. If you have an older Turbo, and it isn't recycling like it used to, replacing the battery will make it recycle like new.</p>

<p>To replace, remove the three screws on the exterior of the leather case, and carefully pull the electronics pack from the top. Pull the spade connectors off the terminals using a pair of insulated needle-nose pliers. WARNING! High-voltage inside! Be careful not to touch any conductors! If you don't feel up to it, a local BatteriesPlus will do the replacement for you at no charge if you buy the batteries there.</p>

<p>Quantum Turbo replacement battery: Power-Sonic PS-832 8V 3.2AH SLA with F1 terminals.</p>

<p><img src="http://studio460.com/images/power-sonic1.jpg" alt="" /><br />Disassembled Quantum Turbo high-voltage battery pack.</p>

<p><img src="http://studio460.com/images/power-sonic2.jpg" alt="" /><br /> F1 terminals are about 3/16" wide (F2 terminals are wider).</p>

[studio460]

<p><strong>E.</strong> (cont'd.)</p>

<p>Additional high-voltage batteries for Nikon SB-800/CKE [part of past eBay Dynalite Uni400 Jr. purchases]:</p>

<p>Dynalite Jackrabbit I: DOA--needs to be re-celled [NiCad].<br /> Dynalite Jackrabbit II: re-celled by BatteriesPlus for $50 [NiMH].</p>

[studio460]

<p>General equipment maintenance:</p>

<p>Shooting for yourself is one thing, but being prepared for multiple redundancies in case of equipment failure on an important job is something else. Although I haven't really performed routine equipment maintenance in the past in any organized fashion (except for continuing battery maintenance procedures), this upcoming event really made me get all my ducks in a row:</p>

<p>• Updated firmware in x3 camera bodies + x1 lens + x1 flashmeter.<br /> • Updated firmware in x5 PocketWizard Flex transceivers; re-programmed/tested all C1/C2 settings.<br /> • Replacing x2 Quantum Turbo SLA batteries [first one just failed; second one approaching EOL at three years].<br /> • Testing Jackrabbit II [back-up to Quantum Turbos].<br /> • Completed inventory of all batteries/necessary re-orders.<br /> • Completed inventory of back-ups for all critical cables [e.g., TTL, HV, sync, etc.].<br /> • Labeled all Speedlights, triggers, batteries, etc. [i.e., anything where there are multiple, identical units].<br /> • Test-fitment/assembly of all modifier hardware.<br /> • Performed measured tests with all new modifiers.</p>

[Marcus Ian]

<blockquote>

<p>With the current state of low software quality, it's a dangerous game to update just because. While some software bugs may be fixed, others could have just as easily have been introduced.</p>

</blockquote>

<p>I don't think I'd agree with this by default. But as you've experienced, some times an update introduces problems - especially w/ 3rd party equipment (such as w/ your Sigma). I've always made it a habit of keeping copies of older versions of the FW updates (since Canon at least often removes them from their website) in case an update introduced problems with the equipment I use - and I'm unable to resolve them. </p>

<p>Definitely a wise plan to do it well ahead of time (as opposed to the day before) so you have time to react and adapt! </p>

[pete_s.]

<blockquote>

<p>• Labeled all Speedlights, triggers, batteries, etc. [i.e., anything where there are multiple, identical units].</p>

</blockquote>

<p>Having labels is really good when you have several identical ones. I remember having an intermittent problem with one of my speedlights and I put that aside during the shoot. But then I packed everything down and when I got back I didn't know which one it was. It took me a while to find the problematic one because I shoot with a bunch of them and the problem only showed up when it wanted to. Since then I have numbers on a lot of things like batteries, camera bodies, speedlights, strobes, etc.</p>

<p>Numbers are also good so you can rotate your equipment so for instance a spare camera battery doesn't sit unused until the day it is needed.</p>

 

[ray_l]

<p>Ralph,</p>

<p>I have no doubt that you will do great, you have dedicated a LOT of thought to, and planning for, the big event! You definitely have the equipment and it sounds like you have also given a lot of thought to the flow of the events and the associated images that you want to create.</p>

<p>Regarding your equipment cart, since you will have a lot of expensive equipment on that cart how are you planning to secure all of this?</p>

<p>I wish you the best and based upon several of your previous posts I have every confidence that your first wedding shoot will be a big success!</p>

<p>Best Regards,</p>

<p>Ray</p>

 

[dave_wilson1]

I used to label all my flash equipment. Great idea. When a head or pack goes bad and they all look the same it's a real

pain to figure out.

[savagesax]

This is sure fun seeing all of Ralph's answers and others posting with great advice. The interesting part

is how we all offer advice based on our experiences to our good buddy Ralph!

 

OK, here's my system below. A Quantum Trio flash with that round dome. Heck, I went to California

Institute of Technology, one of the schools, I went to 3 others, yes I'm bragging, I also went to Johns

Hopkins University in Baltimore! I know - no one cares! So I'm into tech fun including cameras, flash

units and domes. Take a real good look at the dome below. Notice the "Center," of the dome. It's

painted white! Although I went to high tech schools this white color isn't really paint, nor is it a

Rembrandt copy! It's White-Out, that stuff you use when you make a mistake when writing with ink, so

you use White-Out to cover over the ink and then rewrite over the White-Out. This method of madness

was to use White-out instead of paint in case this idea didn't work! Paint wouldn't be much fun to

remove. White-Out removes with just water! See, sometimes I think before acting, however thats NOT

always the case!

 

So Ralph, you may think that Bob (me) has lost his mind again. Well I won't comment! hehe

 

Let me tell you and other interested readers the method of madness behind this. We've all photographed

people with a flash and we all get those reflective hot spots on the faces. YUK! So if it's some of the

formal shots we often go into Photoshop and mellow out the hot spots on the faces. It's a pain. We all

agree with this. Our choices as a photographer is to leave it alone or fix it in PS (photoshop)

 

The cheesy art work I did, using White-Out helps mellow or even stop these hot spots, plus along with the dome the light

spreads somewhat even and very softly. The key word is "Softly."

 

I don't know about Nikon flash units and the accessories. Is there an after market dome available? If so

try painting the center - if needed, to get rid of the hot flash reflections on the faces, such as the brides

face. Now you could forget about bringing the umbrellas to the wedding however we know you will surely

take them! Heck, if you have them well use them! The dome is softer light compared to the silver

umbrelles. It's simply the basic reflective surfaces. The white dome I use bounces light all over the

place, because it's round, but it's very soft white lighting, roughly a Kevlin light measurement of 6100

degrees. For example the reading temperature in the shade is about 7800 degrees or so. Silver umbrella

lighting varies, such as shooting in the shade, in the sun, or that wonderful late afternoon, known as the

Golden light. There is a temperature change according to your Nikon flash unit, which is around 5100.

Light, such as the color of light is surely a subject of interest and study. Now that everyone and

including you Ralph are bored and some probably disagree with me I will move on! Oh the golden light is probably around 8100 or so.

 

Rats!!! I forgot, I wasn't going to advise you anymore! I lied Ralph! Fibbed? Prevaricated? Paltered?

hehehe Take your pick! Leave the silver home for that softer look. Use a white umbrella. I know you are bringing the silver! Have fun and use it!<div></div>

[dave_wilson1]

That's a nice dome Bob. My favorite to carry was the Norman white glass soft dome, but I used it on a Lumedyne with a

short bulb so it wolud fit all the way on. I still have it but no longer use it unless I use an AC setup because all my pack

batteries are done. BTW, I use the Gary Fong black collapsable with a white dome, it's a great source of controllable light because you can feather the blacked out part. No setup, and it works close in as a kick.

[savagesax]

During the film days Dave, I had that Norman dome too. It was great. In fact the whole Norman company

offers fantastic AC and DC products.

[studio460]

<p>Marcus said:</p>

<blockquote>

<p><em>I've always made it a habit of keeping copies of older versions of the FW updates (since Canon at least often removes them from their website) . . .</em></p>

</blockquote>

<p>Good idea! A prudent practice for future firmware updates, since Nikon seems to only host the current firmware versions as well.</p>