marlboro_smith

Years ago, all anybody shot in was manual. Some people believed what their camera told them, but I didn't. I knew what the setting worked best with full manual flash on my Vivitar 285, both when it was bounced off an umbrella, or when it was on my camera, or when 2 285's were on a couple of light stands for the formals(actually i usually used one, but on 285 was place in a portrait shape for the formals and one was flat normal---I wanted to make sure I had full horizontal and vertical coverage). For the VPS-III I used, it was 5.6 at 1/60 with the iso(called ASA back then) set at 125 even thought the nominal was 160. Back then, we couldn't afford to take 1200 photos, let alone make the film changes necessary to do a medium format roll of 30, FORTY TIMES!. So we had to make sure that every shot was exactly right.

 

When you take 1200 photos, I guess the law of averages fixes it so that even an orangatan could get 100 reasonably good photos.

 

But any, manual is still the same. You have to know exactly what the lighting is, what the ISO is, what the aperture is, & what the shutter speed is, and what your phto will look like each time.

 

You can believe your lens meter if you want, and if you're shooting 1200 photos you'll probalby be ok, but if you're only shooting 150, you better make sure that you have 139 totally OK shots. You don't haVE THE TIME OR MONEY TO WASTE.

Sell the XT, and go with the 5D. Or wait for the new 5D that is sure to be a 16MP camera at least, rivaling MF. You might be able to get a body with the 2400 and the $300 you can get for you XT. Then you can move into professional landscape photography too, and make really nice sharp quality 11 x 14's.

Its a great lens. But do you NEED it for wedding photography? NO. I shot all my weddings with a 50mm equivalent(which is 80 mm in medium format), and one 300m fixed focus for the long shots.

 

But there is no doubting that I could have used something like that!

Guys,

 

I also have an another reason for asking the question. At the moment, and for at least a year or so, I do not have the computing power to do the full digital manipulation to handle RAW images. I simply cannot run the modifications using a 2002 model Powerbook 800. Hence my stopgap thoughts of in-camera modification.

 

I can use raw, I just can't currently manipulate the images except going out for a cup of coffee while the computer plods along trying to do the modification.

 

Thanks for your help.

 

ERIC

Hmmmm.......

 

Thanks, William. You've brought up a full array of issues I had not pondered. The most particular is your noted variation in the 5D(or my 20D) itself, and the changes in the ISO. I would not have expected those but now that you note them, it is quite obvious.

 

Since all my indoor portraits are done with umbrella bounce flash, that would be the one I am trying to match to both my own recollection of VPS3(like you) and to the actual photographs of same, at least initially.

 

You are right that this may simply be an impossible task, at this time. VPS3 was a mature technology, and digital imaging is still in toddlerhood, at least in regard to stable-the-same-across-the-board image quality.

 

Kind regards,

 

Eric

Does anyone know the parameter specs that would tend to match Kodak Portra film

on my Canon 20D?

Portra is the daughter of VPS-3, a refrigerated 120 and 220 that everyone used for years. At least they gave her a nicer name.

What kind of PC are you using? There is other software which will open raw and save it in TIFF so that you can use PS6. Graphiconverter 6.1 will do it. Its available for PC or Mac, and the shareware non-paid version will do all of it.

 

Raw Photo Processor (RPP) will do it too and also offers a number of manipulation tools.

 

Eric

Nadine,

 

I agree 100% on the impractical-ness of my suggestion. I was just extemporizing on the possibility of something to deal with direct sunlight in this situation. The wind of most beaches would knock it down in a sec.

 

What can be done? Direct sun on a beach is very very difficult.

 

Eric

Make an non-copyable, non-printable PDF document with all the photos in it. They can see them on their computer or possibly on TV, but they can't print them themselves, and they can't copy them. You want to be able to make the prints, not give them an opportunity to "use" you and cut you out of the most of the money.

 

Hard to keep your copyright if you virtually give it away.

 

You'll need to buy Adobe's Full PDF making software: Adobe Acrobat 8 Pro. $449 retail

 

ERIC

Anyone who takes this job on her terms is not a professional, they are a "nutcase."

Way worse than the wedding I turned down when told the bridesmaids were all various kinds of dogs(like labrador retriever).

 

Eric

If I was going to have to do beach weddings on a regular basis(I don't live near a beach), I would build adjustable Light Shades that could be in the sand out of PVC pipe. You need to shield the people from direct sunlight at all costs. Mid Day sun is just impossible.

Include the bridesmaids as you normally would. But make sure that you photograph them in a way which doesn't make them the center of the pictures. The bride always must the the center of the show when she's in the photo.

 

Offer to take some photos of just them accentuating their (beautiful) condition at the reception, when you do the romantics. Presumably their spouses will be there also. Presumably you brought a background and set up a mini-umbrella flash studio in the corner to do portrait pictures of anyone who wants them. This is always a good idea considering how many relatives and friends have come together one one place. Be sure you get the pregnant ones together too.

 

Your sensitivity to their beauty will give you rave reviews, and will give you an "in" for more pregnant photos, as well as baby pictures, and family portraits.

 

Eric

I agree 100% with Nadine. Have an many back-ups as you can. A 5mp point and shoot with good glass lenses that you picked up cheap can be a lifesaver when things just go wrong.

 

And they just do.

 

I used a medium format and a 35 mm. If I was in the business now, I'd get a 5D to go with my 20D(they are very much alike) and still carry my Canon A-1 with 5 rolls of film.

 

Eric

How have you prepared to make sure you handle all the obligatory shots you must take?

There are a lot of interesting different portraits. It would be nice to see a series of just one set rather than a bunch of different ones. It would be easier to critique your style that way.

 

It how you develop your client's interaction and action to see their personality. We cannot see any of that development with just one of each.

 

Eric

Renting.......

 

Must be wonderful having a place to rent equipment. Out in the stick where I live there is no such thing as renting bodies or lenses. You either buy'em yourself, or you don't have them.

 

Eric

Clearly you're are going to need something in a wide angle. Assuming you don't want to spring for the Canon 17-40L, you might try the Tamron 17-35 F2.8-4 ASPHERICAL DI LD SP IF ($265 at KEH) or you can use your kit lens if you still have it, but the resolution on that little number is pretty poor.

 

There are several books you can buy but you may not have enough time. here's a spot on Photonet: http://www.photo.net/learn/architectural/interior.

 

You could also go with buying some magazine which specialize in interiors and get a good idea of how the photos have to go. But you seem to be doing a terrific job so far.

This isn't my area(thats landscape, wedding and portrait.)

 

Eric

What equipment do you have now? And is this a product shoot, for what purpose? Do you have Photoshop services to deal with effects of too wide a lens in close quarters?

I would always call ahead about a week for any last minute instructions. Also would give a free one other time. But I had no problems with keeping the deposit, and in this case, I would black list the girl from future services from me.

 

Eric

Its a gimmick shot. Choose the one you like the best, but no more than one.

 

Eric

First, Go buy Monte Zucker's book. Best book on posing avialable, in my opinion, and lots of people on amazon:

 

* Monte Zucker's Portrait Photography Handbook

* Monte Zucker (Photographer)

* Format: Paperback

* ISBN-13: 9781584282136

* Price: $34.95

 

As has been said before, the backgrounds are making your photos look like snapshots. If you can't choose a solid or close to solid background then shoot at a small f/stop to blur the background as much as you can.

 

Avoid shifting the camera so that the whole frame is sideways. I'd recommend framing tighter. Don't feel a need to get the whole body in the photo; people only look at the face. Zucker has a whole section on what to wear. Their colors are OK but the shirts for the boys are not good. Solid colors, and bright colors are best. White side stripes are not it!

 

Try to keep the symetry. In the first one, guy has hands on wife, wife on boy, but boy loses the symetry and the symbolism of the all for one and one for all family.

 

The last three are the best, but try to get the guy to smile. Sing out of tune, stand on your head, offer money. He's got a nice smile and smiling always helps.

 

Avoid b&w unless the form of the photo is going to carry the picture. B&W is for art where color is a distraction. Its an art form. Its why the shoes works out pretty well.

 

Bring some props that people can use. I always like the Goucho Marx glasses, nose and mustache. A photo with the whole family wearing that or pig noses or something like that would be humorous, and would show the solidarity. Do it near the beginning so the family sees how fun this can be. They don't have to buy it, but you might use it yourself later.

 

Eric

Back in the Day(20 years ago).....

 

Its the follow-up to Vericolor Pro S-3. I always shot that at 125. The extra protection was always worth it. Shot the VPS2 at 100. Mostly you won't be able to tell, but occasionally when you somehow over-exposed the whole thing, you'll be happy for the extra latitude that saves your butt.

 

Eric

Nadine,

 

I live out in the sticks in Pennsylvania, not in a metropolitan area like SF(altho my daughter is moving there this week.) Never had the gear stolen, but often worried about it. One never knows what kind of friends the bride has. But it doesn't have to be people in the wedding party, it can just be people in off the streets. There's no ID required to go to a wedding, and its easy to see where they are happening. In my other job, I've dealt with the circumstances around a famous serial murderer who you would never have guessed about, and neither did I, until it happened.

 

As to the 283/285's, some do, some don't. I have one which I tested in at nearly 400 volts. My 20D is supposed to be good for 250, but I'm sure not going to risk it and then be out $700 to have Canon replace everything, and be without it for 2 months.

 

And sure if you have wireless it doesn't make a difference, but when the wireless quits for some Murphy's Law reason, you'll need a back-up and you'll go back to cords connecting to the PC connector, and then you need the voltage dropper. NOTHING IS IMPERVIOUS TO BREAKING. I learned that one the hard way.

 

Eric

Computer first. The newest iMac is up to 3.1 gigahz, and you can get a wicked big/fast external terabyte drive for it. When you upgrade to a 16mp or 21 mp camera you will need all the processing you can get to deal with the giant RAW images in PS.

 

Go with the computer.