greg jansen

<p>Here's a few. I'm sure I'll think of more once I write this. For privacy issues, I don't want to post any photos related to them.<br>

1. Father/Daughter dance. To some Neil Diamond song. Started out o.k., but half way through the song the bride's elderly father broke away from her and started doing some strange kind of dance. By the end of the song he was doing some type of calisthenics inspired dance, complete with push-ups, jumping Jacks, etc. It was really weird.<br>

2. A surreal one. On the way to the reception, the bride and groom and wedding party stopped by a cemetary to lay flowers on a relatives grave. The Bridesmaid dresses were a very bright color, and had these strange long streamer kind of things about 10 feet long tied to the back. It was an overcast day. It was such a strange sight to see this procession of the wedding party in their bright colors with the streamer things trailing, as they somberly carried a flower to place on a grave. I wish I could post that shot. Weird.<br>

3. Not too long ago at a Catholic mass. The priest's sermon went on and on. It had something to do with how excited he got when he was served a meal once when he was a child. There was an extra fork at the table. He was told that it was for dessert. After about 1/2 of the priest going on and on about this meal and dessert, he excitetly closed with "Remember...... save room for dessert." My assistant and I just looked at each other like, "What?" The whole sermon made no sense whatsoever. I got along well with the couple, and I brought it up when they came to pick up their album. They didn't get it either. We all had a good laugh.<br>

4. The catering manager at a very nice club here was bringing the three or so tiered cake to the back to have it cut. She was carrying it by the bottom. As she walked by me she was kind of smiling, giving me the googly eye. She tripped, the cake fell against her nice dress, then toppled to the floor. She stopped, looked at me, then said "I did not just do that." She ran in back and about 1/2 hour later came out, slightly wet dress, and got back to business. Luckily the couple had sheet cakes to serve in addition to the fancy one.<br>

I'll post more as they come to me. This is fun.</p>

<p>Be sure to specify in your pricing what is included, and what they can expect. You could start with a basic headshot price for one look. Have it include ONE corrected image on CD. They can pay extra to have the same shot with their name and/or contact info on it. If they want to bring a change of clothing, that is a new "look" and will cost them extra.<br>

Your time is valuable. What you don't want to do is spend a whole afternoon milling about shooting all over the place, switching lenses, trying this, trying that. A good headshot, once set up, should not take longer than 10 minutes and maybe 15 frames.</p>

<p>I have a variety of older lenses with no so great coatings. When I open the files in LR, I'm not so impressed- everything is slightly more washed out compared to my modern lenses. Then I adjust the Black Level a touch and voila- a really great look.<br>

The Black Level adjustment seems to be just the tweak to get that older lens slight flare looking washed out stuff back to normal.<br>

The first photo you posted really shows that nice look.</p>

<p>I have one and it is great. It is both SCSI and Firewire. I use Firewire. The XP version of their software is available form Polariod. The Polaroid software doesn't have dust removal I think. Make sure you get one with the 3rd party software that came with it- Silverfast it's called... it has the dust reduction built in to the software. If you have to buy the better version of Silverfast on its own it is expensive.</p>

<p>Usually a gentle dose of thier own medicine gets the point across. <br>

I think the Uncle Bob's get so wraped up in what they are doing, they fail to see that they are getting in the way.<br>

This has worked for me many times. When a key momment is about to happen, like the kiss during the ceremony, or the bride and grrom entering the reception, I just wait until a split second before that moment happens, and just place myself between the offender and the subject, seemingly unaware that I am blocking their shot.<br>

Most Uncle Bob's I've encountered are nice people, but just a bit too enthusiatic about getting the shot, and consequently get in the way.<br>

A subtle demonstration of what they are doing usually puts them in their place. No verbal communication needed.<br>

O.T.O.H, if somone is leaning into the isle during the processional or recessional, I will wave to them to scoot back in.</p>

<p>Here's one that just kind of sticks with me. Not your typical contest type image, but one that I think shows the tension couples experience. I think hands can be very expressive. Leica M8, Zeiss 25mm, no flash.</p><div></div>

<p> test</p>

<p>Thanks Alan, and everyone else. An Office Max coupon came in the mail yesterday. Time to get one!</p>

<p>I'm looking for a small laptop for travel. <br>

Generally for email and such, but was wondering if anyone has used the Acer Aspire One loaded with L.R. Nikon View, Photoshop CS3 or any other memory hog program.<br>

The laptop looks great, and for $350 you can't beat it.<br>

If I could do some basic editing on it it would be great.</p>

<p> </p>

<p>Avoid doing the more posed stuff of family and bride and groom in the harsh sun.<br>

When you set up a group for a shot, don't look through the viewfinder of the camera. Just look with your eyes. Do you see some harsh sun hitting them in some spots, and shadows in other spots? If so, move to a different spot. A common mistake is to shoot in too harsh of light. The camera can't handle the extreme contrast of hard sun and shadows. The camera records less of that range than we see with our eyes.<br>

Try moving them to a spot with very even shade (scope out these places before). Now add some fill flash so their eyes light up a bit.<br>

A quick way to do it is to just leave your camera on program (it won't exceed it's max flash sync then), then point your flash straight at the subjects, NO DIFFUSER, and set the flash (not the camera) to -1 or -1 1/2.<br>

See Strobist for more detailed instructions.<br>

64mm is a bit wide for my tastes. May be o.k. for some family groupings, but for the shots of the bride and groom I would use the 100mm. Get some nice tight, expressive stuff of them. For more of the enviorment in the shot, use your zoom. Avoid using one lens or focal length too much. You will be dissapointed in the shots if they are all wide or all telephoto. Variety is nice.<br>

Why not have the zoom on one body, the tele on another, and do shots from each camera at each setting you place the bride and groom in. Don't forget fill flash.<br>

I typically have a normal zoom on a camera around my neck, and a long telephoto on a camera hanging on my shoulder. So easy to just grab one, put it down, grab the other without moving position.<br>

The lenses you have should work well for that.</p>

 

<p>I have a 150mm CF lens. The faster speeds seem to be all right, but the slower peeds from 1/4 - 1 second seem to hang up frquently.<br>

The lens has sat for some time, and I have been exercising the shutter. Seems to have helpped a little, but again, it's still hanging up. I would like to use the lens this weekend. I doubt I'll go slower than 60 second with it.<br>

I know on some cameras the shutter speed mechanism is two parts, one for high speeds, one for the slower speeds.<br>

Is this the case on this lens?</p>

<p> </p>

<p>The pictures. Everyone has some sort of personality or character in them. A good photograph captures that personality.<br>

I.M.O. the photos don't express much about the subjects. I don't think they are very good photographs.</p>

<p>The pictures. Everyone has some sort of personality or character in them. A good photograph captures that personality.<br>

I.M.O. the photos don't express much about the subjects. I don't think they are very good photographs.</p>

<p>I don't like them at all. They are all dull and uninteresting. I don't see any great "capture their personality" moments in there.<br>

I understand the logistical constraints placed the photographer, I.E. no studio, limited time, etc. Because of those constraints it seems he took the safe route in regards to lighting. Dull, safe, uninteresting.<br>

I don't see any risk-taking at all. It seems the photographer lost trust in himself and blew an opportunity to do something with a bit more personality.<br>

His lack of trust in himself also showed in when he tripped the shutter. I see late timing in all the shots. That one millisecond where the person's personality comes out was missed.<br>

I wish him better luck on his next project.</p>

<p>Yet another option is an older Nikkor 70-200 F4. I love this lens. I use it as my travel lens, as it is half the size and weight as my 80-200 2.8. Focusses closer, too. Best part is the price. You can find them for about $100-$200. It does not focus as fast as an AFS lens, but it does focus fast enough. By that I mean I am not annoyed by the focussing speed.<br>

The times I really need 2.8 are very few.<br>

Save your money.</p>

 

<p>What George said, but the Nikkon version 24-70 2.8.</p>

<p>A clean, lube and adjust is going to cost $200 - $250. Not worth it unless you are going to use it yourself. Run a roll through it to see if all is working, then sell it on Ebay.<br>

I have a Norita and although I don't use it much, there is something about it I really like (aside from the 80mm F2).</p>

<p>I shot the wedding of one of my assistants in Sorrento, Italy a few years ago. Beautiful setting overlooking the sea. Wedding was followed by a 4 hour meal. Best meal I've ever had.<br>

I'll never forget what my assistant said at the reception. In a moment of sheer excitement she exclaimed, "This is the best wedding I've ever been to... and it's my own!! "</p>

<p>I tell them to not worry about the timeline. I'll be the timekeeper for the day. I'll tell her exactly where to be and when. I'll reassure her that I will keep checking my watch against our timetable that we worked out prior to the wedding, and will keep things on track. <br>

Basically just presenting an air of confidence, collectiveness, and authoritivness does a lot to calm nervous brides.<br>

As far as emergency supplies, Shout Wipes (love the little individual packs), a small plastic clip to hold the dress up from the ground when walking or to add a tiny bit of weight to the back of the veil in windy conditions, small Kleenex pack, some wipes for sweaty faces, Aveda Mat ... finisher? that helps control shine and sweat.<br>

In car- Golf umbrella and a knife and server set. About once or twice a year the couple forgets the serving set to cut the cake. That set in my trunk has gotten me many tips!</p>

<p>SOny used to make the UP-DR100. They can be found used for $100-200 or so. They are really nice, well built units. I don't know how much the media (paper and ribbon) s for them. That would be a much nicer unit than the HiTi. I believe they are SCSI, but that shouldn't scare you.<br>

If you got a used real dye sub, you could use it for in-house printing. I have abandoned all my inkjet printers and all the headaches I use to have with them. I use the Snaplab for 4x6 and 5x7, and a Shinko for 8x10's (wedding albums). The dye sub printers are so reliable. I get the same color, same finish, same look every time I print on one of those. Stuff looks like a smooth finish C-print. For 11x14's I do the Costco thing.<br>

ALthough a bit old, dye-sub technology hasn't changed much. What's so great about them is not ink to clog, smear or change. </p>

<p>I would say go for a used good quality dye sub over the Hiti mainly because you will get more use out of it after the event.</p>

<p>Hi Matt<br>

I've done a ton of this sort of thing and have used many of the printers out there. A step up from the Selphy would be the HiTi, or Hi-Touch printers. They are resonably fast, very inexpensive, and produce a nice quality print with a nice water-resistant type finish. I had the model that you could drop the flash card in and preview the shot on a little hand-held viewer thing. It is imperative to have one person devoted to printing. Easiest way to do it is to use two cards. Shoot a few images, maybe 5 or 10, on a card, hand it over to the assistant to print. they can select which of the two or so shots to print and send them to the printer. People get really impatient at these things. If there is some sort of dinner, tell them they will be ready for pick-up after dinner (they will still check beforehand if they are done).<br>

For a really great printer try the Sony Snaplab. I love that thing. Maybe someone in town rents them. It would be worth renting one just because you won't have to change paper or ribbon during the event, and the printouts will be fast. Does 5x7, too. 4x6 is awfully small for these events. No computer needed either- they have a large touch screen and card reader built in.<br>

Maybe you could find one on Ebay.<br>

Another big thing is to make sure you shoot in the smallest file size possible. Large files really slow down the printers. Figure out what the smallest file you can print from yields acceptable prints on the printer you are using. Get the printer driver and camera settings tweaked so you can print directly from the card- no photoshop needed.<br>

I used to kind of dread these things, until I got a good system and good printer. Now they are easy money as not too many people do them, or do them well I should say. It's easy to market it in winter for company parties.<br>

That little Snaplab I have has paid for itself many times over.<br>

Let me know if you have any more questions.</p>

 

<p>I should really stress the importance of getting the lights close. You will use less of the already small power available to you, and the light will be softer.<br>

Try for about 15 feet or so between the light and the subjects. Don't bury the people way back in the shot. <br>

Think of a T. The vertical of the T is the center isle. The top of the T is the space between the first pew and the riser that the altar is on. You want the subjects at the intersection of the T. If it is a larger grouping, you can put them on the riser and make a couple of rows, or have them stand in an inverted V formation. If you move them back 6 feet or so, you will have to adjust the power on the flashes up, or go from 5.6 to 4.<br>

If you have a photo of the church (check their website) that would help.</p>

 

<p>I should really stress the importance of getting the lights close. You will use less of the already small power available to you, and the light will be softer.<br>

Try for about 15 feet or so between the light and the subjects. Don't bury the people way back in the shot. <br>

Think of a T. The vertical of the T is the center isle. The top of the T is the space between the first pew and the riser that the altar is on. You want the subjects at the intersection of the T. If it is a larger grouping, you can put them on the riser and make a couple of rows, or have them stand in an inverted V formation. If you move them back 6 feet or so, you will have to adjust the power on the flashes up, or go from 5.6 to 4.<br>

If you have a photo of the church (check their website) that would help.</p>

 

<p>I think the placement of the lights is going to have more impact than shooting through or bouncing into the umbrella.<br>

I would use the diffuser that came with the flash (also puts the flash in wide zoom), then shoot through the white umbrella. Flashes are pointed at the subjects, and on a lightstand next to you.<br>

You will get a more gradual light fall off on the edges by using the diffusers and shooting through than if you were to point the flash at the interior of the umbrella.<br>

Want you are trying to avoid is a hard line between where the light hits the subject and where that light stops. You want a smooth, gradual transition.<br>

If you don't have the means to mount both SB600's on one lightstand, you may want to try one light on one side of you, one on the other, tripod in the middle. That may take up the whole isle though, and get a bit clumsy. You will always need to leave a path for peole to walk by.</p>

<p>Right on, C Jo.</p>