b_christopher

<p>Broken nose. 5D MkII 28-70 1:2.8 1/100 @f/4.5 ISO2500<br>

<img src="http://www.bchristopherphotography.com/temp/temp/IMG_3297.jpg" alt="" /></p>

<p>Yes. You can filter either source(continuous or flash) to match the other with filters(CTB or CTO.) </p>

<p>Stacy: What a beautiful set! I especially appreciate your craftsmanship in the food pictures. Thank you for posting those.<br>

<img src="http://www.bchristopherphotography.com/temp/temp/Untitled-13.jpg" alt="" /><br>

Diana F, 400TX</p>

<p>Washington DC. 5D MkII, 70-200 f/2.8 + 1.4 Ext, 1/30 f/11 ISO100<br>

<img src="http://www.bchristopherphotography.com/temp/temp/dc100925.jpg" alt="" /></p>

 

<p>You can spend $1300 or $13,000 on lighting equipment and achieve good product photography. But, without knowing how to use the tools effectively(i.e., much experience), it won't make much difference. If your friend is not experienced in lighting products(your question insinuates he is not), you might as well have him look into a light tent and a couple of cheap continuous lights. It'll get you close, and he'll save some money and lots of heartache in the long run. Certainly, as mentioned, producing images of such caliber(as in your links) takes many years of experience and lots and lots of tools to achieve.</p>

<p>You can create and save an Action(i.e., your watermark action), then apply to each image. Once Actions are saved, you can use the Automate>Batch function to apply the watermark on multiple images at once.</p>

<p>Nearing harvest time - Just south of the Mason-Dixon line in Maryland. <img src="http://www.bchristopherphotography.com/temp/temp/IMG_2397.jpg" alt="" /><br /> 5D MkII EF28-70 f/2.8 1/100@f/11(-2/3EV) ISO100</p>

<p>73rd New York Infantry monument - Gettysburg, Pennsylvania<br>

5DII 28-70 f/2.8 1/100 @f/18 ISO400</p><div></div>

<p>Specifics on settings, camera and flash output, will be very helpful in troubleshooting the problem.</p>

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<p>Perhaps you're trying to remember the Quantum flash enhancers? Often referred to as "bare bulb." Quantum flashes were(still is?) quite popular with many wedding folks. <a href="../search/?cx=000753226439295166877%3A0gyn0h9z85o&cof=FORID%3A11&ie=UTF-8&section=all&q=quantum+bare+bulb&filter=0&sa.x=0&sa.y=0&sa=Search">PNet search result</a> <a href="http://www.google.com/images?as_q=&hl=en&btnG=Google+Search&as_epq=quantum+bare+bulb&as_oq=&as_eq=&imgtype=&imgsz=&imgw=&imgh=&imgar=&as_filetype=&imgc=&as_sitesearch=&as_rights=&safe=images&as_st=y&biw=1306&bih=904">Google Image search result</a></p>

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<p>F, F? (Toggle full screen mode <-> Standard screen mode)</p>

<p>I don't use an HP printer, but that screen shot of the printer settings dialog appears too simple for a full color printer. In the pdf manual, in the provided link, under the Color management chapter, is this sentence: <em>"If you install Adobe Photoshop after you install the printer software, you can then install the HP Photosmart Pro print plug-in separately</em>."(pg. 19) Which makes me believe the print plug-in currently installed is not the "Pro" version. Is it possible this is your case?</p>

<p>The only other option is called the "Auto-reset cordless flash" mode(page 16 in <a href="http://www.sekonic.com/images/files/L-358.pdf">Operating Manual</a>.) The meter will only take a measurement when it sees a flash.</p>

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<p><em>I paid $300 for a Mark II 5D, 600mm 4.0 L IS, 24-105mm f/4 L IS, and a Speedlite580EX II. I got the Mark II repaired for $800 and the 24-105mm repaired for $175. The Speedlite works fine and didn't need a repair.</em></p>

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<p>This has to be the best buy I have ever heard of. Congratulations, John!</p>

<p>24-70 f/2.8 + 85 f/1.8 or 24-105 f/4 + 85 f/1.8 would be my choices. $1500 to $1800(+/-) for the sets.</p>

<p>When I use it, I simply put the pack in either the inside jacket pocket or pants back pocket. The cord is long and flexible enough that it doesn't hinder any shooting position.</p>

<p>The soft command dial detent springs on Canon's prosumer/consumer model bodies, easily allowing unintentional mode changes when slinging camera on and off of shoulder. The thin darkslide slit on Hasselblad film backs. I wish there were a stepped guide or a slightly wider opening.</p>

<p>I would recreate it with one large light source above and camera left as key, and another light source above and behind subject as hair light.</p>

<p>Ray, what do you mean by "<em>reflection of reflection</em>?" Do you mean to describe the double reflection on the plexi, or other?</p>

<p>I have used the 1N HS, 1D II, 1DS II, 5D, and 5DII for studio and field work. I really appreciate the build quality and the instant response time of the shutter on the 1 series bodies. What I really like about the 5 series is their lighter weight, especially at events lasting many hours, where I may need to carry multiple cameras on my shoulders.</p>

<p>Rick, you mentioned "<em>working with controlled lighting"</em>, and "<em>good portrait lighting [techniques] with cheap lighting</em>." As you have most likely already learned, portrait lighting is not a simple subject. But, your desire to <em>control</em> the light is a solid start, and whether you choose to use cheap lights or professional photography level lights, is insignificant. I think the simplest way to achieve your goals in "<em>good portrait lighting [techniques],</em>" is to break up the many facets of the whole subject matter and learn one fundamental aspect at a time. I would suggest researching and practicing the _Classic Portrait Lighting Patterns_ to start. <br /> The 4 distinct classic patterns are: Loop, Paramount(aka, Butterfly), Rembrandt, and the Split. You will know that countless photographers throughout the history of photography have used these patterns in the most successful portrait images. I, too, use these patterns all the time in the studio and even look for and try to create the patterns with available light, both indoors and outdoors(using street lights, neon lights, window light, headlights, candle light, desk lamp, etc..) Keep it simple to start, then move on to other portrait lighting aspects and techniques such as; short/broad, accent/kicker, key/fill ratio, specular/diffuse, etc., etc.. Do remember though, in order to get "<em>good portrait lighting</em>," you must understand the fundamentals.</p>

<p>Rebel II. I don't know that there's any metal on this camera.<img src="http://www.bchristopherphotography.com/temp/temp/rebelII.jpg" alt="" /></p>