unohuu

<p>Studio Session<br>

D300s<br>

f/7.1; 1/125s</p>

<div></div>

<p>I bought the CameraQuest one for my 9cm Elmar. Next time I see you Carl you can try it. </p>

<p> </p>

<p>Most of us care, but are busy enjoying our fine cameras and snickering at the hobnob who look down on the 3rd child Minolta shooters. </p>

<p>Congratulations, Natalie. <br>

Agree with the posting regarding halving and doubling your 50mm f/1.8. Your options are delightful in the 20; 24; 28 and 35mm range and again in the 85, 105 and 135mm range. I have the 85 f1/8 and I love this lens; the 135mm f/2 and again love it for portraits. I also hang on to a 100mm Series E that works in a pinch and can be counted on at times in cramped quarters to be just the right length. </p>

<p>Happy hunting. </p>

Bill, your subjects are likely to have too broad a range of complexions to justify only one background. How about gels and a medium gray and a white spot?

Shot my first wedding 2 years ago...I was alone and no wedding experience. I tried repeatedly to meet w/ BandG -no luck. Church was dark, stuck in back with videographer who wanted to borrow gear from me. Two tripods, flash and a long lens. One digital SLR and one film. It was a lighting disaster. The formals were rushed because the minisiter needed to get B/G downstairs to the reception. The reception was better. I did it for a co-worker who simply wanted her niece's wedding day covered. They liked the prints, especially the candids from the pre-wedding and the reception. I did get a stunning capture of the bride sitting on the podium with her dress spread around her. I remember it was the toughest and most emotionally demanding time-compressed experience I had ever had and I work FT as a Child Protection Social Worker. No mother about to lose her child is as rabid as the Mother of the Bride or the bridal family during formals. And there was an Uncle Joe. I bought PWs after this experience because they wore out my flash with the P/S during my formals.

17mm f/4; 35mm f/2; 85mm f/1.4

Thanks for the accurate information all. I am looking forward to you all getting your D3s and D300s and getting rid of your D2xS AND D200s. Unless of course, I have a great amateur season here with weddings. Honestly, I look forward to the reports of how both cameras perform for weddings, portraits and other standards.

Victor, even most P/S cameras give a manual flash option. If you turn off the bells and whistles the camera flash will not be able to send a pre-flash and thus not fool your triggered flashes. Look through the manual.

same body; spend your money on lenses. The D80 and D200 are similar enough that lenses would be a prudent purchase. Think 80-200 or 70-200VR; 17-35 or fast prime 85 f/1.4.

 

Luke

using D70s right now. waiting to see what Nikon offers for new body, and considering the S5 Pro from Fuji...meanwhile I have the F100, F4s and F90s.

have multiple purchases from them. only one item with problems in 5+ years. They immediately replaced the item and s/h at their expense. I would buy from them without reservations. Hopefully you can get this entanglement fixed quickly.

Henry Horenstein.

Andrew Zuckerman.

Gordon Parks.

Annie Liebowitz.

Dorothea Lange.

Susan Sontag.

I also liked Hedgecoe, Amphoto books in general,

Add your own favorite photographer in here. Each one of us has something to contribute and someone specific that we are able to learn from.

Paul Lester.

Monte Zuckerman.

National Geographic manuals in general. I keep one or two in my camera bag.

Dawoud Bey

Cindy Sherman

Robert Maplethorpe

 

A starting place.

parent magazines, real books from a library or bookstore on family portraits. i know that amphoto produced quite a few.

think of the session as your creative joint project with the client. work with them to create a personal vision...don't be afraid to ask them to do something. i have spent time talking with clients about what they want and my instructor suggested we keep old fashion mags, sports mags and other publications as either tear sheets or a book...that way you and the subject can have a pictorial reference point. it becomes a feedback loop with your subject at that time. what i would like to do and what they expect out of the photo.MHO

Other side of the river from you, Steve,

Golden Valley, MN

rent the SB800; i used it last month. $10 for a day (actually a weekend).

i started reading this thread early this morning and thought it would simply result in a morass of inane and disrespectful comments. i think the psychology of photography does have a place. we all take photographs for a reason. my reasons may be different than yours. perhaps the psychology of photography could be used to improve one's own photography; an introspective review of what and why. just a few humble thoughts about myself at least.

Aaron, I have WALE (Wide Angle Lens Envy). I am praying for a nice tax return so I can afford just this one lens. Luke

35mm f/2; 50mm f/1.8 and 85mm f/1.8...these are three of my favorite lenses for both film and digital. I would also like a 17mm and a 24/28mm.

hola nacho...me llamo lucius y vivo yo en Minneapolis. se puede ver mis fotos en http://discerninglightphotography.com y se me puede contactar por el ID arriba. mucho gusto, nacho.

lucho

I like the 135mm as a portrait lens with film and that makes the 85mm a perfect digital accomplice. Of course, I also have the 100mm for just in case. It all really depends on your shooting style; your comfort with subject (and subject with you) and how much room you have to negotiate. I have even used the 80-200mm for portraits in studio. Of course, we have lots of room to back up before we hit the wall. Luke

I simply joining the choir here. Kept my manual focus XD-5 and XD-11 for film, along with Mamiya 645 and two F100s. Added D70s for digital although I am hauling my "rock" (F4s) around these days for fun. Shot birthday and Valentine's Day portraits of my kids with the F4 and 35-70/2.8. Will have them scanned and will have them printed in time for presentation to my wife in frames before dinner. Film works!

having just switched to Nikon from Minolta...here is what I am shooting with. D70s (wish I had gone for the D200); 35-70 f/2.8; 50 f/1.8; 85 f/1.8; 80-200 f/2.8 and I am waiting for the right price on 17-35 and 135 f/2 DF. I am really pleased with the selection on Nikon primes and still shoot with a F4s and a brace of F100s. Compare Nikon's glass to some of the rest and be grateful.

I have the F4s and 3 F100s so that I have a backup for sure. Two of the F100s have the grip and one does not. For backup to this setup I have a Minolta XD-5 and XD-11. Then the 3 RFs that are always ready in a pinch. Keep the F3s and get the Ricoh for a pocketable/more easily carried camera.