photom

April 25, 2011

Getting back to the original post, I am curious as to why the pupil and iris image seems to be all mucked up. The round reflector image in the eye could easily be shrunk down in size in PP for this particular photo, but it would not be fun to do several dozen. Just use a paint brush sampling from the eye and adjusting opacity. Would moving the reflector farther from the subject just a bit still give the lighting you want but not such a large circle in the eye?

It would be interesting to see a diagram of the setup with approx. distances and angles.

Added later: Personally, I would never use a 35mm lens for a close-up shot of a face. I do not see what format camera was used. If it is the only lens you had, just step back anyway and crop later. I think you are just too close to the subject, period. I realize now that the iris and pupil are gone because the photographer and camera are so large it is taking up most of the eye. Stay at least 8 ft. away, and ideally farther than that. The baby will still have nice round cheeks. Hope this was helpful.

April 21, 2011

If I were to do this type of arrangement I would have them buy the compact flash cards, program in the name of the photographer in my camera as John Doe, make sure I am paid well in advance, and give them the cards in an envelope at the end of the reception after testing them in a laptop. Clean, done, see ya! I would charge say $200 per hour plus reasonable mileage fee. No reason to be offended.

March 26, 2011

I would suggest trying to spend more on the equipment if you are trying to develop a full-time business. Even most hotdog vendors spend more. You need to spend closer to $5,000 by the time you buy everything that you have not discovered yet and some backup. If you amortize the cost difference over a useful life of say 3 years (lenses of course would actually be longer) then the monthly cost difference is not great relative to the benefit. Some equipment lasts longer than 10 years.

If it is just an occasional weekend job than your budget makes sense.

March 26, 2011

Steve Nuzum said:

How you conduct your business says a lot about how you feel about this whole topic. We are there to capture every moment.

</blockquote>

This sounds to me like something akin to video. Maybe do a lot fewer photos and offer video services along with the photos at an even greater profit.

By the way, I like your commitment to a quality, edited printed photo story book.

March 15, 2011

I assumed the point of the survey was to help less experienced photographers make choices for future equipment purchases in the case of uncertainty. One method would be to sit in a room and ask yourself "How am I limited by the gear I own?", think about it, make a guess, buy something, and then wait until you have done more weddings, mess them up, or find out what shots you missed - and then refine your opinion as to what is needed by you. Another method is to, prior to the next wedding being possibly better equipped because of reviewing what other professionals are using, and then refine your opinion as to what you need. The second method is no guarantee, but it seems to me better than the think and guess method. Getting advice in my opinion is always better than getting no advice. You can always think about the advice and reject it if it does not make sense for you.

Another way to look at this survey is a summary of the competition. Most businesses would be interested in what their competitors are doing.

Another point of value is for someone wanting to be a second photographer. It appears that owning a Canon may improve your odds of getting such a job. The statistical dominance of the 5Dii to the degree shown, somewhat surprised me.

"the question you might ask is: " How am I limited by the gear I own?" That might yield some answers....and best of all....they would be your answers....Respects, Robert"

</blockquote>

Embedded profile vs camera profile · March 1, 2011

Are you talking about a color space profile (sRGB, AdobeRGB) or a description of the in-camera settings that software like NX2 and DPP can read to render default raw views? These are two different things. The raw data itself doesn't have any color space as it hasn't been rendered.

</blockquote>

OLD POST RESPONSE: Yes, I was referring to color space profile. The raw converter software has to be instructed from somewhere as to what color space to use when converting. Most use a default color space based on a menu selection. With NEF files, there is code inside the NEF file, separate from the raw data itself, that instructs NX2 as to what is the preferred color space that is to be used when the raw data is converted. This code is assigned by the camera body based on a menu option. This can be over-ridden during conversion, depending on your NX2 selections made. At least this is my understanding and experience.

February 28, 2011

One other comment. I think the notion of a professional certification with a difficult test is the best thing that could happen to photography today. Some kind of experience level should also be added to the designation. For very established photographers that have a steady income stream, it would not affect them too much. However, it would help sort out the serious, dedicated individuals from the wishful, maybe, want-to-be's. Almost all professional occupations have some kind of certification - to provide technical and ethical standards, limit the head count, and help increase compensation for those that make it through "the hoop".

What you do not want is a certification that is easy to get and just a way for some company to make money off of photographers.

I think the reason there has not been one in the past is that there is an important artistic element to photography that is difficult to test and grade. You may score very well on the test but still be a very boring photographer.

February 28, 2011

I think it is a great question and there is unambiguously one correct answer. They want you to clearly understand what a lens projected image size means. It has nothing to do with the final film or sensor size. Many books diagram this with a linear subject size labeled with points A and B, then a smaller projected image size with a and b, of course in reverse.

The part that is confusing may be that if you did such a test and used the medium format camera first, selecting a subject such as a tree, and then you used your smaller format camera from the same distance, much of the tree may not even show up in the viewfinder or on the film. However, if you selected your comparison subject first using the smaller format camera, this is not an issue.

February 23, 2011

<a href="../photodb/user?user_id=3835437">Miserere Mei</a> <a href="../member-status-icons"></a>, Jan 02, 2011; 08:05 a.m.

</blockquote>

I would like to say something to those using the "lack of upgrade path" argument: I don't understand what the problem is. You see, the K-5 is the upgrade. Full Frame isn't an upgrade path, it's a different system—if you want to shoot FF, then buy a Nikon D700 or Canon 5D. I don't understand why someone wanting to shoot FF would start off purchasing an APS-C camera.

Pentax are committed to top-notch APS-C products, both cameras and lenses, and have made that position clear for years. If you appreciate the benefits of APS-C, then consider Pentax; if you simply must shoot FF, then you can rule out Pentax straight away. Please let's leave behind this "upgrade path" nonsense—consider your needs now, revise the specs of the body and see whether the lenses you need are offered, then make a decision.

</blockquote>

That is a good point. What is the upgrade path for Nikon FF?

February 2, 2011

OK, I tried to edit but could not. For those interested here is some updated info. from their site. Looks like a great system if it works as designed. I will wait for the AC-3 I think, as I do not own an SU-800 and do not like using large flashes as master controllers. <a href="http://blog.pocketwizard.com/?p=2159">http://blog.pocketwizard.com/?p=2159</a>

= Tom

February 2, 2011

Follow-up > > > OK, I wanted to clarify my response re not needing a camera control unit such as SU-800. It is not required to do single zone iTTL, however, to do multi-zone control from the camera the AC-3 Zone Control device is needed along with a transmitter (Flex TT5 or Mini TT1). If an AC-3 Zone Controller is not available, then an on camera master control unit such as SU-800 or SB-800 is needed, fitted on top of the transmitter, to do multi-zone control of several flashes.

The AC-3 device - Nikon version - is shipping Feb. 2011 according to the website, so until you can get one, there is a limitation for Nikon owners for needing an on camera device along with the transmitter to do multi-zone control. Maybe someone else, that is more of an expert than I can clarify further.

= Tom

January 30, 2011

Lorne Sunley wrote:

The newer Pocket Wizard TT units (mini-TT1 for camera and Flex-TT5 for flash or camera) <a rel="nofollow" href="http://www.pocketwizard.com/products/transmitter_receiver/flextt5-nikon/" target="_blank">http://www.pocketwizard.com/products/transmitter_receiver/flextt5-nikon/</a> will support iTTL control of the remote flash units. In order to do this they need an on-camera "master" unit. That can be an SB-800/900 or an SU-800 or Pocket Wizard's AC-3 unit (the one for Nikon ships in February sometime). The "master" unit can control the settings on the remote flash units. The remotes can be Nikon flashes (SB-600/800/900/700) or with the right interface bits can be AlienBees or Elinchrom studio flash units). The "master" unit does the same thing with Pocket Wizards as the "master" unit does with Nikon's CLS, it controls the mode and output of the remote flash units. If you have line-of-sight you can use the built-in Nikon CLS infrared transmitters/receivers in the SB-900/800 and SU-800 (as masters) and the SB-600 (slave only) to do the same thing without buying Pocket Wizards.

</blockquote>

For those interested this above information is incorrect. A "master" on camera control unit such as SU-800 is NOT needed for the NEW Pocket Wizard iTTL units to work. Just plug in the PW transmitter in the camera hot shoe. It reads the iTTL signals directly from the hot shoe as if it were the flash unit, translates them and sends the info. off via radio signals to the receiver attached to the remote flash.

This is different from the Radio Popper units which do require an IR source signal from the camera.

January 22, 2011

T. Mestrom wrote: I think, given this, that the Mamiya is probably your best option.

</blockquote>

Can't go too wrong with that sage advice since both cameras under consideration are Mamiyas.

I would say if you do mostly landscape or street scenes, the range-finder is the best option. If you do a wide variety of projects including portraits, close-ups, a lot of vertical shots on tripod, then the RZ II is the best choice.

January 22, 2011

Maybe someone could explain this to me, but what is the point of ever using a TSE lens at a wedding? Lower and upper zones unnaturally out of focus with a very sharp zone all the way across the middle. I have never seen this done before. To me it looks silly and if I did not know what caused it would ask the photographer if there was something wrong with the camera.

I would recommend just sticking with narrow DOF from a fast portrait lens if you want to have good bokeh areas. You get all kinds of opinions here.

Nice shot of the cupcake.

January 21, 2011

Nadine, as usual gave a very good answer. I will summarize to keep it simple.

1) Bounce off of large objects. Ceilings, walls, etc. All of the mentioned devices rely on this to get their light character. They force the light to bounce all over the place and some of it is bounced directly forward.

2) Bounce off of your own object you brought with you. If you are in a situation where there are not any practical large objects to bounce off of, bring your own with you such as a large bounce card, Demb product, or small softbox/umbrella, etc.

January 21, 2011

I am not quite clear what the question is. "Subject: Which focal length gives best blur of backgorund detail"

It sounds like you are trying to find the lens/format combination that will give the most narrow DOF. Best, and most narrow are not the same. People argue all day long as to which lens gives the best bokeh.

IF you want to find the lens/format combination that mathematically gives the shortest (most narrow) DOF, and therefore, the most blurring of objects outside the DOF that is acceptably in focus, then look at this website and plug in lenses that are available for sale.

>>> <a href="http://www.tawbaware.com/maxlyons/calc.htm">http://www.tawbaware.com/maxlyons/calc.htm</a>

Start out using the Dimensional Field of View Calculator near the bottom of the page. There is a lot of trial and error involved but you can find the answer. Start out with a real lens that is available such as Canon 85mm, f 1.2. Decide on a real world fixed long dimension for your portrait - say 4 feet. Plug in the 85mm focal length and through trial and error find the subject/lens distance that gives 4 ft. in the long dimension as the answer. Save the subject/lens distance that solved for 4 ft. Then, go to the top program, plug in this distance, and the remaingning variables, and solve for the DOF. Write down the answer to compare with other possible lens/format combinations you wish to compare with.

Next, try another lens that is available that you believe may be a contender. Do the same thing, keeping the portrait long dimension at 4 ft. You can try medium format film dimensions if you wish, and lenses that are available for same. I am not 100% sure what the answer is, but I suspect I just gave you the answer in the above paragraph. However, there may be some 8x10 film lens that is the answer. But you will have to find the circle of confusion and calculate the focal length multiplier for this lens to verify this. When you have found the answer, please post back because I would be interested in knowing.

Please note, this program assumes a standard image ratio of 3:2 for the Dimensional Field of View Calculator. Not my program so I cannot change this. So when you compare 24x36 film to medium format and large format you will have to mathematically "cut" the film to this same ratio before calculating the focal length multiplier, if you want the exact answer. Again, that is assuming I even understood your question.

Good luck,

= Tom

January 16, 2011

Thanks Jay, and keep of the great work.

Your website says you reside in Idaho. What a lovely area with some many great photo ops. - you are very fortunate. Hope the winter has been a good one for you. Take care.

- Tom

January 15, 2011

Questions about this developer:

Does it provide normal contrast? Any scanned examples yet?

Keeping properties once made?

Is PPD easy to buy and is it inexpensive?

Does PPD store easily?

"Develop TMY-2 7:30, 70F, IA"

Thanks a lot. This sounds very interesting.

= Tom

November 29, 2010

One idea to try is as follows.

Make sure that Auto iso is off to keep things simple. Put in manual mode and flash TTL. The top EV button on the camera body is now a flash compensation button (because you are in manual mode) and you can reduce the flash output by up to 5 stops in 1/3 stop increments. Or, increase compensation. Give it a try.

- Tom

Embedded profile vs camera profile · September 28, 2010

<a href="../photodb/user?user_id=634013">Roger Smith</a> <a href="../member-status-icons"><img title="Subscriber" src="../v3graphics/member-status-icons/sub8.gif" alt="" /><img title="Frequent poster" src="../v3graphics/member-status-icons/1roll.gif" alt="" /></a>, Sep 22, 2010; 02:29 p.m.

If it's a raw file (as .cr2s are), it doesn't have an embedded profile.

</blockquote>

Actually, some raw files do have an embedded profile that is selected in camera such as NEF files. The raw data itself does not have the profile but it is stored somewhere else in the file. However, the software that converts the raw file is still going to want to have instructions as to whether or not to use the embedded profile or another choice. At least this is how Nikon's Capture NX2 works.

August 29, 2010

I am not an expert on bokeh or VR, but I have read that VR can cause unpredictable changes to the look of the bokeh at times. I assume this would bother many of the bokeh "purists".

Andre Noble Said:

Nikon missed on this one.

The 85 1.4 needed VR.

This disappointment just makes me more grateful for my Nikon 105 VR.

</blockquote>

August 27, 2010

I have installed the 2.2.5 update and have had no problems so far. I still have occasional problems with View NX, however.

August 10, 2010

According to the instruction manual, this particular model breaks out the ambient portion of the total lighting when in flash mode. It of course also shows the total aperture reading required. If you do not like this additional information, I guess you will need a different model.

July 23, 2010

Try using a monopod with either an L-bracket and a med. size ballhead with a drop down slot, or, a good camera rotator bracket. Also, improves performance of your lenses and you do not need expensive VR lenses. I use one a lot. Once you get used to it, mobility is not that much of an issue.

July 19, 2010

I hope I make myself clear, but I guess that I'm asking if someone could explain to me how many stops difference it is between DX and FX with a given desired DoF? Thanx! Ray

</blockquote>

Most people estimate the iso "light gathering" benefit (if that phrase is OK) to be about 1 to 1.5 stops going from a good APS-C to FF. As to DOF, the difference really depends on what type of photos you take. For many photos, there will not be any practical difference. However, if you take a lot of portraits and love the perspective from about 12 ft. on film, then you will be disappointed that Nikon and Canon do not make a fast portrait lens that is 85/1.5(1.6) in focal length. In the DOF "battle" FF comes out ahead slightly if you want shallow DOF, because there are no special APS-C lenses that are a stop faster. If you want more DOF the practical answer is it is about a draw.

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