dnmullaney

If you're trying to maintain a shutter speed/f stop combo below your synch or simply want to use larger apertures for DOF control with fill-flash, consider buying a 2 or 3 stop neutral density filter or use a polarizing filter to cut light.

Unless I misunderstand your question, filtration seems to be an inexpensive, non-permanent solution for your needs. Should set you back about $100- $150 for top quality [b+W] 77mm glass. Put it on or take it off as called for.

Steve Vesci is right. It's a marketing issue, not necessarily an issue of talent, experience, and equipment. If you market yourself in any business appropriately, and you get repeat or new business, I'd say you're a pro [provided you're structured legally, have appropriate insurance to protect you and others, etc].

I just looked at a friend's wedding pics, from an established pro, and was disappointed. Yet I've seen second-shooters who I have amazing quality, artistry, and professionalism.

An aside: My father works part-time at a funeral home. --That's a changing industry. The family that owns it wants to market and manage it like it's 1982. The volume and average cost of their funerals keeps sinking through the floor. They won't budge in their approach, and they're literally paying for it.

The photographers for whom I've worked that are successful are keenly aware of trends, seek help from others when needed, further their education, network with other progressive thinkers, and never miss a marketing opportunity.

In other words, they're successful business owners who happen to be artists. The second shooters with great images are great artists who get paid by the hour.

Mary Beth, you live CT; I'm sure there are photographers for whom you might assist. Call them all. I did and have been lucky enough to learn by working with three photographers I called [i took a porfolio and cold-called everyone with a studio and phoned the rest].

There are a lot of good fill flash resources on the net. Check with your local arts council or similar to see if they offer a course on lighting/flash.

Consider traveling to a seminar: Maine Workshops offers many and I think Hallmark in MA might have some. Come down to Durham, NC and take a class with the Center for Documentary Studies; they offer some short coures. Get your butt into NYC for some classes. It's fun, inspirational, and you'll be surrounded by others with a desire to learn about photography.

I look often at WPJA.com for inspiration. I really like the style of many of the talented photographers who've been invited to join WPJA. Plus, you'll locate photograhers in your area. I've been amazed at the full time pros who offer insight, information, and guidance.

I buy wedding magazines, read books, and shoot personal work.

Another inspirational angle is to constantly google wedding photographers in big cities and check out the portfolios of random shooters.

For digital shooters, unfortunately, the newer equipment [flash + camera body combos]is the best we've seen. It aint cheap, but it aint bad when you consider the cost of film based practice. Consider buying used lenses from keh.com in atlanta.

I agree with the postings in favor of the permanent edit. In many ways, photography is a subtractive art. As photographers, we decide what to exclude from every image we create [or try to create!].

The editing process is a logical extension of our work behind the camera. Professional and personal standards demand that we offer only our best work.

As an aside, your contract should reflect this standard [don't know if this was already mentioned...].

"EDITORIAL DISCRETION: Photographer may edit out images determined by Photographer to be substandard. Such determination is to be made by Photographer alone and is Photographer?s absolute discretion."

Though I'm not an attorney, I do know that a contract has three elements.

1. Offer

2. Acceptance

3. Consideration [money]

I would work with her to find another photographer, but I wouldn't broker the deal. Simply provide her with suggestions, offer input, and overwhelm her with a calm demeanor and professionalism, no matter her tone.

I agree with the negative postings about Nikon's RAW programs. I bought Capture NX, but thankfully downloaded a trial version 1st. After a few days, I brought the un-opened software back for a refund.

I use PS CS2 with Bridge [and find it easy] and found Capture NX to be very un-intuitive.

Check with your Brides and with your venues. I was once admonished on a 95 degree day for taking off my jacket to get an altar shot at Duke Chapel. Some country clubs in my area want to see me enter with a coat and tie, but don't mind when I shed the coat to work.

I typically work as a 2nd shooter, however I'm keenly aware that the hired photographer is likely receiving valuable referrals from the venue.

Like a job interview, I'd rather overdress than underdress.

I only have a cell line. I don't use yellow pages and all my listings carry the cell number. No one has ever noticed a difference.

In 5 years or less, no one will remember why we had "fixed" phones.

I will say for now, if you have kids or an elderly or sick family member in the house, stick with a landline for 911 use and tracing.

Non-profit? Blue Cross/Blue Shield is a non profit in some states. In NC, the CEO of BCBS made $2.5 million last year. Plenty of extra money to pay a photographer, if needed.

Non-profit is a big tent; those considering this come-on should do their homework.

Kirk used to make a masterfully shortened Nikon SC-17 cord; I have one and I love it. Kirk discontinued it, but may know of another source.

See the link below.

http://www.kirkphoto.com/brackets.html#shortcord

Like everyone else, I have not seen the images, so I'm unable to comment on style or quality.

On the issue of red flags, I'd say there are many. She has hi-res JPEGs on a DVD...refuses an album [presumably because she's ordered one from an internet site...]...she only wants her money back.

When dealing with a professional, I've found that the first question most people have when faced with quality issues is "can you make it better". I would assume the average Jane and Joe think we can perform PS magic and would ask for that first. Asking for a full refund sounds singleminded, especially coupled with her acquisition of high quality original images.

The customer is not always right. My ex-father-in-law attempted to make a quality, quantity, style issue out of my wedding photos to get money back or get more product. His motives were not pure and he poisoned the relationship between the photographer and us.

I'd avoid the N90 and F4; neither can accept the newer lenses [without the aperature ring]. Both are great cameras, but fairly old technology.

Why not get two used F5s or F100's. With a camera body, I'd want both to be identical. I have an F5 and it's an amazing camera.

If you decide to stick with the N90, get another; it's faster focusing than the F4... I'll sell you my N90s with MB-10 grip, if you're interested...

If you can't afford pricey zooms and have two camera bodies, go with the AF 24mm 2.8D [converts to a 36mm field of view] and an AF 50mm 1.4D [converts to a 75mm field of view]. New cost at B+H is ~$515 for both. If it were me, I'd buy them in EX or EX+ condition from KEH in Atlanta and save a couple of hundred dollars.

Bonus; your back will love you - big glass is heavy, but small primes are ergonomically satisfying. The more comfortable the rig, the more you'll shoot.

Zooms are great, but consumer level zooms are iffy in terms of quality.

Michael, you said:

"I think the smart thing to do is to buy a umbrella policy on you for lets say, a million dollars. Then you can remove the liability insurance on your business, car, house, and might even save some money. Although a million dollars is not what is used to be."

I'm sure you didn't mean to intentionally misadvise, but you may leave some with a very dangerous impression.

An excess policy has coverage that begins after underlying auto/home/business liability policies are exhausted. The threshold or trigger for the excess policy can be anywhere from $100k to $250k, and possibly $500k. Most policies require that underlying policies stay in-force. Some companies require that every policy [RV, Auto, Motorcycle, Home, Marine...] you have be carried by that particular carrier. Remove the underlying coverages on your auto/home/business, and it's like having a $250,000 deductible; or worse, your carrier may deny coverage. That's right, the excess carrier will stand-by while you find a quarter-of-a-million dollars to pay a plaintiff...and the costs of your own defense, [often into six figures on larger cases].

Further, an excess policy on "you" may not cover your business or commercial dealings. Most personal coverages specifically exclude commercial activities, and your company, corporation, or d/b/a may not meet the definition of an "insured" under the policy.

Terms like "Umbrella" and "Full Coverage" are consumer, media, and marketing jargon that have no meaning to the folks in the claims department. I know; I spent 16 years working in one.

It's wise to seek the advice of your attorney and your insurance broker. Both carry professional liability coverage in the event they advise you incorrectly. No one on this forum can boast the same level of coverage.

Try adjusting your output levels. Create a new layer, or go to levels and adjust the OUTPUT level on the bottom slider. I usually adjust in increments of 3-5, and fine-tune until I find the sweet spot; that is, detail in the shadows while maintaining rich black tones.

Keep your master file and make the change in a layer or over the top of the background. Save it when you like it. As always, the ideal output varies with inks/papers/etc. Mark the output file name accordingly.

Expose for the background and dial in -1.7 on your flash. Works great for all fill flash. I'd agree that getting the flash off-camera and to the side avoids flat looking flash images. Try any number of great flash accessories to get more flattering light [diffusers, mini soft boxes, etc.].

There's no end to the possibility, especially with Nikon and Canon's wireless flash systems.

Manipulating the combination of ambient light and flash produces images that vary widely in interpretation.

Get a couple of friends and shoot test shots, recording your exposures and variation. Spend some time deciding what you like; then try to replicate it and see if you're nailing the exposure.

I shoot some weddings by myself and work as a second shooter for an established photographer. One key learning after three years: there's no time to pay attention to the technical aspects of photography at a wedding if you're intent on getting quality images that please the client.

I shoot musicians and other low light subjects and work on flash technique all the time.

My experience. Fuji NPS, NPH, and NPZ all carry Fuji's fourth layer color technology, that miraculously seems to color balance in all lighting conditions I've ever shot, from churches, reception halls, bars, to basketball arenas. I find that comforting, since I really don't like worrying about light color and filtration or "gelling" a flash.

I'm with the other poster who suggests shooting some rolls, but I'd suggest side by side testing. Take a friend or family member to a place you'd normally shoot. If you know the folks, they'll let you test some film. Use a variety of film, including Fuji press products and Reala and the NC, VC and UC Kodak.

Yes, it's a dreaded proof album question. I'd like to know if there

is a book which allows veritical and horizontal [portrait and

landscape] orientation of images within the same album or pages. I'm

looking for something simple and classic, like black faux or real

leather...but not with gold or silver accents...Oh, I should say I'd

like it to be under $100, and preferably around $50, photographer's

cost.

Try Dalmation Lab, located in Greensboro, NC, at either 800-603-8107, or http://www.dalmatianlab.com/home.html

They have an excellent reputation and I believe they're equipped to handle mail order.

I have a friend who lives in rural Nashua, IA, near Charles City, IA,

and makes regular trips to Waterloo [nearest large urban population, I

assume...]. I'm looking for suggestions for fair priced, good quality

labs.

As a caveat, she worked with Porter's on a few occasions and was not

happy with the quality or service of their processing.

Can somone make a suggestion? I'm open to providing her reasonable

mail order options, as well. I already know about A&I.

Thanks.

Ok, I'm sure i'm not the only person to ask this, but I've searched

and can't find the answer.

I shot headshots/promo shots of a musician in the studio on Saturday.

We ended up with about 100 images that he likes.

I shoot in RAW and need to white balance, adjust exposure, brightness,

contrast, and saturation.

I have photoshop CS.

How can I batch handle RAW processing [the lighting is even and

similar in nearly all of the photos?

A caveat, all of the photos were shot on a seamless white background

that now has a slightly blue cast. I'd like to automate that fix as

well.

Ultimately, I need to make 5x7 JPEG files and web sized files.

Thanks in advance to the PS/Digital Imaging gurus who appeal to my

sense of efficiency.

I understand that there will likely be 10 photos that the artist

ultimately falls in love with. I'll process those individually, to

match skin tone, get levels and contrast right, retouch any skin or

clothing issues, etc.

I'm looking to get good, useable "proofs" to him and his designer

quickly.

Thanks!

Ed Greene mentions: "Set the Av aperture at f/8.0 (the indexing aperture for ISO 800 film)"

Question: What is the "indexing aperture" for film? I assume it must be based on ISO speed.

Thanks...