transoptic

The studio I work for has an account with White House Custom Color (whcc.com)

 

They do an excellent quality print job and their bulk order prices are cheeeeeeap! So they'd be great for this since the model wants quality cards and you need to order 100 or more for cheap.

Yeah I was gonna suggest that smugmug link.

 

It's really helped me.

Now I do all color corrections in LAB mode (I feel it's way superior)

 

but I still check the CMYK values afterward just to be sure my magentas aren't higher than my eye sees them.

I want to know how to get my Sigma 500 DG Super off the camera using a

PC cord, but there's no place to plug it into on the flash!

 

**I DO NOT want to use it as an optical or wireless slave.**

 

I want to know if there is some adaptor I can fit to the flash's shoe

to plug a PC cord into.

 

Thanks

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Tommy, I'm talking about eBay prices, as Paul pointed out.

 

I appreciate the info on my options, but I still don't know how each of these stand out from another. I'd really like to know a good focal length that is wide enough for general use but is able to use good DOF range.

 

I saw a Hartblei 65mm/3.5 Super Rotator - Is this pretty decent? Anyone with experience on this lens?

I understand that the Canon TS-E lenses are expensive, but I also know that there are a few cheaper alternatives (Hartblei, Arax, others(?))

 

I'm interested mostly in portraits, but I'd of course like versatility too.

So, in my portrait lighting class, I got my first opportunity to use

a large format camera. Seeing my results on the Polaroids, I

decided I wanted a t/s lens for my DRebel... But I've got a few

questions:

 

1) I have a $300 budget (give or take), what are some good options

out there for that price range?

 

2) What is a good focal length for all-around use? I've heard that

80mm+ is no good with the 1.6x crop factor for optimal tilting and

shifting...

 

3) I'm unclear: Can you mount this directly, or do you need a

special adaptor for putting these on 35mm?

I was looking at that. This would outperform the Sigma 70-300 4/5.6 APO? Is the extra range on the Sigma not worth the difference of aperture and glass quality?

So, I've got more or less a $200 budget... I wanted to know what is

a good telephoto zoom for my 300D? I'm starting near 70mm and

ending between 200 and 300mm. Also, are there good Sigma or Tamron

varieties?

 

Of course, I'm looking for the best combination of sharpness, range,

AF capabilities, contrast, etc.

 

Size/weight not a huge issue, but macro capabilities is a huge plus.

I have a student budget so I was wondering how the Sigma 70-300

4/5.6 Super II fared. Also, I understand there are two versions,

one being an APO version, for correcting chromatic abhorration.

 

I was wondering if it was worth the extra $70 to get the latter

version, as if it made images that much sharper.

That's true, I didn't mean it was a specific technique. But for those who do shoot editorials, I understand that they use this technique a lot when they have fill flash available, in order to bring more visual attention to the person being photographed.

 

Back to my question, if someone can answer it.

Now I've heard of a technique called editorial portraiture.

 

I understand that you meter ambient light and shoot one shot under

from that, and let the fill flash grab the correct exposure for your

subject.

 

My question is, with an E-TTL flash, do I have to compensate by

putting +1 stop FEC? Or does the E-TTL understand that I've set my

camera's EV to -1 stop and auto-compensates?

Quote: The built-in flash is ETTL, but not ETTL-wireless capable.

 

 

Ah... I guess I thought it was. Thank you

I got a Sigma EF 500 Super for my Digital Rebel...

 

I'm a little confused about the wireless settings. Can I make the

flash a wireless slave when using the built-in camera flash? Or do

I need another Sigma master flash to transmit the wireless signal?

 

I tried to set the Sigma to wireless ETTL, and shot with the on-

board flash but the Sigma doesn't fire. Then, I tried setting the

Sigma to "No Master" and tried again with both built-in flash and no

built-in flash. No avail.

 

What am I missing?

Oh ok. Yeah as long as I can set the Sunpak to "auto" and the Sigma slave to "manual", and adjust the Sigma's output according to my tastes, then that's all I need. But that's exactly what I needed to know, that only the Super is able to do this.

Ok, well here's the thing:

 

I have a Sunpak 555 auto flash. I need an E-TTL flash that can double as a TTL slave, so that if I need a slave I can use the 555 as my main, and not have my slave fire the preflash.

 

Can I do that with either of these?

Um, I can't quite understand the differences between a Sigma 500 DG

ST and a 500 DG Super. Can someone enlighten me?

That's what I'm saying. The lounge has a "hip" stigma to it, based on the fact that it's part of a local coffee shop chain. So think of it more as a coffee shop with a full bar at the other end.

 

So personally, from my take, it seems it needs more fashionable lighting. What I meant by ringflash is that I'm thinking of flatter lighting. I might have thrown some off by mentioning martinis. Think more along the lines of Bacardi at the club. This place has DJs every Thursday night.

thanks guys so far. To give more detail, I was going to start with just the couch, the light to add atmosphere, and maybe a coffee table to set drinks on. I'd be at about 30mm, 7 feet away, and tighten in from there. So yeah, I'm thinking ISO 400 or 800, f8 1/30 second to get a little glow from the lamp(much like Tom's example) and a little kinetic ambiance.

 

I'm fairly proficient at my RAW workflow, so warming up my final print won't be a problem. I just want to know if I should try something flattering with my main and slave, or if I should just try something a little more fashionable, and try to replicate a ringflash effect.

so, I'm a student and I just started a freelance promotional

company. I'm doing a promotional shot for a local cafe/lounge. I'm

shooting photos and my partner is doing layout/design/Adobe

Illustrator stuff, and they are going to be printed on 5000 full

color 4x6 index cards and distributed throughout my city.

 

So basically, I need to make sure I do a good job and get the green

light to print!!!

 

I have a few shots/ideas lined up, and I think I can get most of

them down. But I need help on one that will require some s,

which I'm not yet very good at. Basically, there is a green couch

sitting in a corner of orange walls. There is a table and lamp in

the corner, and the couch is to my left of the lamp.

 

I'm thinking of having a semi-casually dressed couple sit on the

couch with some martini glasses, having a good time. I'm thinking

some fashion-type lighting is in order. There will be little ambient

light - about as much as you would expect in a lounge in the evening.

 

My equipment: 300d, 28-55 kit lens, Sigma 35-135 2.8 lens, Sunpak

auto 555 flash, Promaster 5000 TTL flash(I use this as my slave) a

couple stands. Shooting in RAW.

 

Can someone give me some pointers on good lighting for this

scenario?

I've read that although USB 2.0 is faster than a laptop's PCMCIA, as

far as CF readers, this is irrelevant because they are both faster

than even 60x CF cards can transfer. Is this true? Or should I

actually be looking to get USB reader?

wow. I feel rather dumb for not thinking of that. thank you. :)

Wow. Thanks for all the great responces. I think I might tinker with lighting from the bottom. The subject is an art piece my friend made. He is a tattoo artist who sells tattooed pig's feet in a mason jar. It sounds kinda creepy, I know, so illuminating it from the bottom might make for an added dramatic effect, without worrying about the lid.

Okay, I have a couple auto flash units.

 

I need to photograph an art piece that is inside a standard mason

jar. I want to know how to set up my flashes so that there are as

little reflections and specular light as possible. I need to light

the art piece inside, but it needs to stay in the jar because that

is how it is presented.

 

Oh and the lid will be screwed on.

 

I don't have heavy equipment, just a 300D, a Sunpak 555, and a

Promaster TTL slave. But I can improvise making/finding diffusers

and reflectors if necessary. Thank you.

Great. Thanks. So basically, either flash will work but I might as well go with the [cheaper] Auto, correct? Or will getting a Canon dedicated TTL allow me to put it on my hotshoe?

 

Also, I know what a Wein adaptor does, but I've never seen one. Does using it mean I'll need a flash bracket?