blueworldstudios

Strobes are a better way to start, but we use continuous lighting all the time. Pick the right

tool for the job.

People don't hate continuos light. People hate harsh light that's at a zero degree offset

from their eyeballs. The good news is that this also looks really bad, so just don't do it.

There's no shortage of fashion shooters who prefer the look of an HMI to a strobe, so you

can't make any generalizations about light quality, just about wether it was the best choice

for the job.

Since we use the same light modifiers for shooting strobe or HMI, I'm not sure how we

look less professional. (Simple answer - well, you never look professional ya goof)

If you need a lot of power and are lighting larger groups, strobes are brighter, cheaper,

faster, and a good place to start. If you want to quickly light a couple as you dash around,

it's hard to beat the immediate visual feedback from a continuous light.<div></div>

Your client won't care or remember, and naming packages only has a downside, no upside.

At best they'll be ignored, at worst they'll be confusing, odd, or just weird.

We always send people to other shooters in the same price range and style. Even if you never

hear from the other shooters, it's more about being able to help the person find someone

they'll be happy with.

M almost always, AV and the back dial when light's changing constantly and things are

moving fast.

With Lightroom, the RAW is faster thinking doesn't stand anymore as LR will handle JPGs

with the same batch correction and generation. IF you use LR, JPG workflow is now faster

simply because of file size.

Shooting JPGs will force you to pay more attention to what you're doing, just like shooting

slide film used to. It's great for forced learning.

There's no shortage of great photographers that shoot JPG.

All that said, we are headed out this weekend to shoot our first RAW wedding. With the

current price of CF cards, disk space, and processing power, RAW now seems like a nice

little bit of latitude.

For the record, Yervant now shoots raw for these same reasons.

A few random thoughts -

Our digital cameras pay for themseleves in saved film/developing/polaroid costs in 8

months of use. If we had to replace our digital cameras every year, they would still make

sense financially. Our 1D still sees weekly editorial and remote use, and will continue to

have more quality than any magazine or newspaper can reproduce for a long time. Despite

what you might hear, a new Canon/Nikon release doesn't magically break your current

camera.

At the rate pro labs are disappearing, it will not be long before film is no longer a viable

media for professional use.

In a competitive wedding market like Atlanta, you would have almost no chance as a start-

up if you tried to enter it with a film based work flow.

It depends on your area. In Atlanta, we have had a full page color ad for the last two years

and it has worked very well.

Access to the PWG leads database alone is worth the price of admission for us.

If you do decide to run in the PWG, do it for the 4th quarter or wait until the first quarter.

The vast majority of inquiries from the PWG come in the 1st quarter and the 4th quarter,

2nd and 3rd are practically dead.

Almost every bride we have met with has a copy of the PWG.

<p>I used to fumble, but then I had Richard make a holster for me.</p>

<p>Now you <a href="http://www.kgear.com/c/C447.html">can have one too</a>. </p>

Good archival media has the reflective surface embedded in the disc, not as an external

laminate like cheaper media. With an embedded reflective layer, adhesive labels have no

impact on the longentvity of the disc since there is no direct contact with the reflective layer.

Image is everything, and handscribbles aren't mine.

<i>Alot of potogs here haven't decided IMO if they're computer geeks or photographers</i>

<br><br>

I wasn't aware these had to be mutually exclusive.

We use a very advanced whitebalance system, laser printed with a black swatch on the top

and a grey swatch on the bottom. Light, foldable, pants pocketable, disposable, and re-

createable.<div></div>

<a href=http://www.paramountcords.com/proddetail.asp?prod=PW%2DETTL>Paramount

Cords</a><div></div>

We use 1D's and take advantage of dual card writing. We have 8GB CF cards that stay in

the camera all day, and then rotate 2GB SD cards. The camera writes to the 2GB SD as the

primary, and to the 8GB CF as backup.

This provides the ultimate system in terms of safety and convienience. The 2GB SD cards

allow plenty of shooting space before having to be switched, while the 8GB CF doesn't

have to be removed at all.

If something happens to the SD cards, we have the CF, and if something happens to the

CF, we have the SDs.

No onsite downloads, no WiFi, no YaYa.

You'll love the Profoto monolights, you can fit two heads, two brackets and power cords in

one Lightware head case.

Use the built in umbrella holder and you'll have much larger light sources that are just as

easy to set-up as these flat panels.

There are over 56,000 weddings a year in the metro Atlanta area. More than half don't

have a professional photographer, so there's plenty of room for my brother's cousin's

sister's uncle to take a few photos.

We get a backlash story at almost every meeting we have about a friend's wedding

photographer that was horrible in some way, and those are the professionals. We also hear

about plenty of uncle's. The more brother's cousin's sister's uncles there are shooting, the

more we get people who don't want to take any chances after seeing the results.

Also, I don't really think there are any more brother's cousin's sister's uncles now than

there used to be, I just think you're more aware of them with forums like P.N.

If they are unwilling to sign as is, I suggest strongly you become no longer available for this

date.

I don't believe that for a second. If you have time to look at a website and make a decision,

you have time to write a simple note to the applicant.

I also don't believe they get 'hundreds' of applicants everyday.

What not responding does provide is the ability to mask how completely arbitrary and

variable the selection process is.

er.... and ISO 1000, not 100.

I clearly need to go to bed.

(the1/250th part is right)

The f8 thing shocked me so hard, I missed typed the caption.

That should be f1.8, not f8.

<p><em><strong>If I was to shoot action shots at a basketball game with ASA 400 film

I'd be exposing it at around 1/250 sec at around f8 +- a stop or two.</strong></em></

p>

<p>I guess you could get close to that if you had a Sports Illustrated lighting crew to

strobe your gym.</p>

<p>In my experience, even professional arenas aren't anywhere close to 250@f8. College

arenas average about 1/500 @f2 @ISO800. Newer High school gyms can be as bright as

1/250 @f2 @ISO800, but I've shot plenty that are 1/250 @f1.8 @ ISO1600.</p>

<p>Your best bet is to shoot manual, overexpose 2/3-1 stop, correct in PS , and run a

good noise filter.</p>

<p>The 85/1.8 is a great B-Ball lens.</p><div></div>