ed farmer - mount laurel,
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Posts posted by ed farmer - mount laurel,
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<p>With all due respect, to say that VR is a "necessity" to shoot weddings makes no sense. I have photographed 100's of weddings digitally without it. Back when I was shooting film, VR and IS didn't even exist. What on Earth would make it a necessity?</p>
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<p>I don't the city involved here, so I can only talk about what goes on in the this area. The client is responsible for getting the permit. If the location needs a certificate of insurance from any vendor, they need to supply it. But, since the permit is applied for by the client, that is who the city is actually dealing with. This is exactly the same as when dealing with a catering hall that wants the same information.<p><p>Having said all of that, I think that the insurance company was the one messing up the deal. These certificates are issued all of the time and shouldn't add any extra liability to the photographer. However, I would consider filing in small claims, against the city clerk who promoted other photographers to the client. That is in no way something that should be going on.</p>
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<p>First, the "sweet spot" for most lenses is simply two to three stops down from the maximum aperture. f2.8 is really a compromise between cost and speed. Believe me when I tell you that if I could afford an 80-200f1.8, I would trade my f2.8 lens for it in a minute! However, the cost to produce something this would be astronomical. <p><p>Look at how the prices rise for prime lenses as speed increases. You can pick up a Nikon 50f1.8 for $125. The f1.4 version goes for something over $300. The f1.2 is more yet and Canon 50f1 sold for about $2500. The same would happen for zooms going past f2.8. <p><p>Other posters have also been correct in saying that the f2.8 lenses tend to get a better (pro) build quality, but I think that is because of the factors that I cite here. <p><p>Lastly, is that a faster lens can take pictures in situations where others can't. With non-static subjects, even a VR or IS lens can't compete with a fast lens.</p>
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<p>Go with an umbrella. You can put it above the camera and leave it alone. With a softbox, you may have to adjust it for many of the photos. People are different heights and stand in different spots. I have done many of these events and you need to be able to work quickly. </p>
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<p>I would love to take my 300f2.8 to weddings, but I just don't have the time to set it up often enough. However, I wouldn't leave home without my 80-200f2.8! Keep in mind that you don't need the AF-S or VR versions in order to shoot weddings. You can find used "D" versions for well under $1000. This lens will also be great on a second body when you are shooting sports.</p>
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<p>Well . . . let's see . . .<br>
First, I should say that I like this shot quite a bit. The touchups that I would have done are small, but I think that they would make a big difference.<br>
The first is that this was shot from very close, with a wide lens. This is the primary thing causing her are to look awkward. Her is enlarged by being closer to the lens. I usually try to do this type of pose with my 80-200, but I can see that there was probably not enough room to do this.<br>
The second problem that I have is with the way that she is holding the bouquet. I always try to teach the girls in my bridal parties to hold their flowers closer to the flowers instead of down the stems. This looks better in almost every photograph where they are holding their flowers and would be a big improvement here. The flowers would look more balanced in her hand instead of looking like she is struggling to hold them up (a common problem with these large bouquets.)<br>
Another thing that may have solved both problems is to have her drop her right arm as she arches her back in this pose. I usually do a "dip" pose outdoors and have the bride drop her arm for the last few. These often look more relaxed and are the ones choosen for the album.<br>
Lastly, I don't like this color very much either. I think that the idea was a sepia tone, but it ended up too red and should be a little more brown.<br>
With all of that, this is the type of image that can make you a lot of money. Brides love to see these in your samples and know that you can reproduce the same image for them.</p>
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<p>You may be able to find an adaptor, a company called Zorkendorfer (sp?) makes many, but they tend to be expensive. The other problem with adaptors is that you will lose many of the functions of your D90.<p><p>If you like the OM10 (a great camera) or just want to keep it for sentimental value, learn more about and use it every once in while. But, it is not going to be much help with your D90.</p>
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<p>Both are useful for different purposes. Umbrellas throw a broader light and softboxes are much more directional. It really depends on what you are shooting and what you are trying to accomplish.<p><p>Tell us a little more about what you are trying to do.</p>
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<p>Turn off the VR and use mirror lock up. Looking at the image full size, this is clearly camera movement. The blur is most clear on the lighted windows way in the back and gets sharper as you move forward through the image. You can also try using a longer shutterspeed and ISO 100 to eliminate some of this problem. You do need a very stable tripod and sturdy camera plate to do this type of work though.</p>
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<p>I agree with those above. Write it off to your advertising budget. You could ask him to sign a release only allowing the production of the book in question and ask him to return the disk when finished.<p><p>I do think that you need to make sure that he is aware of your copyright ownership of the images. I don't know what business the couple or their parents are in, but you don't want your images showing up in a magazine or advertisment without your permission and compensation.</p>
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<p>If is has actually been since sometime before it expired it may work just fine without any adjustment if you use is fairly quickly. But, since you are buying 100', you will have enough to do a little testing. All you should need to do is load up one roll and shoot the entire roll under the same lighting. Before processing, cut the film into three pieces. Put two in safe, dark, storage and process the third normally. After processing, examine the film and see how it looks. If you determin that you need more, or less, development, you still have two more strips to test other processing times. You should be able to get plenty close with this process and you still have about 95' of film left.</p>
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<p>I am a long time wedding photographer. I have plenty of experience with Photoshop and other software.<br>
I have recently started to shoot some video. Strictly family stuff, but it seems that my family expect my video work to be as slick as my stills! I need some reasonably priced (read that as cheap if you like) video editing software. Who wants to make some recommendations?<br>
Thanks,<br>
Ed</p>
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Preston . . . send me an email. I have know someone who may need bodies for the fall season.
Ed
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I tried Canon lenses and they just didn't work for me. I went out and bought a pile of "L" glass and found no use for them. I was surprised, not one of them would fit on my D200! I ended up giving them to one of the neighbor kids.
Seriously . . . Sigma 18-125 (Primary lens on my camera with flash and bracket.)
Tamron 28-105f2.8
Nikon 50f1.8 (My 50f1.4 was just stolen!)
Nikon 80-200f2.8
There is more in my bag, but I wouldn't miss them if I didn't bring them with me.
Ed
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Sorry, I don't have time to think this one through . . . . I am busy:
1) Trying to decide which new camera to buy . . . I don't have time to tell you what I am going to do with it, but I still need your advice on which is best.
2) I am worried because a friend talked me into photographing her wedding because she likes the pictures that I take with my old InstaMatic. Now, I can't figure out how to use my brand new flash with my new body and the new lense that I bought. BTW: The lens is an Russian 10-200f5.6-8. Do you think that this will be good enough or should I run out tonight and buy a 50mmf1.0 to go along with it? Did I mention that the wedding is tomorrow?
3) I would like to assist a wedding photographer in the middle of nowhere. I think that I can do a good job because I take nice pictures with my Sony Mavica.
4) Why don't I get any comments on my photographs?
5) Could I get some legal advice? About copyright? Or, maybe contract law?
6) Can someone tell me what I did wrong with shot . . . I know that the scan is not very good, but does the exposure look right?
Oh . . . there is a seventh thing that I have learned in my years at photo.net: Always keep your tongue planted firmly in your cheek . . .
Ed
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I am trying to recall the term used to describe photographs (or, I suppose, paintings) where there is text included in
the final print.
I am not talking about a picture with a sign in it and I am not talking about captions. I am talking about cases where
the photographer adds text to the print in order to alter or otherwise expand the meaning of the photograph.
The only photographer that I can think of right now who used this regularly is Duane Michaels.
Thanks for the help,
Ed
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"Absurd"? I wasn't recommending that James go out and BUY an SLR to use as a meter. I was suggesting that he may already have something that would get him started. III and IIIF's are going for $100-140 at KEH. 318's are over $100.
I do agree with the advice to get something that works on AA's instead of older button cells.
Ed
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First, your back up does not have to be the same model. I shoot with one Nikon D200 and one D80. I use both while working and have my two old Fuji S2's in the car. I have never had to go to the S2s.
However, I had a sensor go in one S2 when they were my primary bodies.
If you are shooting Nikon, you can pick up a D40 or even a used D50 or D70. You may find a use for a second body and it will serve as a back up. The advantage to using both while working is that if one fails, you are not picking up a body that you are not familier with.
Ed
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Some of the older Minoltas can be had at bargin prices these days.
One option that you really shouldn't over look is another camera. Do you have a quality 35mm or digital body in addition to your MF system? When I first shot 4x5 at school, I used my Nikon 8008s as my exposure meter. I already knew that it mettered well with the Tri-X and TMX that I was shooting in 4x5 and it didn't cost me any extra money.
Ed
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There is one more advantage to lower ISOs in situations like this. Since your D40 does not have a mirror up feature (I don't think that the time on that camera releases the mirror early) you also have to worry about mirror slap causing camera movement. Most of the studies that I have seen indicate that this problem is maximized around 1/8 to 1/15 of a second. Faster shutterspeeds are able to freeze any camera movement and long ones allow the camera to stop moving for a long enough portion of the exposure that the image produced is still sharp.
Using a lower ISO would have allowed longer shutterspeeds and may have produced sharper images. Of course, this also depends on the quality of your tripod and other factors.
Just a little more food for thought . . .
By the way, I like the images!
Ed
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Well . . . as others have done, my first impulse is to move off of your list and take what I have learned shooting weddings and portraits:
Shooting digitally, I found that the my 85f1.8 was often a little too long. As is ended up, I lost the lens at a wedding last year and this year I replaced it with a 50f1.4 for under $300.
My favorite lens for outdoor portraiture has become my 80-200f2.8 (the "D" version, not AFS). I apparently don't have to tell you how wonderful this lens is.
My recomendation would be a 50f1.4 and 80-200f2.8. These could be had new for a little more than any of the lenses that you have suggested and if you dig into the used market they could be much cheaper yet.
All of the lenses that you have suggested are fantastic pieces. The set that I have suggested are a little more "workman" like, but they will allow you more leeway when working and will produce top-notch results.
Ed
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I have both. I prefer the SB800 for shooting with a bracket. The 800 has it's own PC connection and I can connect my radios directly there and not have to worry about the cord popping out when I flip the camera. I don't notice much of a power difference between the two in most of my shooting.
With the price drop and the small difference in price now, I would lean toward getting the 800 (there's a reason that Nikon has designated one as the "600" and one as the "800"!) But, one of each, if it fits your style of shooting may be a great idea.
Ed
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As others have stated, in most legal systems there must be consideration given by both sides for a contract to be enforcable. In other word, they have to pay you something in order to be able to prove any damages against you. However, this points out that the $1 really protects them, not you. If you do it without a contract, you may be safest of all.
I have a real problem working for family and friends . . .
Ed
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If you are looking on the used market (in other words, not paying retail prices), you should be looking at a D200. If you are making a once-in-a-lifetime trip, you may want to get the D200 in order to have a better camera and keep the D70 until you return so that you have something that you are comfortable to fall back on.
I have always looked at cameras like tools and have not worried about using something unfamilier. They all have the same controls just in different places. I have never had a problem switching from one to another including when I was moving between Fuji S2's, My D200 and a 30D. So, I don't really see that as a problem, it's something that you have to decide for yourself.
Ed
What B&W film have more grain
in Black & White Practice
Posted