laughing buddha production

<p>IMHO, picking a reflector is about a number of different factors in the shoot. I mainly use reflectors for fill light, so main light might be the sun, a window, or a strobe. Generally I am only filling on the face, even with full-length portraits. Given this, I tend toward smaller reflectors, my go-to is a 36". I've used larger as well when I need to get light say on clothing as well as the face.<br>

Smaller is nicely portable and easier to hold/manipulate.<br>

As far as color, all have their uses. I tend towards white and then gold for warming tones. I find silver a bit too hard sometimes unless the light I'm trying to reflect is very subtle. <br>

My suggestion would be to pick up a 36" multi color one - they're only like $40 - and play around with it. If you feel you need a bigger one afterwards, then pick one up. There are so many varieties, like the Larsons that stand up on their own etc. Any good pro photo shop will have plenty to choose from. For me the keys are portability, usability, and versatility. Hope this helps.</p>

<p>On the SB-800, just pressing the MODE button on the left side will cycle you through the various options. Keep pressing till you get to M for manual and then try Ken's suggestion with the manual setting on your camera. Then use the plus or minus signs on the four-way rocker to change your flash output (in 1/3 increments).<br>

Holding down the center of that four-way switch for a couple seconds gets you into the other menus - probably where you got stuck.<br>

What's he's suggesting where the SB-800 delivers most of the light means that your exposure and thus effective shutter speed is essentially the time it takes for the SB to discharge. This is one way to get around the flash sync speed of 1/250. You can use the FP setting but I don't think that will freeze the motion you want, you'll get more of a stroboscopic effect - multiple images.</p>

 

<p>Sean,<br>

A few thoughts - I shoot quite a few portraits. Three lights is fine, sometimes you can use a reflector for fill and then you have a b/g and hair light. Four is probably better, especially if you want to use two to light the b/g, this allows for more even light on the b/g vs one light.<br>

Reflector, get one and maybe an arm to hold it, flexible and useful for all types of fill or flagging lights.<br>

Umbrellas, I'd get at least 2-3 and get one that converts to shoot thru is nice. Often you'll use a umbrella on the b/g light, and if you have to lights, you'll want two umbrellas. Get a pair of the same size for the b/g - again, allows for even lighting.<br>

Softbox, probably want a couple, a 3x4 foot and a 2x3, offers some flexibility on controlling the lighting.<br>

Grid - I'd get one grid, say 20-degree to use on the hairlight - allows you to control the light better.<br>

Stands, get higher than you originally think you'll need. I started with 9 or 10-footers and wished later I got 13-footers. A floor stand is nice as well to mount a light low and shoot it on the b/g.<br>

Lenses - I agree with Mike, convention wisdom says 85mm or higher is optimal for portraits since you don't get much distortion on the face. There are some affordable Nikon zooms and primes in that range. In fact, I'd get the 85mm f1.8 instead of the 50 1.8, the latter is covered by your zoom already. The 85 would be like a 120 on your D80 and an optimal portrait lens for head and shoulders without paying $1k for the 1.4.<br>

I'm a big fan of less is more. Start with one or two lights and add as you need them - lookup Timothy Greenfield Sanders - he shoots great portraits with one light.</p>

<p>I shoot my D700 a lot on manual - for events - I like to drag the shutter and use a fixed aperture to manage the demand on the flash. I use the SB-800 but the on-camera flash principles are the same when both are set to i-TTL.<br>

<strong>You can check to see what your on-camera flash is set to by checking the Custom Setting Menu e3. You can choose TTL, Manual, Repeating or commander. Yours sounds like it's set on TTL.</strong><br>

I pretty much always set the FV comp to -0.7 to -1.7 depending on whether I'm bouncing or not. This does seem to deliver great results when paired with Matrix metering. Basically the TTL system figures out how much light is enough for the situation and cuts the flash off when you hit the right exposure.<br>

I never understood why the 'perfect' exposure requires me to dial down the FV - you figure it'd be right at no FV comp. But I surmise the camera is trying to make everything 18% (or 13%) gray (depending on which Nikon rep you listen to). Depending on where your exposure is with the manual settings, you're likely using your flash for just some nice fill.<br>

So bottom line answer to your Q is you're probably on TTL and who knows why dialing it down a bit gets you just right. We can just ge glad we've got the camera/exposure figured out.</p>

<p> </p>

<p>Robert,<br>

Your experience is the norm for this lens. At least as my experience has shown (I use it on a D2x, D300, and D700). I normally shoot flash with this particular lens so I meter with a flash meter beforehand.<br>

My experience using it without flash is that you need to meter with the plunger depressed and thus the amount of light falling on the sensor is exactly what you get when you press the shutter. The main reason behind the plunger and wide open aperture (IMHO) is that it's much easier to focus with the lens wide open.<br>

With both a manual aperture and manual only focus, it's a pretty specialized lens designed for static situations, where your exposure is pretty controlled.<br>

So, no, you're not doing anything wrong, it's just that your expectations on this particular lens are inaccurate. It'll meter accurately and be properly exposed when you adjust the 'exposure bar' to zero while the plunger is depressed, closing the aperture to the selected value. It will be overcooked if you shoot with the aperture wide open (assuming obviously you metered stopped down somewhat).<br>

It's just a different way of using the lens, totally opposite to the auto focus AF-S type lenses that focus wide open but meter for the proper f-stop you've set.<br>

Hope this helps.</p>

<p>Michael</p>

<p> </p>

<p>once you close the VF curtain, the eyepiece should just twist off counterclockwise. i don't recall having to use any jeweler's screwdrivers.</p>

<p>How are you judging that 1/2 stop jump? I use LR 2.2 and the D700 as well. Are you comparing the histogram or just the JPEG preview on the LCD of the camera.<br>

A few things to consider that might be throwing off your eyeballs here: 1) are you shooting RAW? 2) is the brightness on the D700 LCD pushed up or down? 3) is your monitor properly calibrated? 4) are you viewing the LCD and monitor under similar lighting conditions (e.g. viewing the LCD in bright sunlight can throw off your perception of the gamma of an image), 5) and as you've mentioned, your import settings.<br>

Make sure you compare like to like. There's a lot of threads about what is the best interpreter of Nikon NEF images, View NX vs. Capture NX vs. PhotoMechanic vs Lightroom vs Bridge can all interpret the image a bit differently. 1/2 stop can be tough to judge exactly.<br>

I've found that LR actually feels a touch under vs what I get on my LCD.<br>

<br /> Sorry if I've only added more questions but these are all things to consider to see if LR is consistently doing something to your images. I'll be interested to hear more on this...</p>

<p>If it's the same as my D2x, you press the Flash button (lighting bolt) and rotate the command (rear) dial. You'll see symbols pop up on the LCD for Red Eye, Slow, and REAR.</p>

<p>Check out the strobist - they have some great tips on using small flashes.<br>

http://strobist.blogspot.com/2006/03/lighting-101-using-gels-to-correct.html</p>

<p>A quick way is to shoot in the gym using just the fluorescent lights, shoot using the Fluorescent WB on your camera, then shoot once using the Flash WB. Chances are the flash WB will look a bit blue/green. If it's not too bad then you can probably live with it and fix in post.<br>

You can also set up your lights and try the same exercise, using both Flash and Fluor WB. Chances are that on Flash your pics will turn out best. This is largely because you're likely overpowering the ambient Fluorescent light with your flashes...in this case you're fine. Just use the Flash WB and shoot flash and you're good. I only mentioned it because if the flash is not that strong vs the ambient and you've got two different WB sources, then it can get tricky; then you're better off gelling your flashes to the ambient (fluorescent using plus-green FL gels) and shooting on Fluorescent WB.<br>

Good luck.</p>

<p> </p>

<p>You can shoot RAW and then correct later of course. The only issue is if the temp of your flashes and the lighting in the gym are very different - then you might not be able to fix it completely in post.<br>

I'd set up one flash with the umbrella on a stand just off to one side of you - have it above camera level and set up to evenly light the team/subject. Then I'd set one flash on the ground oriented and set up to light the backdrop. Having the subject 5-6 feet in front of the backdrop should be fine.<br>

Good luck.</p>

<p>Oh, just reread that OP. For the individual shots, you can definitely just use one light, then set up the other to rim/accent or hairlight or background light.</p>

<p>Fortunately a basketball team is pretty small - 12 folks. You can usually do two rows of six of three rows of folks. Have the front row kneel, and second stand, and if you use three rows, then stand the back row on a bench.<br>

A few considerations: 1) coverage of subjects. You can just cover the group with one light and the umbrella - just have it right next to you and a bit above. With two lights available, it's probably better to use two umbrellas to camera right and left, equidistant from subjects for more even lighting.<br>

2) background - gyms notoriously poorly lit - watch your background, you might need one light and brolly to throw some light on the b/g; then you'd use one on the subjects. Maybe put one light on the floor behind the team aimed at the wall/background with wide adapter or even umbrella if you can hide it; or just off to the side out of the frame (but you might get some un-evenness, better than dark cave look though.)<br>

3) reflections - some gyms have that silly reflective paint on the walls, watch for specular hotspots from your flash.<br>

4) white balance - again, with the usually crappy fluorescent lighting, white balance might be an issue. you definitely want some plus-green gels for fluorescent lights, and when you're on site, assess how different the WB is between the house lights and your flashes.<br>

Otherwise, it should be fairly straightforward, you have everything you need to get a decent photo.<br>

M</p>

<p>Do you see any water inside the lens on the inner elements? Any fogging? Try setting the lens on a windowsill in the sun and that might help evaporate the water that seeped inside. But as Joe said - if it's salt water - I'd send it to Nikon to have them clean it for you - corrosion can wreak havoc on the electronics inside the lens. Next time watch out for those waves if you're that close to the water without any protective enclosure.</p>

<p>M</p>

You can always find a Nikon certified service center to fix a lens - but you're going to end up paying a few hundred for it. I bought a 85mm PC lens from Ebay - worked for a few months - then something broke.

 

I paid about $250 to get it fixed from a Nikon cert service center. The cost of fixing it pretty much ate up all the savings from buying used on Ebay vs new.

 

I've bought 3-4 lenses used from Ebay and never had any problems till that 85mm (and it works fine post repair) - just look for good feedback and ask questions like: are you the original owner? why are you selling it? Photographers will usually give you the real scoop like they're upgrading to a f2.8 lens or something that sounds legit.

 

Bottom line - you might get Nikon service at a charge but you can always get a lens fixed if you're willing to pay.

 

Michael

I've not used the Stofen on the SB-800, but I did use one on an SB-600. The diffuser that comes with the SB-800 looks almost exactly the same as the Sto-fen so I did not bother getting one. Sorry - a bit speculative, but the two are twins in my mind and would do the exact same thing.

 

You can buy one and use it a bit, see if it's substantially different, then return it if there is not a noticeable change.

 

M

Assuming you are shooting in a fairly static studio type environment with a backdrop or against a wall:

 

I agree, use ISO 200, or even 100. Go for full manual, something like f8 or f11 and either 1/60 or 1/125 would be fine. Then adjust the output of your strobes to get the lighting you want - an couple umbrellas or softboxes will help to soften the light as well.

 

Easier to shoot manual if you're in controlled conditions - less variables than with TTL or A/S priority.

Tough one. If you have to freeze motion you are in a challenging situation.

 

To shoot in this low light situation, crank the ISO up, open up wide to 2.8 and use a tripod. You might have to go up to 1600 and reduce some of the noise in post production with some software tweaks.

 

You'll absolutely need a tripod. I shot a band in a basement once with minimal light and it's almost impossible to freeze motion. You're at 1/4 or 1/6 of a second.

 

Without flash you have few alternatives here. If it's a still situation you'll be fine, the movie will be blurred since it's at 24 frames a second. Any motion will turn to ghostly images.

 

The best thing to hope for is capturing moments when your subject is almost absolutely still for 1 sec or so.

 

Good luck and manage your clients expectations.

Small items - like smaller than a toaster?

 

If you want to go very economical, hit the art store and Home Depot and get:

 

- White 3/8" or 1/4" foamcore.

- 2-3 household fluorescent lamps (with daylight balanced bulbs)

- Duct tape

 

Use one piece of foamcore for the base and cut the others to form a three flap wall - connect them with duct or gaffer tape so they flex like a flap.

 

Set up a little U-shaped shooting area and array the lights over and around the shooting area till you like the look. If you want, put some white silk or Rosco Tough Spun diffusion material in front of the lights to cut down reflections and highlights.

 

Put your camera on a tripod and fire away.

 

You can buy more expensive lamps from B&H like the silly Ego-light for 8x what a home-made solution will cost. I started with some Photek tent and now just wing it with a few on-the-job lessons learned for the jewelry I shoot as a professional.

 

If I need strobes, I use a few SB-800s or my Alien Bees, but find them overkill for smaller items - purses and clothing yes.

 

This is great for a simple Ebay shot. I haven't used the economical lighting kits from B&H/Adorama; but they probably cost more than the Home Depot solution for the same items (like all 'pro' photo gear) - things like a Profoto setup notwithstanding.

Hi,

 

I could not find anything in this forum after a search.

 

I want to post JPEG's from event type photography where people pay to download

the JPEG files. Just to charge a nominal amount, say $1-5 for each image, from

a couple pro-bono events I shot.

 

Does anyone know of third party sites that host the photos and handle the

transactions, be it credit card or PayPal. I assume I'd pay a transaction fee

or percentage but I'd be happy to do that for the extra income from sale of the

images.

 

Thanks for your assistance.

 

Michael

I like the PC cable sync. The shot feels a little blue - try to set your D70 WB to flash and maybe go for -1 compensation if it's still not working. It does feel a bit overcooked as earlier poster said, maybe dial back a bit. Some people do feel the AB's have inconsistent color across it's output, but I've used them and didn't find it a big problem.

 

Really it's just experimenting - shoot with a couple different WB settings and see which works best for you. Also useful to shoot in RAW and adjust the WB in post-production.

 

Also, maybe try using a WB card in the first shot and adjust your WB till it looks right in the LCD.

 

Finally, your monitor might need color calibrating.

Hi Piers,

 

Yes, check out earlier stuff as well as the Studio lighting tutorial. A couple thoughts - you'll get a zillion opinions on brands etc I'm sure. Some big picture thoughts (pardon the pun):

 

1) Hot (continuous lights) vs strobes - I shoot a lot of still life and find working with fluorescent lights give me a great sense of how the lighting looks - vs strobes which can be more difficult (modeling lamps notwithstanding). But it might be easier for you to hit the local Home Depot and pick up some economical lighting fixtures and play around with those and some home-made gobos, scrims, diffusers and other modifiers and save $$ to boot. You'd be surprised how much you can do with a couple incandescent or fluorescent garage type fixtures - just try not to mix them as white balance might become an issue.

 

2) Expansion - think about how much you might want to expand upon your lighting kit going forward - does the brand you buy have a lot of accessories, batteries, softboxes etc? Will it grow with you or do you just throw away a $800 lighting kit that won't take you to the next level.

 

Check out bandhphotovideo.com - NYC based they have a lot of lighting kits that come with stands, umbrellas etc for under $1000. I would definitely get at least two lights.

Hi Allan, I have an Alien Bee with their generic speedring and both my Chimera softboxes fit it.

 

I'd say there is no hard and fast rule on what modifier fits what speedring. Most manufacturers (both lights and modifiers) make a wide range of adapters for numerous other brands to fit and work with their gear - otherwise, it'd be less versatile and maybe less in demand from photogs.

 

Bottom line is check with the manufacturer, some have .pdf files or other resources that tell you what you need to mate one thing with another. Use these boards as well, you can even call their 800 Customer Service lines to ask - as well, any decent photo store like Adorama/B&H here in NYC can answer a specific question on whether or not XX-brand modifier will fit on YY-brand light.

 

Haven't used Impact stuff so can't say.

 

So the answer is no, not all softboxes are compatible with all speedrings - but some are!

 

M

More details please - are you shooting indoors/outdoors? How far apart is your group standing? Give us a sense of the environment and what you're trying to achieve - is this a group shot at a wedding or something like a Annie VF cover?

Depending on which company you use to set up your Kili climb (I suggest taking the eight day trip vs the six day due to acclimitization issues) you may be able to just leave the lens in the hotel you'll return to when you come off the mountain; or have your local travel agent lock it in their desk drawer.

 

Usually, you'll pare down your climbing gear for Kili and leave other travel stuff in your hotel (since you usually start and return to the same hotel). As well, a climb always has a guide, cook, and a few porters who lug your pack - climber/trekkers will typically just carry, water, snack, camera and wind/rain shell.

 

To make a long story short - I would not let the weight of carrying the lens on Kili be a big factor in your decision.

Beco,

 

You wonder if the lens is fast enough for dim lighting conditions...I'd think of it this way: combination of shutter speed, aperture and ISO.

 

Capture movement: minimum shutter speed say 1/60, or 1/125 if the kids are really moving.

 

Just playing around in my apartment, with just the ceiling light, ISO 400, my D200 on matrix gave me 1/6 second at f4. So an f2 lens is 4x faster (or allows 4x more light in) - thus you could shoot at 1/24 or say 1/30. Not really enough to freeze movement.

 

So for 1/60 you'd need to double your ISO to 800, and possibly get more noise. Or get an faster lens by one stop. Or if the room is brighter, you might be able to get away with ISO 400.

 

Overall, a faster lens will give you more options for ISO/aperture/shutter speed combo - it's all basic exposure math. A flash, of course, would help freeze movement but introduces a new consideration of source and quality of light.

 

Bottom line, I'd say, yes, the f2 lens will meet your needs of being able to shoot in lower light conditions - all other things being equal.

 

Your last question, I think you'll find a flash photo with either the 18-200 and the 35mm prime pretty similar. I'd only buy the fast lens to shoot without flash, otherwise, your 18-200 should do fine with flash.