bill_b2

It sounds like you are seeing messenger bags. Try the Domke Satchels.

Have you tried the Manfrotto importer?

Don't guess. Test.

 

Grab a couple of friends, go to someplace that is lighted at night, space them appropriately, and shoot away.

I believe you can set your camera so that it takes a picture on its own if a subject appears at a particular focus point, such as the finish line of a race. Of course, the camera cannot be in standby or be off. Could that be occurring?

The sentence of mine that John said was incorrect evidently requires some explanation. That was an admonition to Laura to not assume that she is entitled to moneys paid to her in the absence of a signed agreement, not a statement of contract law. Sorry if I was not clear.

 

To find out what creates an enforceable contract in your state for a wedding photography situation, see an attorney. Lawyers, insurance agents, and CPAs often are consulted by new businesses to get things started correctly. As are trade associations, business books, Web sites(sba.gov), and friends already in business. It may be easier to start off right than to make a correction down the line.

 

Even with the law on your side, a public relations nightmare can cost more than you gain.

Don't think about "typical computers." You would be upgrading a specific computer. "Typical" is an illusion.

 

Decide what you want to buy and see if it can be upgraded the ways you want. Be sure to find out how that specific machine can be upgraded and what it will cost. Otherwise, for example, you might be told that you can upgrade the CPU without knowing that you have to buy a new motherboard to do it on that particular machine.

Give her a refund, graciously. You did not follow up on the contract the way you should have.

 

You got her 2 months before the wedding, maybe you can replace her even now. You can always market yourself, telling wedding planners, florists, church coordinators, etc. that an opening has occurred in your schedule.

 

Just remember, no obligation by you or to you until she signs on the dotted line and gives you the deposit. And do not say, "I'll try to keep it open while you decide." They will ask for that. Say you do not commit or reserve dates in any way until a bride commits to you in writing and with the deposit.

 

You are like a retailer who has a product called June 15, 2006. You only have one of those on display. You cannot get any more of them, it is unique. A customer asks you to hold it for them while they decide how it fits in to their life. You tell them that you are sorry but you do not do that, first buyer gets the product. If someone else buys it first, it is gone. You tell them that you hope they come back and buy it because it would be perfect for them, but you will not set it aside for them. It will remain on on display for the first buyer. You are that retailer.

 

Bill

Give her a refund, graciously. You did not follow up on the contract the way you should have. Did you tell her that the date remains open until she signs and you cannot promise her any availability?

 

You got her 2 months before the wedding, maybe you can replace her.

You can always market yourself, telling wedding planners, florists, church coordinators, etc. that an opening has occurred in your schedule.

 

Just remember, no obligation by you or to you until she signs on the dotted line and gives you the deposit. And do not say, "I'll try to keep it open while you decide." They will ask for that. Say you do not commit or reserve dates in any way until a bride commits to you in writing and with the deposit.

"I want to expose for some area in between?" No, not really. Meter for the outside, then bring it down 1/2 stop if it is a bright sunny sky. Then bring up the light for the bride to whatever she meters at. You may just need reflectors and no flash or just a little fill. The flash will not affect the outside exposure. Be wary of flash glare on the window. Adjust your aperture and shutter speed for what you want. You have a lot of flexibility with the D70,because it will sync up to 1/500th of a second. The reduction in outside exposure is to give the bride a little prominence.

 

You can practice on yourself with the self-timer or remote release.

 

On the silhouette, you might want to use non-reflectors(big pieces of black paper or equivalent) to cut down on lighting brides face. Black on floor and inverted square U around her face. If you overexpose exterior as close as possible to blown highlights, the bride's face will be more silhouetted and then you can pull back the sky in processing. Check the histogram and/or bracket to avoid overexposing too much.

 

If the bride's face is turned toward you a bit, the nose will be reduced and her face will remain in silhouette. Nose maximum at right angle to you. Nose minimum facing you head on.

 

Bill

If you have nothing for comparison, just see how you like the looks of what you get. Shoot a light source, like a street scene with the lights on. Shoot a bowl of fruit with a light shining on it and not shining on it. Same for a portrait. See what you get. This is the same with a new lens. You do not have to have a comparison.

 

If need be, see if there is any Web discussion about the quality of that particular lens. Maybe someone will post a picture for the sake of comparison. Like a shot of a 1$US bill from 2 feet away. Then try to match it.

 

If condensate or fungus, you may need to take it apart and clean it. Let's assume that the glass is not etched. Otherwise, you may have a homemade soft focus lens. It depends on what your tests show. If pix are soft, the spots are a problem or you have a low quality lens.

 

Bill

If the two of you have taken several thousand shots preparing for this, you may know what her present kit will not do that you want it to do. That means you should be able to extrapolate from the short and long end of the 18-70mm lens to know the focal lengths she needs. You should also know what f/stops she needs. If the answers to these questions are not known, look at the test shots again to see what works and does not work for what she needs to turn in.

 

If neither of you are experienced enough in photography to work this out, get a good book on food photography. You will not be able to raise all the relevant issues on the forum because you will not know what to ask. For example, Are hot lights going to melt my food? Do I need tilts to get everything sharp? Not to mention, Am I the print production coordinator, also?

 

You might reverse engineer this by starting with the end product. How are these pictures to be used? Web? Advertising? Illustration? Catalog sheets? Posters for booths at trade shows? Et cetera. She might check with both food photographers and art departments at food companies to find out how pix can be used. Probably more ways than she and her bosses know.

 

Then determine what she needs to deliver to the relevant medium. A magazine can tell you what you need to give them for the best images based on their particular production methods. If you are in Seattle, the town may have a print production association that will give you an orientation in the manufacturing needs of various print media. If not, check with printers up there. Web designers or masters can help you on their needs. See if the local ASMP chapter has assistance through classes or meetings. Same for other trade associations, which could be ad clubs, PPA, AIGA, art directors, you name it.

 

I have always thought it is a good idea to buy equipment on the basis of need. After I wasted money and time not doing that, of course. What do I need to do? How do I do that? What can I not do with my present equipment that I need to do? What additional gear do I need to do that? Then you go to, What are the advantages and disadvantages of the 60mm for what you need to do that is not possible now? Same for 50mm. Same for extension tubes. Same for 2.8 macro zoom.

 

I am sorry my post is more questions than answers but it is. You sound as if you are both highly motivated to do a good job and want to find out how to do that. Good luck.

 

Bill

1. Try his Web site, richardavedon.com. There are some good quotes from him:

"I've worked out of a series of no's. No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the "yes." I have a white background. I have the person I'm interested in and the thing that happens between us.

Richard Avedon, 1994"

 

2. http://www.digitaljournalist.org/issue0406/wilson.html is about Laura Wilson's book on Avedon's American West photos, a series commissioned by the Amon Carter Museum in Fort Worth, Texas. I believe the title of Ms. Wilson's book is Richard Avedon At Work In The American West. An excellent book about superlative photographs and the taking of them. Includes explanations of setups and photos of Avedon shooting. She was with Avedon on that multi-year project.

 

There are several books of his art.

 

Bill

You may also need to rent a generator to power the lights and wind.

I would ask Ms. Burkett to come up with solutions to allow photography with tripods, passing along the suggestions from this thread. She needs to be more neutral, though. "We could just say no cameras on tripods or no cameras." How about, "We could just say no to anyone without a camera or without a camera on a tripod." Does not look neutral when turned around. She is assuming tripods and cameras are THE problem, not just a change in the situation. She can find out how the matter is addressed in other areas. The experience of others, however, even if in the majority, may not provide good solutions. As the pro, she may not be taking enough responsibility for this issue when she says, "I am hoping someone out there has a good solution." Ask more from her, then, if need be, from the head of Houston Audobon, then from the board chairman, then the board members. No threats, of course. But that is the chain of command. Tell her the April 1 deadline is unreasonably short and ask for an extension. She did offer a solution that is evidently working in one area. Assume she will work with you in good faith. There are probably many other issues she has to address in addition to photographers with pods. You may need to form a working group within Houston Audobon or advising it. Remember that birders are not mutually exclusive groups and some people she already knows may help her with this.

 

Many facilities feel the pressure of increased usage and populations and have developed solutions. Maybe one ticket per person and per tripod, if they use a ticket system. A lottery. "Shooting" seasons.

 

Lengthening hours may be a solution, too, although the costs will have to be covered. Best lighting is usually very early or very late for me. There may be other considerations, though, such as animal behavior that occurs only at other times.

 

Photographers will probably have to get involved with the organization to have the best input. That means committees, boards, fundraising.

 

Best idea I have had today, Monday, March 27, 2006! You have seen binocular installations at scenic lookouts, right? How about a post attached to the railing or walkway, with a big ball head on top with an Arca-Swiss clamp. Shooters need bring no tripods. Clamp your camera to it and shoot away. Clamp could have timers activated in heavy seasons to "remind" photographers to do the shots and skedaddle. Send no accolades, just support your photo forums and nature organizations.

 

Bill

The shutter speed must be as long as the duration of the flash to get the full effect of the flash. Otherwise the shutter closes while the flash is still shining.

 

If the shutter speed is shorter than the flash duration you may not be able to simply pro rate it. That is because the flash may get brighter, then stay at a high level, and then taper off. It happens so quickly that you think on and off. If you cut that flash duration into 100 pieces, you might see the rise and fall of the flash output. Any differences from ideal may be inconsequential for your needs.

 

Also, the shutter picks up speed itself if it is a mechanical device.

 

Q4) Perhaps. If the light output was instantaneous and even, and same for opening and closing of shutter, then yes. Otherwise, only experience will tell if they are close enough to ideal to make no difference for your needs. Your experience will only be good for that particular flash and shutter. Over time, even that could change as camera and flash age.

 

Your questions are good.

 

Your monolight's manufacturer may have info on their site.

 

Bill

Steve said that you could not change the sharpness setting in post processing. I believe he is incorrect about that when shooting in RAW, which you are.

 

You are not obtaining the full benefit of the D200 upgrade by staying 2-3 feet back. You are probably doing so to avoid getting in the way of the lighting. You would want to fill the frame with the jewelry. The only ways to do that are to move closer or to use a longer focal length lens. One reason for the popularity of 180-200 mm macro lenses is because of the working room they give you. The picture you posted would not even come close to filling up the capacity of the D70 to give you a 3000x2000 shot, much less the D200's.

 

Critical focusing is often done manually in the macro world. In the larger world, the distance between steps is focusing is often hidden by the depth of field. In macro the DOF is to shallow to hide the limitations of automation. Except, perhaps, in the new Nikon 100mm macro VR. Keeping your subject in a plane parallel to the camera helps to keep everything in focus. The constraints you have are the nature of the subject and depth of field.

 

If you were take a picture of a subject that occupied a single flat plane, such as a newspaper, you could keep it sharp. With 3-dimensional subjects, such as the jewelry, you pick what plane you want sharp, which is usually the top of the piece, and maybe as much below that as possible.

 

When working at very close distances, the depth of field can be very shallow. The tendency is to stop all the way down, naturally. Unfortunately, that may not give you the sharpest picture, due to diffraction, I believe. So the best aperture on that D200 and macro may be more like f/11, and on the D70, maybe f/8. That means a shallower depth of field, but a sharper picture within that DOF.

 

Here is another issue. The white background. Its reflection may degrade the sharp images of stones that are not completely opaque. I have real life experience in this. In college, one of my many jobs was preparing stone tools for photography. For arrowheads, I painted a black border around the underside edges. That allowed for a sharp edge to the tools. The stone was very slightly translucent around the sharpened edges. The black made them opaque. Same could happen with jewelry. You may need to shoot on dark velvet and then change background to white in post processing.

 

You might experiment with a point source or something smaller than your tent for your lighting. Large light sources will fill in what would be a shadow with a point source. For portraits, that is good. For getting the sharpest appearance, maybe not so good. Try some variations. This is one reason there are different sizes of reflectors and tents.

 

A flash would help eliminate any camera movement, as would a locked-up mirror. If you only have a weak flash, just open the shutter in a dark room, wait a couple of seconds, and keep popping the flash to get the right exposure. With digital there is no film expense for the testing.

 

Using polarizers on lenses and/or lighting can eliminate glare, which will increase apparent sharpness. Think of glare as equivalent of a layer of haze.

 

"If i get in REALLY close, and focus on a particular part, then focus is sharp." So do it, and then stitch the pics together panorama style. Don't move the camera. Too much trouble. Move the subject. Jewelry on velvet on table. Shoot, pull velvet, shoot, pull velvet. Stitch. The table has to be parallel to the plane of the camera. Place mirror on velvet. Level camera until camera is looking into itself.

 

So you see, Graeme, the Department of Life's Compromises has a substantial Photography section. Your technique is only one of the factors. Physics and limitations of mechanical construction are among the others. You do not get all the blame nor all the credit for the results.

 

Bill

See:

http://www.nikonians.org/dcforum/DCForumID86/16110.html

 

Bill

The natural look is just another personal style. No more authentic than another. Sometimes the goal of a pro is to hide the artifice or the choices made so that the viewer believes he is looking through a window at the scene. At other times, though, showing the artifice is part of the goal. Witness Pop Art as an example. Or Impressionism. Or animation done in a crude way, intentionally. The Flintstones. The Simpsons.

 

If you are a PJ on assignment to cover a wedding, all the PJ guides apply. You still can alter the perception by choice of format, film, shutter speed, depth of field, etc. Authenticity is difficult to define when the standard would be a mammal with binocular vision, color sensitive somewhat, with an ability to integrate a number of variously-focused views into a single memory. We remember like a pinhole camera, but we do not actually see that way.

 

If you are a wedding photographer shooting in a PJ style, do whatever you want for effect. Effect is all that counts. Blast the B&G, Weegee-style, with a big lurid flash. Shoot the bride getting ready the way her sister would. Do the reception in the style of an Andy Warhol collage. Be as natural as Woodstock. Maybe that event is not a good example.

 

If you want to shoot it just the way you would have if assigned to be there by an editor, OK. It is just an option, not a requirement. If you choose to shoot as if on assignment, make sure the customer knows your intent when discussing the contract. Some people are not that thrilled with reality intruding on a ritualistic event.

 

The famous, long-lauded actor was asked for the secret of his success. He responded, "The keystone to my long career is sincerity. No doubt about it. Because if you can fake that, you have it made."

 

Good post Jammey.

 

Bill

Maybe block the stained glass with well-placed, tall plants, trees, really. I have seen postings doing that.

 

Or buy a huge role of 48" by 25' Roscolux, to cover the glass, balancing the light to that of your flash.

Stream of consciousness to follow:

 

Maybe brides prefer the snapshots. Look at how TV commercials are shot and edited. Many have a cartoonish, snapshot look although some of the best talent and equipment is used to achieve that. Those are visuals of today. Anyone wearing flip-flops in public? We are in a very casual society. Ask the owners of the men's clothing stores. Oh wait, They're mostly gone. No suit sales. No sport coats. No fedoras.

 

Analogize your photos to music. Are you offering Perry Como, hip-hop, or the New York Philharmonic? Is your work in sync with the times? Is it too clean and polite for a snapshot world? No open mouths stuffing a pound piece of cake in. There is room for many types of music and photography. But there are not many polka bands anymore.

 

Go to a wedding as a guest with a point and shoot. Are those pictures looser, more fun? I have seen a lot of fun snapshots that have communicated the atmosphere of a wedding or reception very well. We live in a visually oriented world that is ripe for photographers who are freed from the technical problems of the past in getting a good shot or print. Those are the snapshooters, like it or not.

 

When you are the pro at a wedding, do you have to contrive hip? Shooting up from ground level? Intentionally tilting the camera, for effect? Still contrived and obviously so.

 

Are your customer expectations realistic? Do you educate them? Show them different types of looks? If you have one look to offer, that's OK. Just market that look to the people who like or that you can educate to it.

 

There is still a carriage trade market that is able and willing to pay top dollar for quality. Mom will be doing the arrangements for that, I suppose. Maybe old school formal, maybe not. But always quality and high expectations. No failures.

 

Back to the TV commercials. They are done by highly skilled people who have repeat customers who know that a pro can deliver. The wedding business is not that way, unless you market to wedding planners who do the hiring.

 

These are just some thoughts on Collen's post. The market changes. If you do not keep up, you are left behind. Keeping up refers not just to technique. Do you do professional marketing? If not(probably because you think it is too expensive), either word of mouth brings you business enough to survive, or you don't.

 

Venting by photographers is good because it gets everyone to thinking and acting. As recorded music has changed the world for musicians, digital is changing it for photographers. There will still be musicians and photographers. More customers, though, will be providing their own music and photographs without hiring anyone.

 

I am not a professional photographer and never take pictures at weddings. There are pros who get paid to do that.

 

Bill

The filters lighten colors that are the same as the filter and darken the complementary color.

 

On a light Caucasian woman, skin blemishes are apt to be reddish. A reddish filter will remove those. The blood capillaries just under the surface of the skin that give skin a pink or reddish tone are also affected. The skin will appear whiter the deeper red the filter is. Think of yellow, orange, and red as a continuum. Try them out.

 

On men, the opposite color filters will give the men a ruddier complexion, darkening that reddish skin tone. A manly man! Blue or green.

 

This means that if you want a woman to appear to be wearing lipstick, she should wear blue, not red. Look at a color wheel and think opposites.

 

Find someone with a digital camera and Photoshop. You can easily test this and print out the results as a reminder for when you shop for filters.

You will not participate in the wedding as a guest. At all. Is that important?

 

If you have not been shooting social events, get started. Sports(the crowd). Taste of Omaha. San Diego Book Festival. Abilene Salon de Fashion. Whatever. Getting up front and personal is not the same as shooting Niagara Falls. Do you do well at those events? Are the results good, according to your sister-in-law? Let her tell you she is satisfied with your work.

 

If all looks OK and you decide to do this, buy no new lenses, cards, battery types, nothing. Only use what you have tested several times and sis has approved. Not even a new camera bag.

 

Good luck.

Talk to a successful nature stock photographer. This means hiring him or her for a day to discuss how the biz works.

 

They need to be individually, fully captioned or you have nothing to enter into a database.

 

You may need releases on pix of privately-owned property. See a lawyer.

 

You need to check the physical condition of the stock. Chromes deteriorate, depending on film type, storage conditions, and processing. Talk to a photo conservationist at a museum about hiring someone to check this.

Peace, brother

 

Some of us who moved to Thailand after the Summer of Love have been gigging at Nikon. So the spirit of love and expanded consciousness could be available to all, we enhanced a number of D70's. Our vibes are transmitted from the SB-800 to the D70 as part of the Totally Integrated Universe Signalling Apparatus. In the right circumstances you can actually see the transmission!

 

Thanks for the props, but it was nothing Jerry Garcia wouldn't have done, too.

Go to reallyrightstuff.com and download their catalog. It has good explanatory text. They provide excellent advice on the telephone or by email.

 

Quick release is good. I have an Arca-Swiss B1 with its own screw-type quick release. I do not like the idea of a lever catching on something, opening, and then disaster. I do not carry my camera mounted on the tripod. If I did, I would keep the strap around my neck, so as not to lose the camera.

 

Sellers of lever clamps would say I am too cautious about snags.

 

If you were placing the camera on and then taking the camera off in quick succession several times, a lever clamp would be great. I don't do that. I do worry about wear on a lever. A screw close is so simple. If a captive or non-captive screw was lost or broke, replacements would be easy to come by. Lever clamps may not fit all plates, by the way. The RRS catalog mentions this. I believe some of the plate manufacturers may not always follow Arca-Swiss specs exactly, and that can mess up the lever.

 

The RRS plates come with an adapter to fit over a smaller screw in a head. It's all in the catalog, which is in pdf format. They have a print catalog, too. Do not know if they mail overseas. If in USA, call them and they will send it.

 

I bought an RRS clamp for a Gitzo head I have had for years. Works great. Also have an RRS L-plate for my Nikon D70. I keep it on all the time. I prefer the balance with the kit lens and zooms.