markonestudios

I used WW about 5 years ago for a couple of seasons. I found it more useful as a tool to network with other vendors than a way to secure bookings. I got lots of enquiries but many of them were not serious and I suspect were just other newbie vendors trying to check pricing etc. I stopped paying for it because the ROI was almost non-existent but I still maintain a profile there. I earned WW badges 2 years in a row so I use those as part of my marketing even now. In reality, if you shoot a certain number of weddings a year and get clients to rate you on WW, you will get the badge. The couples don't have to have found you on wedding wire. The only criteria is that you shot the wedding that year, if I recall correctly.

It may be worth it for some but I suspect not in the way that it gets sold to you by WW.

Having just walked the OP's walk, spending months to select a medium format system to get back into shooting film, I am curious about a couple of things:

1. Why the Mamiya 645 hasn't been suggested (whether the 1000s or the 645 Super, Pro or Pro TL).

2. Why a number of folks are giving advice that is pretty much ignoring the OP's fairly clear wishlist: wants to shoot outdoors handheld; doesn't want to use a WLF; doesn't want a TLR; would prefer 6x6 but seems like he can live with a 645...

I ended up going for a Mamiya 645 Pro with WG401 grip and AE prism finder. I also bought a 105-210mm f/4.5 lens and had earlier acquired a 210mm f/4 which I may well offload. My film rolls arrive shortly. So far the handling is pretty decent (handheld) and quite intuitive. The body is somewhat hefty with either lens attached, but certainly usable handheld. The split-screen focusing is a joy to use.

Finally, it would be nice to hear what the OP has to say about the suggestions so far :)

Extension tubes are often the easy answer, and are quite common in many different MF systems for exactly this sort of situation. An extension tube is just a simple hollow tube, usually with coupling to allow the camera to control the lens. By placing the lens out from the mount, the minimum focusing distance is reduced but the lens generally can't focus to infinity with one in place. The amount both of these is affected depends on both the focal length of the lens and the length of the tube-i.e. a very thin tube on a very long lens MIGHT only gain a small amount of minimum focusing distance and retain infinity or very near infinity, while even a modest length tube can make a wide angle only usable at macro distances.

 

Looking around, the Mamiya branded tubes for this system seem to come in 12mm, 24mm, and 36mm. Unfortunately, they don't look to be inexpensive, although I see some sets for sale on Ebay for more moderate prices. The full set is worth having so that you can select an appropriate tube for your situation, or even use multiple tubes if needed(the three tubes stacked are claimed to allow the 80mm f/2.8 to focus to 1:1). I'm too lazy to do the math as to what affect each of these would have on a 210mm lens, but even the 12mm should get you an additional foot or two at the close end.

Ben, thank you very much for your response! I am checking out extension tubes now. The ones I am finding on eBay seem fairly reasonable, with a number under 50 USD. I am not too worried about potentially losing the ability to focus to infinity; I plan to use the lens almost exclusively for portraits and will shoot at wider apertures anyway.

Even gaining a foot or two from an 8' MFD is a big plus. I like to be closer to my models when shooting portraits.

Thanks again for your help!

Hi,

I am just delving into the world of medium format film and have ordered a Mamiya 645 Pro and also a 210mm lens. I do mainly headshots and portraiture. I am wondering if anyone has suggestions on how to achieve a closer focusing distance than the lens' standard 8'. I have sufficient space to work with the 8ft but I would really like to be able to work closer if possible.

Looking forward to your responses.

Mark

- At your own risk! I have 2 Mamiya 645 Supers and a Pro-TL. I've rarely had all 3 working at the same time, with one or another needing repair on an almost continuous basis. If I had the choice again, I wouldn't touch any of the plastic-bodied Mamiya 645s with a barge-pole. Totally unreliable IME.

 

OTOH, all of my ancient metal-bodied Mamiya 645s (1000S, M and J models) are in working order. They might look a bit tatty and showing their age, but they all work.

Thanks for your feedback. I am actually also looking at the 645 1000S. One thing that would be a potential determinant for me is, can I use the 150mm f/3.8 leaf shutter lens on a 1000S? I'd like to achieve a higher sync speed than 1/60.

As long as I can wet print, I won't ever give up black and white film. I have been shooting digital now for 26 years, it is old hat to me, the low light performance and sheer ease of use can't be beat. But I only use camera systems that will allow me to fully integrate film use into the digital use because film use is where my heart is.

 

So after some 10 years of relentless work, searching for the right property to buy and saving, I finally have a real darkroom. It's in my new house, is about 500 square feet, very modern ( all LED lighting ) and I can print up to 45" x 55". Two of three build phases are done, the last being the design / building of the mural system and all the details to be filled in like cable harnessing, moving my iMac Pro into the space, etc.

 

Maybe there are a number of things I could have done different in my career but one remains steadfast and that is staying true to myself and the long standing belief that the future of *my* photography is my vision for it.

 

That future vision is largely based on film.

 

 

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WOW! THis is some real dedication! I am just about to pull the trigger to get (back) into film photography. I always wanted to shoot MF so I will kill 2 birds with one stone and purchase something like a Mamiya 645 Pro.

Are you planning on doing any commercial developing/printing?

I am in the "middle of researching what film camera I want to buy. I used to shoot 35mm film. I now shoot dSLR but I yearn for the look of film and have always wanted to try MF, so I am reading the thoughts in this thread eagerly as I will need to think about my new film workflow.

Excellent input (mostly). Thanks for sharing your knowledge.

I've been commissioned to shoot a large group photo (a society reunion) at a(n American) football stadium in about 2 months' time and am now in the process of research ahead of the shoot. My challenge is how best to capture the stadium and the group without necessarily posing the group on the bleachers or doing something cliche.

I know my way around cameras and lenses and plan to bring along a fairly tall step ladder. However, I am a strong proponent of continuous learning, so I'm here to ask for tips from others who may have shot this sort of thing before.

I am toying with the idea of having them pose on the grounds and form the shape of the society's initials.

It will be a mid-morning shoot in the northern hemisphere so it will be summer and likely sunny.

Any tips to get this done in a unique way would be very welcome! Shooting position, lenses, lighting, etc. Show and tells very welcome!

Note to mods: I wasn't sure which forum to post this in, so please don't hesitate to shift this to the appropriate forum

Thanks in advance!

As mentioned if your aim is to view others' works then you can search websties and also search Portfolios and Galleries of Members here.

 

If you want specific feedback or critique of a particular image or style of images you have made - then post an example in this forum and ask for critique.

 

If you want specific analysis or have a specific question about a particular element of Wedding Photography, then ask.

 

Your request is too general and a string of images here would not address "suggestion so that I will become a good wedding photographer."

 

***

As general comment, I suggest you contemplate this observation: very few Wedding Photographers realize that they are Principals of a Business and that Business is a separate Entity which demands both respect and also nurture.

 

Fewer still understand how to manage that Business.

 

The correct and appropriate management of one's Business is integral to excellence. Probably this is more relevant now than when I built our first W&P Studio around 1980. In this digital age it seems every wedding guest makes happy snaps and then posts them on the web, within moments: excellence in Photography and moreover excellence in the business of photography is crucial if you want to become better.

 

Michael Chadwick (the gent who posted a comment above), has written a book "Balancing the Art and Business of Wedding Photography". I expect that Professional Etiquette restricted him from mentioning that fact. I recently purchased his book and I endorse it to you as a being one useful tool for you to become "a good wedding photographer".

 

WW

As usual WW hits the nail on the head. I would, however, offer a quick critique on your 2nd and 4th images. You were shooting from above the subject, leading to what is known as foreshortening, which is not a very flattering look for your subjects.

Hi folks, new here. What did you guys have when you started shooting weddings? What do you have now (for that purpose)?

 

I'm thinking of jumping in, but I'm only DX, mind you, all Nikon stuff...

 

D300

12-24

50 / 1.8

18-200

2x SB-600, likely an SB-900 soon

diffusers, stands/umbrellas for flashes, 10x10 paper backdrop for portraits, etc.

 

 

Thinking maybe one of the older Nikon 35mm 1.4 Ai-F if I can pick one up at a decent price(?)

 

Thoughts?

I shot my first wedding using a film SLR camera and about 8 rolls of film ranging in speed from ISO 100 to 400.

I now shoot with a full-frame and a "crop-sensor" dSLR with lenses that cover 17-105mm. My preferred prime is an 85mm.

Starting out, I did not have opportunities to second-shoot so I dived in headlong. If you do have the chance to shoot alongside a seasoned pro who is willing to share/transfer knowledge, that may do better for you than any amount of gear.

Before you buy more gear, take time to develop your photographic style. For example, many pros swear by the 70-200mm lens but in my many years of shooting weddings, I haven't ever owned or desired to own one because (and this is key) it doesn't fit my style. Experiment, rent or borrow gear before spending money. The only thing I would term critical is having a backup/second body.

<p>There are websites such as fiverr.com where you can get graphic design work done for as little as $US 5.00. Of course, as with most things, you usually get what you pay for.</p>

<p> </p>

<p>I'm late to the party here. I agree with Michael and WW. Finish them and hand them over within the contractual leadtime.</p>

<p>I also fully agree about the objective criticism of your work.One must develop somewhat of a thick skin in this business.</p>

<p>I think it is also a better strategy to not post the VERY best ones on your FB page immediately after the event but rather save those till the couple receives their photos, after which you can then post the creme de la creme. </p>

<p>Julie Anne, You have two very separate issues here. What may work for photography may not work for video. Real estate photography usually requires higher depth of field to get the details all sharp. So you want to be shooting at perhaps f/8 or more.</p>

<p>Whereas your "kit" lens may suffice for this if you have a sturdy tripod, it will definitely limit you if shooting in smaller spaces. Canon's 10-22 is a decent lens, but also look at the numerous 3rd party lenses such as Tokina's 11-16mm f/2.8.</p>

<p>For video, that's an entirely different proposition. To get really good video you need to be looking at shoulder-mount rigs with gyro stabilizers, supplemental lighting, possibly dollies, etc. Lens-wise, you likely want a lens with a wide aperture and shoot it close to wide open, to enable you focus on particular details in the space.</p>

<p><br />Before you buy, if you are able to, it would do you good to rent various body/lens combinations and decide what works best.</p>

<p>I would actually suggest you look into acquiring a refurbished 5D Mark II which can be had within your budget. Pair that with, say, a Canon EF 17-40mm f/4L lens for stills and decide on an appropriate focal length for video and you have a formidable tool to accomplish what you're after. If you are doing this commercially, you can work in the cost of renting whatever lenses you need before deciding. The holy grail for interior photography lenses is probably Canon's excellent TS-E (tilt-shift) lenses. These eliminate wide-angle lens distortion and are very sharp.</p>

<p>Hi Nicole,</p>

<p>If a second shooter isn't in your plans and they don't live up to your standards, I wouldn't take them on. I would politely decline and say that unfortunately this isn't a service you offer your clients at the moment, but that perhaps in future you may consider it and wish them all the best in their photography.</p>

<p>The fact that you've posted this question tells me that you're more than likely a decent person and a conscientious photographer. Don't beat yourself up. Learning to say "no" is a really really important skill in this business as in life.</p>

<p>From what I have read, the 7D2 would be a good choice.</p>

<p>Bob, I believe the OP was referring to the UK having less than clement weather a lot of the year and often the dark skies drive the need to bump up ISO, rather than specific needs for night photography work.</p>

<p>I would also give it a test run first, at a real wedding. More than noise and tech specs, how does it handle, how different are the controls, how will you work it into your current lens arsenal, etc. All these are things to consider before you buy.</p>

<p>I currently have a 5D2 and a 7D and I love the versatility of having the focal length multiplier of the 7D when needed and ultra-wide when I need that (on the 5D2) instead. Your 10-22 EF-S is a nice lens but would not drive my decision of body that much mainly because it has a variable max aperture. That would absolutely drive me nuts. You may want to look at offloading that; there are now a few excellent ultra-wides for APS-C sized sensors. I would rather use my beloved 17-40L any day,on my 5D2. I typically mount a longer lens on my 7D to give me extra reach.</p>