lester_robertson

HEy guys, thanks. I finally managed to find the files using my Data Rescue program on my Mac. Still have no idea why they weren't apparent. I'll try the suggestion of following my owner's manual directions (if I can find my owner's manual).

Help! I just shot a small job this morning on my D200. Images were recorded on 4G CF card in camera.

Images were reviewed after shooting in camera. I had other images on chip (should have reformatted, I

know). When I got home, the images I shot this morning were not there. I put the chip back in the

camera, and the morning's images were gone. All the others were still there. I shot another shot at

home and it is there. Where are my missing images? I don't see any other folders that have been

created. Help!

Elaine,

 

Generally, flash is way overused in wedding photography. When you can find (and you must look) natural light in a soft, low direction, it will always look better. But it's certainly more work. The shot that jumps out from your Prescott portfolio is the black and white of the little girl in what I'm assuming is natural low sunlight. It almost reminds me of that famous shot of Georgia O'Keefe by Ansel Adams with the low camera angle and the light direction.

Russell,

I'll just tell you what I do. I have a Powerbook G4 12" that I take to weddings and download right there. I wanted something small that would fit in my camera case. That way I can erase my CF cards and keep going. The advantage of the laptop is portability and can't imagine hauling anything bigger around. As for harddrive capacity, the difference betwee n 100 and 120 GB is about a week's worth of photos. You'll need a big external harddrive to download to as well as making backup DVD's. So, no recommendations, just what I do.

Who said statistics were boring? You guys are a hoot!

Cynthia,

 

I've been trying to get a comparably professional looking color print out of my Epson printers for years. I now use an Epson 2200, and without a doubt the best photos I've ever gotten have been with the Kodak professional inkjet papers using their downloaded profiles (website on paper packages). The prints using their lustre equivalent is the closest I've managed to get to the "E" surface paper from the lab. It even says "Kodak Professional Paper" on the back.

Barry,

 

The most important lighting tool you've got for formal groups (especially at church altars) is your tripod. On-camera flash plus one strobe off-camera with small umbrella (larger umbrella won't make a difference at that distance)on tall light stand just to side of camera aimed across camera at opposite end of group (to even out the lightfall) combined with slow shutter speed (1/8 to 1/30th sec) of camera on tripod to pick up ambient light gives a wonderfully 3-dimensional and even lighting effect. It doesn't need to be more complicated than that, but certainly will give a much more "professional" result than one light on camera, whether on tripod or not.

Julie,

 

Needless to say, the best locations are the ones that will charge you to use them, unless your bride has a reception scheduled there. I think I've done my best work at the Botanical Gardens, late in the day (outside, of course, though they have a nice wall of windows in their ballroom). I just shot a reception at the Atlanta History Center which has very nice outdoor locations as well as another large wall of windows in their ballroom. Using the other facilities there is tricky, i.e., the Swann House. Only be very special arrangement. But it always seems to be a challenge to find a great location in Atlanta if it's not part of the day's events. The downtown sidewalks and newer architecture can be great, but as challenging as doing a commercial shoot with traffic and pedestrians. Good luck, and I'm as eager as you to find good and accessible locations around Atlanta.

Ruben, I agree with Marc. "I" is usually plenty. Any more and you start to lose information. I've changed my thinking in using softening filters. It seems that most of my clients agree that an obvious effect is too much. I use a softening filter more to mitigate contrast rather than to obscure detail.

Todd,

It's me again. As for the Alien Bees, I've been using Paul Buff lights for as long as they've been in business. Have recently bought a dozen Alien Bees to set up studios for plastic surgery offices. I can't say enough good things about that company. Maybe the only place left in America that actually answers the phone with a live human being. Good choice.

Todd,

I've been shooting weddings for 25 years. I learned this technique from David Smith, Stone Mountain, Ga. For group shots (altar groups after the wedding), camera on tripod (the most important lighting tool--tripod), dragging shutter to properly expose background, about 1 stop less than subjects, with on camera flash directed at group. Portable light (I use battery-powered lumedyne) on 10 to 11 ft. stand with small umbrella (larger umbrella won't make a difference at any distance over about 10 ft) positioned very near camera (at side of aisle, about 3-4 feet away), aimed toward the end of group opposite the light position to give even distribution. Light slave or radio (preferred). No cords. Setup and breakdown, 1 minute. As for glass reflection, keeping the umbrella light up high (> 10 ft) will take care of all but the pinpoint you'll get from the on-camera flash.

Please investigate the work of the late Leon Kennamer. Truly the master of outdoor photography. He practically invented "subtractive" lighting. His work was used by Kodak for years in their promotions for film. I had the pleasure of attending a couple of weeklong seminars at his studio in Guntersville, Alabama in the late 80's and have been able to "see the light" ever since.

Mark,

 

I really like the look of the Kodak Professional Inkjet papers. From gloss to luster that give a very similar look to the E surface that you get from the pro wedding labs. So how does the 2400 do on Black and White? Is it as good as advertised?

Rob,

 

I don't know if we're supposed to promote businesses on this site, but I've been using HS Photo in Atlanta for years for my wedding business. I now shoot nothing but digital and send everything in over the web using their own interactive software. I get the best results when I do my own exposure correction, but let them do all the color correction. You can find them on the web.

Help! I have a Mac PowerBook G4. I accidentally trashed and emptied a

files of photos (bridal portrait). All the websites say I can recover

(if I'm lucky). I've tried the Data Rescue software with perplexing

results. I will take my computer to the Apple Store later. Anybody

have a similar experience?

Chris,

 

I think most everything has been said on this issue, but I'll add my 2 cents' worth. I've been shooting weddings with a Kodak slr/n for a year or so. It's great for the standard wedding shots, as long as you stay under 400 ISO. I bought a D70 to use as my backup and candid (existing light) camera. And I love it. I generally keep the exposure compensation set at +.3 or +.7, and am constantly checking my histogram. I've gotten some great candle lit shots at ISO 1600 with my f1.4/50mm lens. As long as your histogram is balanced, you should not have a big problem with noise. Expect some at high ISO's, but everything I've read and experienced says that this camera is all you need (for now).

Jon,

 

Are you shooting digital? I wasn't clear on that. If so, and most of your ceremony shots are from the back of the church, "simply" expose for the window once for each focal length, and then expose all your other shots for the interior. It looks like the couple may be protected by the podium from the window light as a background. So in post (photoshop)copy the properly exposed couple into the properly exposed window. I do it often for interior architectural shots to bring in otherwise overexposed highlights. Good luck. All of this is assuming you'll be using a tripod.

I must admit that I've gone totally digital, but some of the common rules of image duplication is that you will typically increase contrast with each step. So starting with a more normal (or even low) contrast film might assure you of not having to try to decrease the contrast (and saturation) later. In which case you are necessarily losing information. This is not based on any practical experience with the Superia film, but I always shot with Fuji professional films when I did shoot film.

Hoang, 1/30th at 5.6 is what I shoot most candids in a typical indoor setting, assuming that your flash(es) are the primary light. If there are spots or windows with daylight, you must shoot at at least 1/60th. But if its strictly ambient room light, the 1/30th is good to pick up light in the background, and the flash(es) will stop the motion. In altar returns and aisle shots, using these settings, you must look out for spotlights that will burn out or pick up movement at 1/30th.

I'm happy to be reminded of the books of Freeman Patterson. Along with Ansel Adams, these are a must read for any aspiring or experienced photographer looking for inspiration. And a nice break from all the technical stuff you must learn.

Steve, you have to think in terms of your light source. The only way to get a soft effect out of one light is to bounce it into a large reflective surface. That's why I recommended shooting with your light bouncing off the (white) wall behind you. That way your light source is actually the (relatively large) area of wall that your light strikes. The only way to achieve soft and 3D from one light would be the above method near a corner. That is, aim your light behind you into the corner with light bouncing off the wall behind you and the wall to the side at the same time, thus achieving 2 directions with your bounced light. This would be asking alot from one on camera flash, but is theoretically possible. Good luck!

Marc, to go off on a tangent, on what are you printing your proofs? And how does your cost compare to lab costs for same?

Join PPA. Join your local Professional photographers organization. Go to seminars by noted wedding photographers (see PPA). Read everything you can get your hands on about wedding photography by respected wedding photographers. Find a respected wedding photographer in your area and carry his bags for a couple of years. That's the way you become a wedding photographer.

Interesting that my approach is very similar to Todd's, and I thought I was the only one that offered unlimited coverage. I set my price by the size of the wedding. I do deliver a proof book with 250 to 500 proofs as well as credit for a finished album with 60 to 100 finished enlargements. I also offer a free engagement and formal bridal sittings. Now the secret--don't tell anybody--is that more than half of my brides never order the finished album. And fewer take advantage of the free sittings. But all of those things are in the "package" to add to its perceived value. I really didn't plan it this way, but that seems to be the reality with my clientele, which seems to be the young professionals whose priorities are not those of the younger bride (whose mother is running the show). My packages start at about twice what Todd's do, but have little more overhead. And I have all of the money on delivery of the proof book. If there is a question about this, I assure them that it allows them unlimited time to make their final album selection. Now that might cut down on reorders, but I'll exchange reorder profits for not having to deal with everything else.

 

So I guess it depends on your target market. Just my experience.

Lori, do you have more than one sb-800? If so, they have a built in slave trigger that allows you to fire from you on-camera strobe. If not, a simple light slave trigger on an off-camera flash will give you the extra light you're looking for. I've shot weddings for 25 years and ALWAYS use a second light for my altar returns. It really makes the difference between run-of-the-mill and professional looking group shots. Advice: Position second (off-camera light) fairly near the camera so you don't throw shadows from one person to another. ALWAYS use a tripod so you can shoot at a slow enough shutter speed to pick up the ambient light for fill and background.