michaelmowery

<p>Yes all stands especially the boom stand need to be sand bagged. All the more reason to get a roller stand. The boom itself needs a smaller sand bag hanging off the end or hook for counter weight.</p>

<p>You don't want to spend $110 on a nice boom arm to place it on a $35 stand. don't listen to the salesmen they just want to sell you the store brand.</p>

<p>May I suggest a roller stand as it will make life much easier to move both stand and boom with light source. The stand may be light now but when you have the boom and light source on it it is a pain to reposition when you realize you need to move it. Trust me.</p> <p>http://www.bhphotovideo.com/c/product/3554-STUD/Avenger_A5029_A420_Wheeled_Light_Stand.html/mode/edu</p> <p>http://www.bhphotovideo.com/c/product/104601-STUD/Avenger_A5033_A5033_Folding_Base_Wheeled.html/mode/edu</p>

<p>$250 per room and you can include the usage rights.</p>

<p>which avenger stand and boom did you get?</p>

<p>Short answer No... Reflectivity of a chrome stand has no effect in your picture if that is what your asking. If on the other hand your chrome stand is visible in your picture then it would be more noticeable than a black stand. As a rule the stand holds the light source and the light source is aimed at the subject not back at the stand and even if the light was spilling onto the chrome stand it would not have enough intensity to do anything to your image unless your subject is a few inches from the stand. I love steel chrome plated stands from Mathews and I use them all the time. Most all my indoor portraits on my website are done with shinny chrome plated stands and I have yet to have a problem. Now you might see in your subjects eyes a tiny reflection of a stand if it is directly in front of them off to the side holding a flag or something. I would have to take a close examination of the eyes but then again I would probably see myself taking the picture so does it really matter?</p>

<p>I understand you don't give bad pictures. We all do that. I don't know how many hours you shot on this job but for a normal 8 hour 360 is a little light in my personal opinion. In the end it really doesn't matter because you put in your contract and made clear to them they would receive 360 images.</p>

<p>This seems to be a recurring question that comes up. You do not have to give up the raw files and you don't have to give them the out takes. On the other hand if you took 1000 plus images and all you were able to keep were 360 you may want to check your self. Your contract determines your agreement and obligation. Don't let anyone pressure you.</p>

<p>what ever flash was used is not on top of the camera. It appears to be a second light probably held by an assistant. What was used to minimize the spread of light has already been answered. I will just add that the closer you place that off camera flash to the subject the less light spread and faster light fall off. He did not use the double lighting for all of his pictures so he already knew what he wanted and the results that would be achieved. If a grid was used I would imagine he had some kind of modeling light in order to better aim it.</p>

<p>You have to show them the same style of layouts that you will do for there album that way there is no confusion. While you are there with them it is easy to explain everything you want to say as you are flipping through the pages. You should have a sample album made up of the old style layouts and explain the difference and let them know they are limited to the amount of pictures they can put in that album and that this album would cost more because it requires more pages thus a physically larger album. It is very easy to explain when you have visuals to show and you are walking them through. If you don't want to spend the money on an actual album then show them the layouts on a laptop.</p>

<p>That is the first thing you are to establish is how the album will look via a sample album. Hard lesson to learn sorry you had to go through all that work. People understand visuals better than words.</p>

<p>provide a link to the pictures </p>

Tanya you have to get over stage fright as a professional photographer you will always block someone's view. The thing is to get your shot and step aside. There are some photographers who just stand there after they take the picture and that is inconsiderate. You are there to do a job and everyone knows it so stand tall and stand were you need to stand to take the shot. Know the rules of the church and where your boundaries are.

<p>Your question is very vague and without detailed info about how you plan to use the boom setup. Its like asking I want to buy a camera what should I buy? You forgot to mention what size of an octabox as well. Common sense and safety should guide you most of the way. Larger heavier stands to support the weight of any equipment that you have now and may purchase in the future. Lighter items can be knocked over or fall on a client. Boom arms come in three sizes and lengths but only you can determine which one works for you as you did not give us any clue on what or how your going to use this setup. The all in one boom arm/stand are limited in flexibility but if you are only doing table top stuff or head shots and small group shots then you could be ok. As a rule you should always plan for future use and invest with that in mind.</p>

<p>Totally agree that this is an additional charge. Going foreword you should have pricing set up for Black and white conversions. You can also have an option to get all files in both color and black and white for an additional cost. You got me thinking about this already. Most Photographers are are pressured to include files in orders and now we will be expected to give both color and black and white unless you (we) make a stand to charge.</p>

Read your Manual or look it up on Google otherwise I have to do that for you to answer your questions. It's always better to do your own homework as you will remember it.

<p>Yes you can keep moving the light further away and out the door but I think it would be easier just to move you subject or product closer to the background. You can position your light at any distance at that point. Most product shots are done on seamless paper so there is nothing to throw out of focus. Keeping you main light closer will produce softer light and more wrap around.</p>

<p>Now that you have done some testing and are able to give use some setting information we can better answer your questions.</p> <p>Based upon your settings you are not in bright sunlight. You say auto and I assume you mean the flash. You don't need to use manual you can use your auto as you say. I assume you have plus or minus compensation on your speed light. That is how you adjust the brightness in an auto mode.<br /> Your shutter speed is too slow which is why you are getting feathered edges. As a rule you should never shoot slower than the lens focal length and it is better to go one stop faster. In your case you should have been at 125. I shoot everything at 200sec regardless of lens unless it is a 200mm or longer. Usually the camera defaults to the camera sync speed when using a speed light when not shooting in manual. Aperture priority will allow the shutter to be slower but this is where you run into problems with feathered edges (blur) It is best to keep you CAMERA on manual at what ever gives you a decent exposure and let the flash fill in the raccoon eyes. The down fall of auto flash is that it can put out too much flash or not enough when shooting into dark clothes and white clothes which is exactly what we face in weddings. Thus manual flash mode is tested, tried and true but that is usually for more experienced users.</p> <p>Your second question about the lens all depends upon your style of shooting. The lens you have is best suited for family shots and full length shots. Tighter head shots will lack the impact that a medium to telephoto lens will produce. Your shooting space is snug to say the least and you would be better off moving the shoot on location. You will get bored of your picture given your limited ability to be more creative with your choice of lenses.</p>

<p>I am so sorry to hear this horrible story. Let's be perfectly clear here that this photographer failed to back up the files from this job. A backup means that there is two physical copies on two different drives therefore if one drive goes bad which WILL happen there is another physical copy (backup) of all the files.</p> <p>Second problem...All cards are able to be recovered even after it has been reused and formatted several times. The card write in a linear fashion meaning it starts from front and writes to the end then at that point will start to overwrite from the oldest job first. This is a good reason to buy 64 gig cards.</p> <p>I don't buy their story. Recovery by the way can be thousands of dollars as they charge for what was actually recovered. This is not in the best interest of a cheap photographer. They look at you as a foreigner and could care less if you complain or not as they will still continue to get work from other foreigners. You only option here is to sue them.</p>

<p>Only if the clouds are low can you bounce the flash otherwise direct flash. If you can't get good results with ettl then go manual flash and test your results based on distance from subject.</p>

<p>By the way the houly rate today is $500 for Seasoned professionals and I stress SEASONED because everyone today seems to be a professional photographer. $200 an hour was back 15 years ago. You need to raise that to at least $350 minimum if you have any skill.</p>

<p>Can you please explain your package because you seemed to have stopped at $1,600 for 8 hours. I can only guess you are giving them the files for free at that point. Anyways you need to book a minimum number of hours which would be 8. It sounds as if you are booking only 5 hours $1,000 in order to seal the job but in reality it will end up being closer to 8 or 9 hours in the end. If you have any knowledge of weddings you know they will be at least 8 hours minimum unless it is some very small party for which they will tell you. You have to be up front with all of this.<br /> Any overtime after the fact is billed after the wedding and payment received before handing over any product.</p>

<p>Add a battery grip to your 5d III to simulate that full camera feel like your 1Ds had. I sold my 1ds III to get the 5d III as well. I couldn't justify the 1Dx much less two of them.</p>

<p>Architectural photography is not portrait photography and if you have never done it I would not recommend practicing on a paid job. Yes your time is worth money but it is not worth very much if you don't have experience. That being said each property is to be billed separately plus any expenses. You need to communicate with your client what he needs as far as shots or angles I can't answer that for you. I am only guessing at this point. I don't even know where you are even located California or Arkansas. Your market area also can determine what limits you can charge but since you have never done this I wouldn't worry about it.</p>

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