michaelmowery

<p>Basically what she gave you were 5x7 images at 200ppi is is considered high resolution which is able to make a print. You seem to have two separate issues here. One you just plain don't like the images which has nothing to do with resolution and second is the obvious resolution factor for which no retouching or photoshop will increase the resolution. I assume your photographer did not offer an album package? If you just wanted the files it should have been made clear the size of the files and what print size they could make. If that was not explained to you then you might have a case.</p>

Adobe camera shake tool does not correct subject movement caused by too slow of shutter speed. Some knowledge is required, not everything can be fixed in post. lol

<p>The value of files handed over to the client is at least $1,000 in my book. You just charged a labor rate of $150 per hour which is very reasonable but don't give away the files for that. That is just plain silly.</p>

<p>Emily,<br /> My first thought as a professional doing this for over 17 years is 300 is very few images for a wedding of 8 hours and having two photographers at that. Why only limit them to 300? If it is about the money then you should charge more. It is very hard to limit one self to only taking 300 images during an 8 hour wedding. I know that this is the edited number but still.<br /> You mentioned you gave them extra pictures so that tells me there was other images that you took that you discarded just to keep it within the contracted limit. Personally I think it is silly to do that. Most of us will give a minimum number of images to expect rather than a maximum. You should always give everything you take minus the duplicates, closed eyes, bad shots etc. People notice when you take a shot and they sometimes remember when you don't include it. But that is another story. Your story is you really did not give them enough images for that time frame. The easiest way to fix this going forward is to charge more money. Forget trying to give a really good deal and concentrate on giving them fair rate based on your area. You can always give something extra but never lower your price.</p>

When I think of this shot I think of a subway scene. This is easier to do because there are tungsten lights that illuminate the train so that exposure is constant. Hopefully your station will have lights that will spill onto the train. Again I don't know what your scene will look like I am just guessing.

One last thought. If you find that your exposure needs a faster shutter speed then setup towards the end of the platform that the train arrives to insure train movement and vice versa if you find your exposure requires a slow shutter speed setup in the middle of platform to insure movement but not a complete blur. Take as many pictures as you can as the train slows down to get as many degrees of movement to choose from. It's like bracketing with the shutter speed except the train does all the work.

<p>shooting at f22 increases depth of field to show more background in focus but since your train is a blur it defeats the purpose. The best advise it to go out there and try different settings. You will need a tripod and use a moderately slower shutter speed but that will be based on how fast the train is moving. If you go too slow it will be a swoosh with no detail and too fast it will be frozen. Your aperture will have to match your shutter speed for correct exposure. The next step is keeping your subject still without any movement. Whether or not you use flash fill and to what extent will have to be trial and error based on the lighting conditions at the time your there. I don't know if the subjects are facing an brighter dusk sky to the west. Just go out and practice and bring back the results.</p>

<p>Oh by the way in your defense they got what they paid for. </p>

<p>Big lesson learned just because your an experienced cinema photographer does not mean you're an experienced still photographer and vice versa. Sorry to hear of your disappointments. Thank God you stayed for the extra 4 hours or you really would have had a mess. You need to produce work that meets the clients expectations in the time frame you're hired in. Staying the extra time shows more insecurity in your work rather than your enjoyment.</p>

<p>Your not giving enough information here as to what your intent is. As far as shooting a portrait no professional is required. If you are shooting to get work noticed by clients in the fashion industry or to get published in a magazine then yes you need to get a professional model and makeup artist etc. whether or not you pay depends upon whether or not your skill level is desirable to do a TFP. IF your just trying to build a portfolio to do portraits of regular folks then no. You need to show they type of work you want to do.</p>

<p>Marc I totally agree with you and thank you for the tip on the close up filters. I also went through the 70-200 twice and now I just have the 200mm and it still is not used as much as the 135mm or 85mm. I have the 24-105 but I am ready to go back to the 24-70. It is good advice to check your images to see what focal length one uses when shooting with a zoom lens. </p>

<p>Window light. Single light source with no fill. It is basically soft light skimming across the objects creating shadows.</p>

<p>To answer why do we switch Lens choices or preferences from time to time. Sometimes I get bored with the current lenses and want to use something different for a period of time. Other times I get excited about a specific lens and I incorporate that into my flow. As far as using both primes and zooms together i do that all the time. You can't shoot an event without a medium to wide zoom. You need to shoot quickly and zooms are the best. Once you get your shot then you can pull out your prime and get some more creative shots.</p>

<p>Well if you found a really fantastic deal on the 100mm then keep it and get rid of the regular priced 85mm and wait till you get more money to buy it back again. Its only a matter of time before you buy all the focal length lenses anyways. So take advantage of good deals when you can.</p>

<p>Use your strobes and set your camera on a tripod and make two exposures one with the lights on one side lighting across the mural and then a second exposure with the lights on the other side lighting across to the other side. Take both images into photoshop and mask out the reflection side of your lights leaving a perfect exposed evenly lit no reflection image. This technique is used to light cars and other large things. Painting with light.</p>

<p>You can't do it with minimal power only full power. The whole idea with hyper sync is creating a long flash duration to make the full flash curve and let the TTi through software sync at a specific part of the curve.</p> <p>Bi tubes does just the opposite and creates a very fast flash duration to freeze subjects. It does not help you to freeze ghosting which is created by ambient light which requires faster shutter speed. This falls under balancing flash with tungsten or ambient light sources. What you need is a leaf shutter and software like Mamiya 645D provides which allows you to sync SHUTTER speed at 1,600 second regardless of which flash or what power setting.<br> <br /> I am speaking here really not knowing what exactly you are trying to do or what the conditions of your studio lighting is or in fact you are shooting indoors or out. This is all just general info.</p>

<p>I believe you are referring to hyper sync where you have a studio flash set to full power and your TTi delays sync at higher shutter speeds 1,0000 up to 4,0000 sec thru the software included with pocket wizard.</p>

<p>You will love it. My eyes are not so good today at close distance and I especially enjoy the larger screen than from the 1ds Mk 111. I sold mine to get the 5D Mk 111 and i have not looked back. I was so tired of only being able to shoot at a max of 800iso with the 1DS. Enjoy and yes post pictures!</p>

<p>Oh Bob I just reread your last post and you reminded me of another good point. You said you take several shots cause people move and one of them should be a good one. Today with the such good digital cameras the iso is very clean in low light levels even up to 2,000 ISO. When you have good even light you can even shoot upwards of 6400. The point here is there is no reason today to shoot at a shutter speed of 15 sec and hope 1 out of 5 shots may be in focus. Years ago yes that was the case. I was one of those people who dragged the shutter even up until a couple of years ago. I have broke out of that habit and now have 95% useable images. I have four hasselblads collecting dust and I still have a kodak pro pac 220 160 iso.</p>

<p>No disrespect to you Bob! You have a 10 year head start on me. I am sure you have heard of the F8 ten feet rule. We are from the film days and manual flashes. Today with digital and shooting high iso one needs to balance depth of field with iso to keep the noise level to a minimum. Shooting at f-8 in low light conditions seems to me a waste of extra added noise when one can simply shoot at f4 and save two stops of ISO noise. Flash photography is a different animal and I am all for the F8 in that scenario especially when using room lights.</p>

Lol Robin. I totally agree but that's the type of questions newbies ask.

<p>Lens stabilizer is only for camera shake not subject movement. There is a big difference.</p> <p>Bob Bernardo you need to explain your senario more in detail. What lens are you using? I don't know of anyone who shoots 1/15th sec shutter speed available light. Maybe for one or two shots when everything is absolutely still. I also don't know of anyone shooting available light in low light conditions who shoots at f8.</p>

<p>Bob makes a good point which requires the question of the poster to clarify whether or not he is talking about highest iso as it relates to slowest possible hand held shutter speed or highest iso that allows a fast enough shutter speed to prevent subject blur and camera shake. The first senario has the advantage of lower iso noise but is limited to non moving subjects and the steadiness of the photographer. This would be the wide shot in the back of the church showing a still shot. The last senario allows the photographer to shoot hand held candids and freeze the subject but with the sacrifice of extra noise from high and extreme high iso. These are two very different techniques.</p>

<p>Congrats on the new camera. I love the MK III. You will be able to shoot at any iso keeping in mind the higher you go past 3200 the more grainer it will look. Having an F4 lens is not going to help you. If you are working off a tripod and subject movement is not an issue then it really doesn't matter. If you are hand holding or you need the subject to be frozen then you need a faster lens otherwise you will be shooting at 125000 and higher. </p>

<p>Tom it doesn't but I gather you know that already. LOL We should rename this post " The Ralph Oshiro how to"</p>