jay_huse

Selling a panasonic g9, in box like new very little use.

Will post more images tomorrow of the item. I at work with no pictures available.

I do have a battery grip that I would sell for an additional $100 extra batteries etc.

I only take paypal as it protects both of us.

Jay

Looking to sell my P1000 Nikon with extra gear as well.

This P1000 has been well cared for an has 3 extra batteries. Some ND filters, Soft Case, External Charger.

Selling for $750 will ship USA only Paypal payment.

Any questions feel free to ask.

I have for sell a bunch of gear in like new condition. I just have too much of the stuff and am pairing equipment back down to m43 gear. I will list the price or if you have some micro 4/3 gear like lenses ect I might be tempted at a trade.

What i have for sale like new in the original boxes.

Sigma Dp1--499.99 Plus Shipping

Sigma Dp2 499.99 Plus shipping

Sigma 150-600 with Doc Station --$750

Sigma Power Grip---- 199.99

Sigma mc11 to sony adapter $125.00

Nikon P1000 with soft case, 2 extra batteries, Charger, ND filters $749.99

No Image 15-30 sigma ..................................

So contact me at jayhuse@yahoo.com

I only accept paypal to protect the buyer an seller.

Also possible trade for M43 gear....

Pictures are included.

It depends on what suits the subject and the circumstance. If the photographer wants to focus on the facial features of the subject itself and nothing else, if thats the intent, then a creamy blurred background may work. The problem arises, when someone thinks that blurred background is a formula to successful portraiture and sticks to that. That would stifle creativity. I think, it always helps to keep an open mind.

 

I like the so called environmental portraiture, where the person is shown in conjunction with his/her environment. It tells a lot about a person's character, or create new persona, or act as looking glass into someone's character. It helps to note that many 'famous' photographers, who are known for their portraits, hardly used bokeh or creamy backgrounds, blurred background yes, but not featureless. Check out Diane Arbus's work. She has used all sorts of focal lengths for her portraits, from wide to telephoto, and most of them with vivid backgrounds. Even Avedon and Irving Penn who shot a lot of portraits in studio setup didn't use blurred out backgrounds in most photos. They focused more on creative lighting or poses, angles and camera effects, highlighting special features in their subjects.

Thanks for the artists names. I will check them out.

Michael thanks for the input. I kind felt a little crazy for posting. Seems like all the newer photographers are relying on bokeh very heavily.

You have any artist that you want to try to emulate?

Myself I shot wildlife for a few years an that shooting wide open is pretty much standard plus with super zooms the background gets compressed an blurred.

Looking to get some variety

Jay

Hey guys I am looking for any iPhone/bridge camera photographers that are considered very impressive? I have heard rumors of some professionals using their iPhone as camera of choice?? Just rumors ?

Anyway I always find great photos taken with less advance gear an inspiration to me an refocuses me to create better images with what I have.

Any suggestions on photographers would be great.

This is hard for me to explain so please hang in there. I currently pushing myself not to overuse DOF / Bokeh in my photography. I see a lot of shooters using great fast glass at 1.4, 1.8 to get that creamy Bokeh in order to separate themselves apart from the typical iPhone user.

Maybe it is just me but I see many wedding and portrait photographers using these techniques to almost an extreme level without much creativity. Is this due to the huge influx of iPhone shooters and cheap dslr owner, I do not know ? Maybe the client wants that ??

So for my purpose I am trying to simplify my gear (think Bridge Cameras) and get away from expensive gear and go low tech high concept if that makes any sense ?

So are there any famous photographers that really tried to stay away from DOF, Bokeh or better know as that blurry background ?

I have a few techniques such as using front lights and a darken backgrounds, or getting the subject against walls as to not be a distracting backdrop.

I feel like some of the old masters of photography probably had a slew of methods. The last 10 years of photography seems like a rapid arms race to get the latest camera bodies and fastest glass. Adjust wide open an let it rip.

Thanks

Jay

I would agree your backdrop is probably too hot. I also noticed on the left of the couple you are getting a duller white. So it almost looks like your power is not even on your lighting setup. Some light systems are not consistent do have variations especially at the high end power thus trying to blow out the background. So do you have a wall to the right side of the couple that the light is bouncing back into them. I know smaller studios walls act like fill reflectors.

I have seen this in some of my photos as well.. I try to turn down the lights some, get the subject away from the backdrop as well. The further the subject the better but that also means you will need a larger backdrop an more lighting if that makes sense.

You probably already answered much of this but figure I would ask a few if you happen to overlook any of that. You can always test your lamps to make sure they are consistent putting out what they should I sometimes take a few shots on just a blank white wall. I have noticed sometimes the brightness varies some because have cheap lights.

<p>Curious does anybody know where I can find out what the age limit is on Nude photography in Nebraska ?<br>

I have a younger model wanting implied nude and maybe some nude photos. She is 20 but I want to make sure it does not break any laws.</p>

<p>I will check and make a copy of her drivers id to make sure I am covered.</p>

<p>thanks</p>

<p>Jay</p>

<p>Thanks for reading. I been really really struggling with getting deep plush vibrant saturated colors using my gelatin filters. I have red, blue, purple, orange, and yellow. I do not have dean collins information on getting super saturated colors from gellitan filters, I guess he knows how.<br>

Basically I have a 5 pack of gelating filters for shooting a strobe against a wall to turn into another color. I have a basica white/semi-tan white wall.<br>

<br />No matter what I do I can not seem to get a deep saturated color from my lights. It appears that when I turn up the light power the exposure just lightens up the backdrop to a really light red color. When I reduce the strobe power the color improves some but to me still looks too washed out to be a nice and saturted.<br>

I can turn down the power some but when I do it too much it just becomes dark and does not really give any color at all.<br>

Anybody have similar problems ?</p>

<p>Ok i have a small studio in my basement. I already have a white and black backdrop. I am looking for additional props and backdrops.<br>

I have a few smaller rooms I can buy some additional backdrop paper like a hot pink, purple and yellows. <br />My question is how do i get more props and backdrops without spending a fortune. Additionally backdrops get old fast in a portfolio. I have seen some really cool silver aluminum backdrops and other props but am confused on making a junky mess out of my studio with something that will not be used very often.<br>

So what is the best way to get a diversified studio with as little as possible? I have a1000Sq basement with a bar, small wine cellar. I am looking at buying some paper backdrops of yellow, pink and blue to mix things up from my White and black. Also furniture for my work seems like an investment that only works a few times before people will get tired of looking at it in every photo. <br />What is the best way to get a diverse flexible portfolio without buying a bunch of stuff ?<br>

Thanks <br /><br />Jared</p>

<p>Marcus, Ralph, good points. I think you are right about getting the persons phone number and tasking them a little bit for the shoot. This will get them more involved and they have some stake in on the shoot early on not to back out. It is too easiy for some of these folks to just agree and later backout since they really have no Investment in time/ energy or money. It is just too easy for them to get caught up doing something else.<br>

That said I have not had any NO shows more like cancellations. Today the model called 30 mins before and said I will not make it today. She was young said she had bla bla bla but I could see through it enough to call it a lie. I told her anythime just write me an email and we will work it out another time. I will see if she is really serious this time coming up even though i dont think I will get another email.<br>

Thanks again for the tips !</p>

<p >Well, I been shooting a few models from Model Mayhem on a TFP and TFPCD relationship. Now I am just starting out but I have noticed more than enough no Shows for the models. I am curious if you have had any dealing with this and if you were able to make it more reliable type of shooting. As of now my shooting is about 50%. Half the time they come up with an excuse not to come. Car broke down parents in the hospital ect.</p>

<p >So I am curious if you have done any pre-questions to sniff out if they are really serious or not. I seen some of these girls photos on the web site which are horrible. THey say they want to be a model but in all honestly i am thinking they are just trying to earn a quick buck and am not taking it seriously. Many young models will say Pay or TPFCD to build thier portfolio. As it stand their Portfolio is realy lacking any and I mean any Quality photo.<br>

Has anybody made a better percentage of shows ? <br />Any experience you can give me ? <br /><br />thanks <br />Jay</p>

<p>Verner, thanks but a few more questions if you would be nice enough. I found some problems you mentioned First, because of the wringles in my white sheets I had to punch up the back lighting for a clear white background. <br>

<br />Secondly, I noticed that my lights reflect back on me the subject and eat away the edges even thou I am 10 feet away from it. This seems like a really easy shot but I seem to be struggling with it. That said I am using a strobe with a 7 inch reflector. I will switch to my another softbox to light the background as well.<br>

The thing that is eating at me is the wringles with the sheet and the need for alot of power to blow out the background. I will try to remove all the wringles in the backdrop along with a softbox approach. If you have any other information on this it be great. </p>

<p>Jared</p>

<p >Ok, I am ignorant on the whole backdrop with paper rollers deal. I been shooting with white / black sheets and want to get to a more seamless transition using the white / yellow paper backrops.</p>

<p >So can recommend a system. I have 9.5 foot ceilings at my house. I seen some roller stands for about 125.00.</p>

<p >My question is the paper. I see a 53 inch wide roll that is 12 feet long for 27.00 at calmout.</p>

<p >I need a paper system that would be about 10 feet wide by about 15 feet long for a gradual slant.</p>

<p >So can anybody recoomend a system for full body shoots and how much are we looking at it costing ? Is the Paper expensive ?<br>

THanks <br /><br />Jary</p>

<p>Ellis great reply. You are 100% correct, I think the white blanket was becoming a light source. When i was shooting it was reflecting back on my subjects cloths in part of the image. That said it just looked odd a bit. My subject looked a bit dull. I will go back and rework the shot again. Any other tips you can help me out with would be great.</p>

<p> </p>

<p>Well, I wanted to shoot a portrait with an all white blown background. My question is there any general rules for blowing out the background compared to your subject lighting.</p>

<p>I have the subject about 10 feet away from the white sheet background. Something looks a bit off. Is How much should I blow out the background with my strobes ?<br>

I heard around 2Stops more than the foreground ?</p>

<p>Any help would be great.</p>

<p>thanks <br />jay</p>

<p>Well, i have a carpet in my basement studio.</p>

<p>I really like the paper smooth background vs my white/black cloth backdrops since they show some wringles.<br>

So my question is I am looking for a smooth backdrop like the paper rolls but do not have the space for them and cant use it on my carpet floor if the models punch holes through the paper.</p>

<p>So is there another option that does not take up a huge space. I like cloth if possible but it seems like they show too many wringles. <br>

I am looking for a smooth light yellow background or brown backdrop that i can do for 3/4 shots.<br>

Anhy suggestions on backdrops ?</p>

<p>thanks</p>

<p>jay</p>

<p>Yea I agree most holes have a slant tilt to them. This does not it it straight through which sucks. I did not see thins when I bought it a while back. <br>

I assume they make swivel heads for the flashes to point downward a bit ?</p>

<p>I have an off centered flash problem. <br /><br /></p>

<p >Well, i have a shoot through umbrella and mounted it with a portable 285hv flash.</p>

<p >The hole that the umbrella rod goes through is not slanted but is parallel to the floor. Now I am not sure but it appears that the flash is off centered from the umbrella giving an uneven lighting of the umbrella. What I mean is when I see the catch light in the eyes of portraits I see the top portion of the umbrella is really bright while the lower parts of the umbrella is very much less intense.</p>

<p >So basically I have my flash head 90 degrees to the umbrella but it just not seem like it is centered enough.<br>

<br />Am I missing something ? <br /></p>

<p>Well, I have lights, and some differenty types of sheets for my back drops. The basic white black and some off red color.<br>

I need something else to add to my shots but do not know what is the best bang for my money with props like yellow sheets, types of rugs ect<br>

Basically all my shots are looking the same, I need something to add spice but it need the best bang for my money ?<br>

Can you help with any suggestions ? I am doing glamour/senior type photos !<br>

Thanks<br>

Jay</p>

<p>Ok, i know this has been beat to death but I been ingoring a problems for a while about storage space.<br>

Funny thing is I hate to even think about the bigger cameras with 24mp full frame.<br>

Anyway, how are you folks managing you pictures. I have about 200G of photos and will be taking alot more soon.<br>

Now, I can go back through and really redit delete some of my old photos on things but that seems to be alot of work. Plus I feel like if I delete the photo i might want some form of it back later. For example 2 very similar photos but 1 has a certain element that i might want.<br>

Are you guys buying S 2 Terabyte drives and just editing then saving to that or how do you folks do backup incase 1 drive goes down or breaks ?<br>

THanks<br>

Jay</p>

<p>just curiious if anybody has used or thier feelings towards the <br />Photo Basics 231 Strobelite Plus Three Light Kit <br />on amazon for 799.00. <br /><br /><a title="Click to open link in a new browser window" href="http://www.amazon.com/Photo-Basics-231-Strobelite-Three/dp/B001AG2M4K" target="_blank">http://www.amazon.com/Photo-Basics-231-Strobelite-Three/dp/B001AG2M4K</a> <br /></p>

<p >your thougts for durablity, light quality compared to an Alien Bees or something in that range ?<br>

Thanks, <br /><br />jay</p>

<p>Vladimir, I am actually considering the AB400 & AB800 flashes for the same portablitliy. In talking with a fellow photographer he mentioned that they are fairly portable but provide. The vagabond system would be ok as well. I would not be shooting wedding but more glamour/portait on location so super portablitlity is not a problem.<br>

I am strongly leaning towards the 2 big flashes since I was told the quality of light is much better than the smaller portable flashes. I have 1 guy who said he tried and tried to get it right but ultimately went back to the AB400sss. <br>

Anybody elses thoughts would be great.</p>

<p>jay</p>

<p>Have a few quick questions. There are the portable flashes from Nikon, Olympus and others that can be bought at about 500.00 ttl wireless flash.</p>

<p>Then there are the Quantum 5dr type portable flashes for about 675.00. My question is what does it buy me ?<br>

Do the Quantum 5drs have faster recycle times ? Can you shoot with them more in a 1 hour shoot without melting down or breaking ?<br>

Do they have more power ?<br>

I am looking to do portrait shots without having to have big studio lights. I have heard that the portable flashes are limited to so many shots an hour then they can overheat or break ?<br>

Also the more power the better but not sure if the quantum photoflex lights give me additional benefits ?</p>

<p> </p>