ejder

<p>I can't imagine not using flash at all to shoot a wedding, unless maybe if I had f/0.95 lenses and ISO25600. Otherwise, receptions = no go most of the time, and the light is frequently bad (causes raccoon eyes and other unpleasant effects, etc.). Flash is my friend. I could not have gotten this shot, which reminds me of a shot by Joe Buissink (who did not use flash for his shot), without flash:</p>

<p><img src="http://www.joeyallenphoto.com/Weddings/AdrienneKeith_SampleSM.jpg" alt="" /></p>

<p>One might consider flash to be a tool that opens doors not otherwise available. If you don't have/know how to use flash, then there are fewer situations you can take optimal advantage of. It basically expands your options.</p>

<p>I took on two "second-shooters" who had a basic kit and no wedding experience before I realized that they simply don't have any use to me. Future competition isn't my concern so much as getting my money's worth out of a second shooter. If they can't provide me with photos comparable to mine, then I can't really use their work and therefore they have 0 value to me unless they want to tote around all my stuff.</p>

<p>I used my Tamron 28-75 on a 40D for a very long time before buying a 24-70L. Although the tamron would focus accurately most of the time, it just could not keep up with moving subjects and it focused way too slow. The 24-70L kept up easily, just like my 35L does now on my 5D. Another thing that 3rd party lenses do is "double back" which further slows the process. Oops, went a little too far, let's go the other way...oops a little too far the other way, let's go back the first way again...etc until satisfactorily locked. This was NOT usable for me. I need immediate, sure, accurate, reliable autofocus. 35L is my best lens for that to date since I sold the 24-70.</p>

<p>Shutter speed = f/1.4 better<br />AF accuracy/speed = neither is that accurate; Sigma probably less accurate, and tamron is probably "slower"<br />Sharpness = neither is sharp in edges, both are generally sharp in center<br />No flash = not reasonable without f/1.4 lenses and a Nikon D3s<br />Ultimate image detail = Canon system or Nikon D3x both retain more detail than Nikon D300s/D700/D3/D3s at lower ISOs<br />If you don't have a flash, you should not shoot weddings because you do not have all the tools necessary for bare minimum<br />If you don't have 2+ cameras, you should not shoot weddings because you do not have all the tools necessary for bare minimum in case of camera failure</p>

<p>From experience I know that Tamron 28-75 and 17-50 autofocus can't keep up with wedding action like dances, processionals, etc.</p>

<p>35 is less eccentric than 24. I use 35 for most things, 24 when the width is needed.</p>

<p>I charge for the travel over 50 miles because 1. it makes sense to do so, and 2. there are very few locations away from Vegas that are just over 50 miles, and the locations farther than 50 miles tend to be 100+ miles away, justifying charging.</p>

<p>I am a sub-1k photographer, so my rates don't really cover extra travel. I am not upping my rates.</p>

<p>What Vail and Alex said agrees with what I said. It feels nice not to be constrained as tightly in the morning and gives more time to be careful and thorough in planning details shots, etc.</p>

<p>1. I charge for mileage after 50 miles one-way.<br>

2. Whatever the bride wants is what she should have unless extremely unreasonable, which could belong in a contract<br>

3. 4-1/2 hours is a long time for getting ready, but there should be clarification about the activities of getting ready, if the guys are also getting ready there, travel time factored in, specific things she wants photos of during that time, etc. For me, having extra time to do any single thing is always a nice plus because I like to be able to not worry much about time constraints. <br>

I would do all-day sessions exclusively, but I would lose too much good business that way by asking for a flat fee. So many couples locally only need 4-6 hours.<br>

I would not be firm about timelines. Weddings absolutely must be flexible. A general timeline is the best anyone can expect because things run late all the time. However, because I charge hourly it is expected (and I have never had issues like you are having) that there is a certain general start time and finish time. It is up to me to be lenient, which I am because it benefits me by loosening the timeline. I look at it this way: What else do I have to do that day? I'm hired for a job, it's a fun job, it's more fun when the timeline is relaxed, I don't have any reason to mind being there earlier if necessary....so why should I mind having extra time to do the same job?</p>

<p>If you put flash on camera left then you give her broad lighting, which is not preferable. I'm not so worried about a "floating eye" here, her face looks fine in the photo. The pose is just traditional, plain and not very interesting by modern standards. It doesn't seem terribly wrong in any particular way. Framing near center subjects plus the large tree trunk on left contribute to distraction and do not lead the eye ideally. Her stomach shows at that angle. </p>

<p>the farther away from the subjects I can get, the more likely I am to use the 85 for the formals. Otherwise, it's going to have to be the 35 or wider. Most churches tend to demand the 35mm for many formals because of the pews being in the way of the 85mm and me not being tall enough to avoid that.</p>

<p>99% of formals = 35mm or 85mm for me. I don't use a standard zoom for weddings.</p>

<p>I am currently looking for second (or primary) shooter work to fill in my time. I currently have a large number of unbooked days this year and am available on any date not presently filled. I am extremely reliable and consistent and I arrive early to all jobs.<br>

<br />My gear list:<br />Canon 5D mark II<br />2x Canon 5D<br />Canon 40D<br>

<br />3x 580EX with battery packs and NiMH batteries<br />4x Sunpak 383s<br />6x Elinchrom skyport receivers<br />3x Elinchrom skyport triggers<br>

<br />Sigma 15mm f/2.8 fisheye<br />Canon 24mm f/1.4L II<br />Canon 35mm f/1.4L<br />Canon 85mm f/1.2L II<br />Canon 135mm f/2L<br />Canon 16-35mm f/2.8L II<br />Canon 70-200 f/2.8L IS<br>

<br />Light stands, brollies, umbrellas, etc.<br /><a></a><a></a><a></a><a></a>96gb flash memory</p>

<p>My portfolio is at <a href="http://www.joeyallenphoto.com/" target="_blank">http://www.joeyallenphoto.com</a> - I have a new beta version with more recent work at <a href="http://www.joeyallenphoto.com/indexnew.html" target="_blank">http://www.joeyallenphoto.com/indexnew.html</a></p>

<p>I am very generous with off-camera lighting. My style is generally more modern insofar as I do not often shoot with the subjects looking at the camera or using formal/traditional posing.<br>

<br />Please contact me.</p>

<p><strong>Moderator Note:</strong> Joey--it is against guidelines to post e-mail addresses in threads, and also frequent posting of website addresses. I've left the website addresses for the time being since you have a beta site, but these links really belong on your workspace page. People can e-mail you by clicking on your name, where they'll be taken to your Workspace Page and a utility for e-mail. We also have internal messaging. I recommend you put those links on your Page.</p>

<p>Dust only shows up at smaller apertures most of the time. I shoot full frame now after coming from crop cameras and I do not really miss the crop camera design, but the 7D is probably just as good in image quality and high ISO noise as the 5D classic (both about 1 stop+ worse than the 5D II in noise control). 7D will focus much faster and you probably won't be stuck using the center point for most purposes. 7D is more modern and offers video and AF microadjustment. </p>

<p>Although between the two I would probably get a 5D, the 7D will be extremely good for wedding work as long as you understand the difference in DoF control (about 1-1/3 stops deeper DoF at any given effective focal length, so you could never get exactly the same narrowness of DoF as you would with a full frame camera).</p>

<p>Most people can't tell someone else what to buy for wedding primes. I use 35 and 85 the most. I only infrequently use 24 because it is too distorting and I am not comfortable with it. I use 135 very rarely as well because 85 does everything just as good or better except fast AF. I have a sigma 50 so I almost never use 50 for weddings.</p>

<p>I have all of the focal lengths mentioned, and 35 and 85 are my mains.</p>

<p>For receptions I am shooting with on and off-camera flash for my lighting and my apertures are usually between f/1.4 and f/2.2. I do not do group shots often except for formals, which call for the narrower apertures if the party does not fit in a single row. </p>

<p>If this is all indoors, I frequently use ISO1600-3200 with multiple flashes and f/1.4 through f/2.2 apertures. I also shoot in manual mode so the camera doesn't set my shutter speed.</p>

<p>Never worked for them, but I live in Vegas so I have seen them many times. If it's one of the econo-chapels like the many lining the Strip around north or south ends, then most of them are very limited in aesthetics and the staff really just want people in and out. I don't believe it is terribly moral work, but I would probably work for that kind of pay if there was no required processing or take-home work.</p>

<p>I don't think many of the nicer resort chapel businesses (Cashman etc.) even pay that well. more like 30-50/hr?</p>

<p>I like the 5d's LCD compared to the 20D. Responsive and fast, and pretty clear IMO.<br>

D700 will beat the 5D in high ISO noise control but not in detail retention at lower ISOs. 5D II will beat the D700 in detail retention (but not per-pixel sharpness) at any ISO. Because most noise can be removed, the real issue is more detail retention than noise.</p>

<p>Better buy a nikon d3s and the fastest primes you can find, because that is the only way a really dark candlelit environment will be adequately exposed with good/usable images without flash.</p>

<p>All great tools if you have the freedom and an assistant. I do not have an assistant and restrictions are extremely tight for photographers in Las Vegas.</p>

<p>Because the arm being brighter can distract from the faces.</p>

<p>I conveniently disagree with general consensus. I use umbrellas/brollies regularly for wedding receptions and the light is much softer, provided the subjects are within about 20 feet of the umbrella/brolly and the size is somewhere near 60". I do not typically use 3 umbrellas in a reception, but I commonly use 1 umbrella and 1-3 bare flashes. It all depends on the event taking place (dance, cake cutting, tosses, etc.).</p>

<p>I also use multiple flashes facing each other (mostly because I do not have an assistant with a lightstick). This is where having multiple transmitter channels comes in handy: By switching which flash gets triggered, I can shoot in two directions to get the same type of light I want instead of just having one direction to shoot in.</p>

<p>Yes recycle times slow down with diffusers, so use battery packs and completely correct that issue.</p>

<p>I would never use the built-in flash eTTL to trigger remote flashes because it is not reliable enough and the distances are on the edge of the transmitter range.</p>

<p>With the image of a couple face to face and flare on left in the vertical frame, I can't really stand leaving subject exposure somewhere in the middle between correct and completely underexposed like you seemed to. I would either boost them to proper exposure or enhance the contrast so I could only see the important features. Otherwise, it isn't satisfying to my eyes and probably would not print well IMO.</p>

<p>Dark walls and ceiling usually = umbrellas/brollies/bare flash off camera for me, possibly with some underexposed on-camera fill bouncing to sides.</p>

<p>I like mornings best, it's the coolest time in Vegas especially during summer. It's also a good time to not have too much traffic/other people moving around, which is the opposite case during the evening toward sunset. I like it being quiet, private, undisturbed.</p>

<p>Under most circumstances I do not walk in front of the bride as she comes down the aisle. In these cases, I am typically in a pew othat r division that gives me a chance to get at least close to full body shots at 85mm and multiple snaps along the walking path with closer framing. There are some cases when I do walk in front of the bride/wedding party as they come down, especially when rules are lax at the venue. In those cases when I am walking with them, however, I am NEVER closer than 6-10 feet away. Too many things can go wrong.</p>

<p>During ceremony, positioning depends on bride/bride's mom's preference and officiant/venue restrictions. I would probably never get closer than about 5-6 feet away from the b&g, and only then to get the rings being placed on fingers or to get to a different area I can't access any other way.</p>

<p>I'm staying away from the lighting topic.</p>

<p>A prime lens is a fixed focal length lens. Prime lenses do NOT zoom.</p>

<p>There are many copy variations with the 24-70. I have experienced it (4 returns to Canon to get it right), others have experienced it. Some people have AF problems, others have sharpness problems. I had a sharpness issue (not a focus issue) not related to any of my 4 camera bodies.</p>

<p>24-70 is a good lens when you get a good copy. It is extremely heavy and large for what it is, and I sold my good copy and my bad copy (after it was fixed). I miss it infrequently.</p>