eric v

<p>UPDATE: I eventually found a few threads here that addressed this same problem. Using ZAR (zero assumption recovery) I was able to recover all of the files, only now they are in TIFF format instead of RAW. I'm still going to try and see if I can recover the RAW files, but I'll take TIFFs over nothing!</p>

<p>Hi everyone,<br>

I have a Toshiba 1 gig CF card, Nikon D70. At some point while shooting I could no longer review the images on my lcd - I instead got the error message "file does not contain image data." Now, in windows explorer, I can see that all the files have been renamed (most having squares replace zeroes, others having "DSC" become "DsC" and some have both. It seems like 2/3 of the images show their original file size (approx. 5 MB) while 1/3 show 517 MB (!).<br>

When I try to import the photos in Adobe Lightroom, it tells me no photos were found to import.<br>

When I try to mess with the photos in windows explorer (copy to hard drive, etc.) I get the error message "The file name you specified is not valid or too long. Specify a different file name."<br>

Should I first try a data recovery software? If so, any suggestions?<br>

Any guesses as to if it's a card or camera problem?<br>

Any thoughts or suggestions are greatly appreciated!</p>

Hi all,

I shoot raw files on D70s. I transfer the files to my hard drive with a card

reader. When I open the files in Adobe Bridge CS2 (1.0.4.6) every so often a

file has no preview and will not open in Adobe Camera Raw. Double clicking the

file from Adobe Bridge (which usually opens raw files in ACR) results in the

image being opened in Photoshop, as if it were a jpeg. When PS tries to open

the image, a box opens up as if I were trying to create a new file/image. In

Adobe Bridge, hovering the mouse over the thumbnail (which is just a raw icon)

displays the correct file name and date it was taken, but lists its size as 0

bytes. It also lists the file type as "camera raw image" whereas all the other

files are described as "camera raw". When I put the card back in my camera, I

can view the image no problem and all the metadata, etc. This has happened a

few times before also.

 

I hooked the camera up directly to the computer with a USB and viewed the images

in Adobe Bridge straight off the memory card. The problem is the same so I

don't think it's the card reader. I use a bunch of memory cards and don't know

if it only happens when using a certain card. I have taken note this time and I

will see if it continues to be the culprit. It may take a while to figure out

since it happens pretty rarely.

 

When I used to shoot jpegs, I used to get a few weird files every once in a

while that had all sorts of crazy colors. Maybe this is the same problem, it

just looks different in raw files? At least with the jpegs, the problem was

visible on my lcd preview screen so I knew to reshoot if important. These

corrupted raw files look fine on my lcd preview so I have no idea which ones are

going to be corrupted.

 

Any info is appreciated.

Thanks,

Eric

Make sure to have the family somewhere very dark. If they are under a streetlight or something, the long exposure will blur them. If they are in a very dark area, it won't even matter if they stand still. Heck, after the flash goes off they are free to turn back around and watch while your camera records 20 seconds of light trails. Chances are that there will be enough ambient to blur them though, so it is best to leave family shots under 5 seconds (great idea Lilly!). You can always do a no-flash test before the fireworks go off.

 

I recommend almost always using manual for lights. You won't be in a time crunch and will be able to do some test shots, so definitely go manual.

 

Best of luck!

It's nice to know there are others out there who dislike the current contrast/saturation/vignette PS action trend going on. We can take comfort in knowing that it will pass at some point. There has always been the creative bunch leading the way for the masses to mimic, and there always will be. You just have to shoot whatever you like and hope that someday Oprah says that you are cool.

I would say "no, you may not steal my equipment today." Call me tomorrow if you are serious.

I think lots of people abuse vignettes. I am also real tired of PS actions that push contrast and saturation to the breaking point. I can't wait til it passes.

since it is a "baby shoot" I assume she means two weeks or months.

Agreed. You expect her to uphold her oral agreement to allow use of images in your portfolio. Likewise, you should expect yourself to uphold your oral agreement to shoot this wedding. Then work on getting out.

Use both your ideas. Shoot at your camera's max sync speed and set your aperture to underexpose by 2 stops or so (whatever looks good to you). Override ambient light on your subject with your lights.

 

This technique may deliver mood, but not gray and wet. PS is probably needed for a little help. I would do a custom white balance, as Emre suggested, and correct with a CTO gel. This will give your background a nice bluish cast that will create a stormy/overcast feeling. Try to put some clouds in the background.

I think the reflection, if any, would be minimal. It depends on the type of material though. I wouldn't worry about it, although you could always set it up and try to simulate the shooting environment as a test.

brian,

sorry i tried to post last week, but it wouldn't let me.

 

Strobist is a little specific in that he refers to speedlights (flashguns) that can mount on a hot-shoe. This does not include other "strobes" like monolights, power pack studio lights, etc.

 

Yeah, it is just a general term for sb-800s and 550exs, in addition to other brands of the same thing (vivitar, etc.)

This probably isn't exactly what you mean, but I saw a photo shoot recently of celebrities that used no makeup and no photoshop. The photographers used "tricks" to make the models look their best. They were basically concerned with wrinkles, lines, poor skin, etc. The basic idea was to overexpose and use 1.8 (or a smaller aperture, but purposefully miss the focus by a little bit) to soften things up. Backlighting when overexposing a portrait helped too.

 

As you begin shooting, feel free to ask the bride if she has a favorite side/angle. You would be surprised (or not) to find out that many women know exactly how and where they look the best. If they don't care, take a moment to study their face and find their best side for them. Profiles work for some, but are horrible for others.

good advice from everybody. This is a HUGE question. You need to keep adding knowledge/techniques to your lighting arsenal. That way you are more and more likely able to deal with a given situation. As said, reflectors are nice but require an assistant for the most part. I probably use a speedlight/flash gun on a stand about half the day. Almost always for ceremonies that allow flash and for receptions. At home or other non-critical situations explore new lighting techniques until they are second nature. Then you can pull them out at weddings with confidence.

The pictures show white walls and a low/medium white ceiling. Also seems like the window light should give a decent ambient exposure to help the flash(es).

Yeah, it looks like a step ladder would help. Other than that, it looks like an ideal spot to shoot formals other than the too-plain background. And since the background is so close, be careful with vertical shots if you are not using a bracket. I would set up a second light on a stand a few feet to your side bounced off the ceiling and use your on-camera flash as fill.

Some folks just deliver everything (original prints/proofs) in color and the client can choose to order any image BW if they want. Custom BW conversion could be done to images at your discretion for album purposes. Personally, I tend to include BW copies in addition to the color images for ones I feel are appropriate. Yes, more work, but I feel that certain images are so powerful BW that I am inclined to do it.

I would stick to using show-it web for event slideshows. For regular galleries I would avoid it and just use something a little more simple. Sounds like you are interested in a regular thumbnail type gallery that automatically starts progressing through the images unless the viewer clicks pause or an another image. These are pretty common flash templates that you should be able to find.

I agree that you should expect to get paid something. It is one thing to do it once or twice to get the feel of how a certain photographer handles a wedding, but if you are looking to do this on a regular basis then you are worth the money. If you are competent, reliable, personable, etc. a photographer will have no problems paying you (at least something).

Do you have the manual for the D40? If so, check it out.

why do st1robi1st links get removed?

IMO 6 seconds per image and a 20 minute slideshow is a little too long. But, DVD slideshows can be a little longer than web shows. The DVD will usually just be watched by B&G or family/friends that are hanging out with plenty of time. I would still shoot for less than 8-10 minutes.

 

Steve, I just bought show it and didn't see anything about a sale! Bummer. I bought it a week or two ago. Show-it has plenty of problems, but it is the best for web shows; it doesn't do DVDs. For DVDs to be viewd on TVs, proshow is probably the best.

The position of the shoulder seems forced and draws my attention away from the face. I like the light

Also consider ND filter. I find that on the beach my underexposing D70 bodies perform great at 0 exp. compensation. Fill flash straight on at -2/3.

<a href="http://weddings.about.com/od/weddingbudgettools/a/Splurge.htm?

p=1">This article</a> has probably been passed around before, but I hadn't

seen it. And since that "10 most overpaid professions" article made a recent

circulation, I thought I would throw this out there.

 

On a side note, I was referenced to the article from <a

href="http://photobusinessforum.blogspot.com/">John Harrington's photo

business blog</a> which is a great resource for helping us artists manage the

business side of things.