o._wagner

Try Aerosoles...

So how many lights do you think I need? I really like the look of "window light" portraits, with a bit of shadowing on the face. My only experience with this type of lighting is using a one light set-up for altar formals at weddings. I may be buying a one light Norman set from a friend. Would I need more than one for that small of a space? I'm still unsure if I should go softbox or umbrella.

 

tom- I don't plan on keeping any of my equipment at the studio- or if I do, it will be locked up at the end of the day. I know what I'm going to do to aesthetically fix it up, but I'm just not sure what to do about the actual studio part- which is what actually matters.

Here is the client area:<div></div>

I just acquired this studio space for dirt cheap and need to put together a

game plan. The space is 20'x12'. I plan on utilizing two of the walls in

the "shooting area" as backdrops. I would also like to hang a black velvet

curtain on a sliding track separating the shooting area and client area and

use that as a background. The client area will have the cabinets removed and

replaced with a small loveseat, coffee table, and chairs. The flooring will

be replaced with real hardwood stained an espresso color.

 

Question #1: Would it be possible to use a white painted wall as a background

instead of going the seamless paper route? I kind of like the idea of using

the hardwood floor as a style aspect. I also can't imagine there being enough

room for the seamless paper. I have read that flat paint is recommended.

 

Question #2: With the limited space, do you think that I should go with a

softbox or umbrella lights? I will be shooting mostly young children. Would

you suggest a boom arm? Do I need to worry about the ceiling (besides turning

off the flourescent lights while shooting)?

 

Any advice or words of wisdom would be appreciated.<div></div>

I'm going to be investing in some lighting for wedding formals. Right now I am

looking at an Alienbees 1600 with a giant softbox or possibly the use of a

580ex system with stands/umbrellas. I don't know much about the latter except

I've done a little bit of reading about pocket wizards and whatnot. I want an

easy set up but the idea of being able to use the slaves at the reception is a

big draw. I'm fairly new to weddings (have done a year of solid shooting and

assisting) but dream about someday being in the big leagues. I've worked with

a few great professionals but none of them used slaves. I don't currently have

a studio but am not closed to the idea of possibly having one. I just want to

make the smartest choice for my current needs and looking into the future. Any

advice would be greatly appreciated. I'm a Canon shooter if that makes a

difference. I currently have one 550ex.

I would say 70-200 and a fisheye. That will give you a great combo of shots.

This is a great thread. I'm always thinking about where I am and where I want to be. I picked up my first DSLR in August of 2005, so I'm fairly new to this type of shooting. It's been a year and a half and I've assisted some great photographers, taken classes, I'm booking my own weddings, and have a fairly large family client base. I'm very proud in the sense that I knew where I wanted to be and did everything I could to get there. Now that I am here, I really want to continue to get better as I still feel like I have a lot to learn. A year ago, I was contacting photogs in my area asking to work with them to learn, and this year, I've actually had an up and comer contact me and ask to work with me!

 

My goals at this time are to finally get all of my equipment that I want purchased. When you're starting out, you can only afford so much at a time. Hopefully this year I'll start to see more of a profit now that I've got the extra bodies and L lenses out of the way. I really want to work at flash photography and the use of slaves. I also want to find some great locations in my area and experiment with different types of environments. I want to feel confident enough to shoot in an alley and still make the pictures look amazing.

 

I also agree with not taking on more than you can handle. It's so easy to get wrapped up in the joy of everyone wanting to book you, but realistically, you're not going to be enjoying what you do when you're cramming in too much.

I just had a similar thing happen to me. I had posted my wedding services on craigslist, also providing a link to my website. I had a bride contact me saying, "I have seen those pictures before, unfortunately, you weren't the photographer."

 

I was completely shocked. I wrote back to her asking if she was accusing me of stealing images. I informed her that I was indeed the photographer, have all of the original files along with the clients names and phone numbers if she'd like to contact them herself. Then I asked her for the name or website of the photographer whose *images I stole.* Needless to say, she never wrote back to me. I thought about it and tried not to let it bother me. I chalked it up to realizing that I had co-shot one of the weddings with another photographer and I'm sure we had several similar images. That MUST have been the explanation... at least that's what I tell myself so I can sleep at night. ;)

Jonathan Briz Photography

I'm fairly new to actions and have recently purchased Kubota's 3rd Action

Set. I love the look of vignetting in photos and am wondering if there is an

action for it or how to do it manually in Photoshop.

Knowing that I'm capturing moments in time that will be shared and cherished by so many people, long after I'm gone.

#4

 

I hate #2.

Obviously, I know I need to show up at the wedding. But, with wedding photography you need to be prepared for every "what if?"

 

I was just wondering how each of you set up that circumstance. For instance if you have a few people you know you can call up at any time, or if you specifically contact one person a week before the wedding, etc. I've never had to deal with this, thank goodness, but it's just another situation that I'm trying to cover and plan for.

I am wondering what you all do for a back-up photographer. My contract states

that I will refund their money if I am unable to perform at the wedding due to

fire, grave illness, car accident, act of terrorism, etc. and also includes a

liability clause.

 

Do you line up a back-up photographer for every wedding? Do you find other

photogs willing to commit to a date for the "just in case" instance? I found

another photographer with a similar style as mine and we're willing to back

each other up if we have the date open. I'm just not seeing a good system

where someone isn't turning down potential work to be a back-up.

I started a blog in July and I swear it has changed my business. I update it quite frequently with client photos and photos of my kids. I try to keep it "photography-based," but include personal things as well. I have clients writing me all of the time telling me they read my blog regularly and it's a great way to keep in touch with out of town family and friends. I shot a lot families for Christmas cards and I mentioned on my blog that I would love to receive a Christmas card showcasing my work. Well, wouldn't you know, I must have received 20 cards from my different clients! I thought it was so great. I also just had surgery last week and I had posted my experience and received a ton of emails with well wishes.

 

I agree with everyone else that is "pro-blog," it's a great way to show recent work when you can't always update your website.

Conrad-

 

I will be getting an additional 30D and shooting with both. I never said I was getting a Rebel XT? I'm not sure where you got that from.

 

I'm surprised you don't consider the 70-200 essential. I use mine quite a bit, especially during ceremony. I've been in situations where I wasn't allowed up past a certain pew in a church and if it wasn't for my long lens, all of their ceremony shots would have featured the bride and groom as specks up at the altar.

 

Yes, I do agree a flash is necessary, I will be getting either the 550 or 580ex.

 

I am also curious to hear everyone else's essential wedding gear.

Yeah, my Tamron I only use on the 18 end, if ever. I have tried to sell it, but for the chump change that people offer me for it, I'd just as rather keep it as a back-up. It was my first lens!

I am mainly a portrait photographer but will now be getting into weddings. I

have assisted several pros this wedding season but have now booked some of my

own weddings for 2007. I am slowly adding to my equipment for wedding

photography and wanted some opinions on your *essential* wedding set-up.

Here's what I have so far and what is on my list. Also, feel free to comment

on anything I may be missing or items that have been helpful to you.

 

Canon 20D,

24-70L f/2.8,

70-200L f/2.8,

Tamron 18-200,

50mm f/1.8

 

On my list:

Canon 30D,

550ex or 580ex,

2 Alien Bees umbrella lights

 

I also have miscellaneous things like extra batteries, lots of memory, belt

pack, reflector, etc.

I searched this forum regarding this topic and found a bit, but not quite what

I'm looking for. I have the opportunity to buy a used 550ex for $225, which

seems like a good deal to me. A new 580ex is running $360 or so on Amazon or

B&H. I have rented both flashes for weddings and seem to prefer the 550. My

question is, is this a no brainer and should I swoop it up? (upon inspection

of course) Or should I just invest in a new 580? I'm not very knowledgeable

of flash so I'm not exactly sure about the differences in features besides

more power with the 580. Maybe there is something about the 580 that I don't

know that would justify the $135 price difference?

 

I would be using flash for wedding photography on my 20D.

Wal-Mart sucks, why would anyone even consider getting prints done there?! In a pinch I use Ritz one hour at the very least.

 

Try www.mpix.com if you have the time. Turnaround is about 3 days.

I had some particles in my camera too and I ended up using a hurricane blower and blew out my sensor/mirror area and it was gone!

Every pro I have worked with along with my instructor at school (who is a master photographer) uses multiple memory cards. I have a 2 gig, two 1 gigs, and two 512's. I use Sandisk Ultra cards. I have used crappy brands and they resulted in serious write time and corruption. Thankfully, after the card was corrupted I was still able to upload the pics to my computer after several tries. The card itself was shot though after that.

 

Also, never delete pics directly from your camera, it will increase the chance for corruption. As the files save onto the card they format in a certain way so if you break that up by deleting here and there it affects the way the camera reads the card. You don't want to create "gaps" in storage.

I agree with the above readers with investing in glass vs. body. Lens quality makes such a difference! I would skip the kit lens altogether. I have a friend who just bought a Nikon D50 with a kit lens and is constantly struggling with it. She's always questioning the camera's abilities and I keep telling her it's the crappy lens!

 

I got started last year and I originally wanted an XT. The pros at the camera shop asked me what I would be doing with it and at the time I was going to be a wedding assist. He suggested that I bump up to a 20D body if I was going to do any professional work with it, so you have to ask yourself that question as well. He also set me up with a Tamron 18-200 f/3.5-6.3. It is about a $380 lens and covers a great focal range but optically it isn't the best. Great mid-range but poor on the long end. I have now finally invested in some great lenses and it makes all the difference in the world. My husband always got frustrated when I bought a new lens asking, "Don't you already have one?" until I gave him a power tool analogy. There's not one tool that does everything. I have recently discovered fast primes and L glass and I will never look back!

 

Good luck!

You don't think it's okay to ask other people's opinions in regards to making a major purchase? That's funny, if other people's opinions didn't matter, then what are forums like this one any good for? Yes, I know the decision is mine to make but sometimes hearing other points of view is very helpful. Especially when maybe there are certain perspectives I wouldn't have thought of myself. If you are so annoyed with my question, then why would you take so much of your time to reply?

I have thought long and hard about getting the 70-200 IS. In fact, at first, that was my original plan to spend my $1,700. I drool over that lens but it really wouldn't be a carryaround for me. I'm done with the mediocre Tamron so I figured if I got the 24-70 or 17-55, I could also get the 70-200, not the IS, but the f/4 still seems pretty great according to all of the reviews I've read. My main use for the 70-200 would be outdoor portrait work. The 2.8 IS would come in handy during ceremony shots but I don't know that I can justify the extra $1,000 on that right now when I could also have a decent walkaround lens too. I already have the 50/1.8 so the 85/1.8 would be a sweet bonus lens for me after selling my Tamron.

 

I lust over the 2.8 IS, please don't make me second guess myself again! ;) I am trying to get the most bang for my buck right now.