lucafoto

<p>If you are a Photoshop or Lightroom user the 15mm Canon Fish Eye is easily rendered into a rectilinear with the lens correction function. the shot below is un-cropped and shot on a fullframe canon 5D with the lens correction active in post processing:</p>

<p><a title="Grey Thru Color by LucaFoto!, on Flickr" href="http://www.flickr.com/photos/lucafotogne/5357108451/"><img src="http://farm6.static.flickr.com/5044/5357108451_692e1d3d7b_m.jpg" alt="Grey Thru Color" width="240" height="160" /></a></p>

<p>the lines look pretty orthogonal to me!</p>

<p>Hi Yakim,<br>

I started IR shooting a little over a year ago, and when I started I had similar questions... Convert a 20D or a P&S and to what wavelength... research here on photo.net, on flickr, and internet searches led me to:<br>

Convert a Canon powershot pro-1 I had collecting dust. Through research I found that the pro-1 EVF and swing out LCD screen allow for composition in the IR spectrum rather than with dSLR you do not see the IR effect until after the shot. I sent my pro-1 to Lezot camera to remove the IR filter and replace it with a 72R filter, Results here...<br>

I feel I am still in the early experimental stages with IR shooting, always being surprised by the outcome! Good Luck with your search</p>

<p>Happy Shooting</p>

<p>Sheesh!, and I thought I looked cool with a Battery Grip on my 40D!</p>

<p> Camera Schmamera it is the monkey operating the thing that make the real difference!</p>

<p>With those envious types, I just complement their fine equipment and smile.</p>

<p>I use Adobe Lightroom to download my images straight from the card, where Keywording and Develop presets can be applied. I run through all the images to cull the rejects and flag the the important or outstanding shots. That process usually takes me about an hour per 1500 shots. I then run through the collection and edit by scene and lighting, tuning up one image and syncing the rest that were shot under similar conditions. A quick review of the synced shots is important to make sure none are blown out or underexposed. In some cases I will save a preset just for that scene, especially when I don't have all of the shots taken consecutively in the same location. All in all I usually spend around 3 hours post processing my RAW images in the quantity of 1500-4000 shots. Once that is done I export DNG files for Archiving, and jpegs for printing.<br>

I agree with Howard M above, and will return to a photo and give it more attention and time.<br>

Good Luck!</p>

<p>Yowwwch! for above photo. Great use of the 24-70L. If you are curious about seeing photos shot with that lens at f2.8, just use flickr search:<br>

<p>Great lens, quality build, it is my carry around lens on my 5D.</p>

<p> </p>

<p>For my 2cents...<br>

I always take their picture with their camera when asked (if I am not too busy at the moment) and even offer to take the shot for them so that all the friends can be in the picture, however I also ask them to pose for my camera as well.<br>

As said above by greater photographers than I, this is about customer service and providing a great experience, besides once they see my shot compared to theirs, it is my shot that they want framed, and their shot that goes on facebook.</p>

<p>just to stir it up some more...</p>

<p>I think women make better wedding photographers; it is all about the Bride (and the mother of the bride). I believe women photographers are more sensitive to that than I will ever be, as much as I try. :-)</p>

<p>Those are tight venues I'd recommend two bodies with either the 24mm f1.4 or 35mm f2.0 for your wide shots and either the 85mm f1.2, 70-200 f2.8 IS, or even the 135mm f2.0 for the close ups. <br>

Shoot RAW on manual or aperture priority; 1/30s at the widest aperture of the lens, ISO 800 or greater depending on the body. The autofocus requires contrast to work so use manual focus or get good at targeting something of light and dark contrast in the subjects focal plane (DOF at those wide apertures can be razor thin). Take different shots from different angles to make the whole photo collection look interesting, try dragging the shutter and other "artistic effects. The monopod will not likely be allowed in- too much of a weapon to the security guys at the door, find a pillar or other stable object to brace against if you need.<br>

Figure out who is the manager or girlfriend/boyfriend of the lead of the band and try get their picture and chat them up about what you are doing, hopefully they are cool and will let you into the inner circle of the band.... Get a signed photo release and your are golden!<br>

Keep all your stuff close to your person, don't set anything down where it can be taken. Good luck!</p>

<p>Sadly, I received and my ID has been used by spammers on Facebook directing contacts to explicit porn sites and I dont know what else. I sent out an apology email and promptly locked down my my profile to no contacts and no public visibility. The few jobs I got thru my Facebook presence do not make it worth it to alienate my contacts with the lack of security provided by the site.<br>

Personally I would Not recommend using Facebook professionally. Others may have had better experiences.</p>

<p>A cover is cheaper than sending your lens/body in for repair, or replacement. I keep one of these (see link) in my camera bag at all time, just incase the weather changes. Cheap protection for your expensive gear.<br>

http://fotosharp.com/camera_rain_covers.html<br>

When I have to shoot in serious down pours I use one of Kata's rain covers, because they stay in place more securely and allow better access to the body.</p>

<p>I too can commend Canon Irvine for great service. They replaces my cracked body on my 5D and repaired a over zoom issue on my 24-70 quickly and for a lot less than I expected.</p>

<p><a href=" title="Cracked5D-3 by lucafotogne, on Flickr"><img src="http://farm3.static.flickr.com/2254/2452581610_193fcf05b2.jpg" width="333" height="500" alt="Cracked5D-3" /></a></p>

<p>Built in ETTL radio control from the camera's radio transmission or the computer's.<br>

Three 1/4 threaded mounts; back of the head, side of the body, and on the hot shoe base.<br>

1/4" flash sync jack on opposite side of threaded mount<br>

A stronger Hot Shoe connection system that can take quick turns without rupturing into pieces.<br>

A flash head only, with radio sync too, that uses the external battery pack as it's sole power source (no internal batteries) to make a lighter unit.</p>

<p>One thing that has not been mentioned...</p>

<p>strobist.com</p>

<p>If you want to learn about innovative, and sometimes inexpensive lighting go there!</p>

<p>The 16-35 II is the best choice on your list, but there is barrel distortion at 16mm; that is why a TS, as suggested above, would be the best choice- try renting one like the 24mm TS-E before buying. Canon's 14mm rectilinear is also a good (and expensive) choice.<br>

As for fast (f2.8), that affords a shallow depth of field, which is not what you want to fully capture an interior. For any architectural shot low light or not a good tripod and remote trigger are imperative. <br>

As well as Photoshop can adjust your image, I prefer to spend time behind the lens and get the final shot right rather than having to adjust an image on my computer.</p>

<p>All great advice from above...<br>

It is important to consider memory storage, you will be capturing an abundance of shots, and probably want to keep them all. Get an external hard drive, archive them to dvd, store them online and/or print photo books!<br>

You will want to be able to share/embarrass your young one with these photos when they are a teenager!</p>

<p> </p>

<p>All great advice from above...<br>

It is important to consider memory storage, you will be capturing an abundance of shots, and probably want to keep them all. Get an external hard drive, archive them to dvd, store them online and/or print photo books!<br>

You will want to be able to share/embarrass your young one with these photos when they are a teenager!</p>

<p> </p>