toddcwilson

AHH, Air Force goes easy adherence to uniform policy. They even call each other by first name and don't address individuals by rank. Maybe that's why, in part, they are restructuring from the top down.

It sounds like you need to get your head around proper flash technique. You can learn to use flash to get the light you need, without the exposure looking like you used flash at all.

 

Also, as mentioned above, if bulk and weight are a concern the you are in for a real surprise with the D3, the D300 isn't really light either.

Oh, and take that sign you have in the photo in your member profile, "Why am I Here?"

;)

Oh, and if you really want to document you were there snap a shot of your car, with license plate in view, in front of the venue location you were provided. This just covers you if they try to come after you for the retainer, claiming you didn't show up to fulfill your obligation under the terms of the contract. This isn't paranoia, but practical thinking really. Say they called off the wedding, and after the wedding date they claim you didn't show up and one of them want the retainer back. You have proof you were there, ready to perform, under the terms of your contract. I would do this even if you called the venue, as Jo suggest above, and the say the event was canceled. Also, by contacting the venue you may find a good number for the bride and groom, and if they are unwilling to give it to you leave your information so that you may be contacted. If nothing else it turns into a possible networking situation with that venue, and you will most likely impress them with the professional efforts you undertook for that bride and groom. (Take a sample of your portfolio and cards/ brochures in the event the opportunity presents itself.)

I agree with Anton and Bob in particular. Your services were retained, thus closing that date to other potential clients. Show up, and TAKE some pictures as evidence that you were there (1st shot on the card - make sure date and time are set to www.time.gov and snap a shot of your computer monitor).

... sometimes to which my response was, "you want what?"

Jo

 

In my former life I was a private investigator, who did work for lawyers with my camera. It was funny sometimes what I was asked to achieve with a camera ... especially from lawyers with no photographic experience.

The division between pro and amateur is whether or not you are paid. Now, there are barriers to entry in some professions, usually controlled by some government or professional association, but photography is not one of them. As for attire, I would have to disagree with the post above. Nobody should show up looking like a bum, this I agree; however, there are many different styles of photography, and some styles require a looser wardrobe than a suit and tie. I would not be able to capture much of the shots in my portfolio carrying 2 bodies (1 with a 17-55 and the other with a 70-200, f/2.8) and a small bag with extra batteries, strobes, 85mm lens, etc. if restricted by the confines of a suit and tie. If I sat in one position with a violin for an hour and 1/2, then I may wear a suit; however, the bride hires me based off of what she sees in my portfolio, and I deliver no less. I do explain though that I will be attired in a business casual fashion, and I always take a change of shirts, especially when shooting 10 hours down here in Florida. 1 and 1/2 hour of playing an instrument and 8 - 10 hours of rigorous photojournalistic/ documentary coverage have vary different physical requirements.

 

I do agree with Brad, there is no "getting away" with something when conducting yourself as a professional.

 

As far as equipment, whatever you used to create your portfolio that got you hired, or better. Also, BACKUP! Pros always have plan 'B'.

 

Demeanor? If you have to ask this then you most likely weren't hired in the first place, hence you won't be getting paid; therefore, not a professional. Also, demeanor/ personality should be consistent - same when shooting as was presented to the client during the hiring process. In other words, no freaking out and yelling during the job.

 

As far as minimalism, whatever it takes to do the job for your client in a manner that is consistent with what what presented, which inspired them to pay you for your services.

Sometimes the best man will crack the bride on the back-side with his sabre when the bride and groom walk through the arch of sabres, find out if he plans to do so and be in position as it can be a humorous shot (and the bride usually doesn't know it's coming, so don't ask her).

A lawyer with a camera ... and now the jokes begin;)

Solution, bracket the aperture, start low and go hi and take a series of shots.

Here is an example, I really didn't want the bride and groom quite so blurry here.<div></div>

Same opinion as Nadine, but to add, be careful of how far and how large an aperture you use as the house may just end up being a big white blur.

HMM ... how will everyone be attired? Sorry, had to ask.

Oh, and to point out there may not be much of a difference between 17-18, but at 55mm the difference between 2.8 and 4.5 (which is the largest aperture on the 18-70 @ 55mm) is 1 1/3 of a stop if my math serves me correctly.

Okay - left out the word shallow - as in shallow DOF which corresponds to the first paragraph of Doug's inquiry. Feel like I'm in a classroom here, wow. But anyway, Doug, the 18-70 is a great lens, and I still use it sometimes when I don't want to risk damaging my 17-55 (which I use for wedding work mostly).

You don't mention which body you will be using, full frame or cropped sensors will make a big difference in your FOV and corresponding distances.

One thing the 18-70 can't do, and that is open up to 2.8 at all, let alone the entire focal range - if in fact you need it. The 18-70 is a great lens, but it isn't that fast and won't offer the DOF you desire as stated in your first paragraph. I would continue to use your 50mm prime for portraits and the 18-70 for all else, unless you really want the sharpness and DOF offered by the 17-55 f/2.8. Remember, the 17-55 is 2.8 throughout the entire focal range, unlike the variable aperture on the 18-70.

I agree with Lil as well. That is a bit much to ask of consumers.

f/3.8/ 200mm zoom, What lens is that? You say zoom, and 200, do you mean 70(or 80 maybe) - 200 zoom? Never heard of the lens you mention. Doable? maybe since you mentioned off camera flash. Meter the camera for the sky (manual recommended) and use the flash to illuminate your subjects.

Oh, and no tripod/ monopod was used. ISO 3200, 1/60 at f/4 - hand held. Good luck!

Here is one sample.<div></div>

I agree with Ellis, and don't fear ISO 3200 and shoot RAW. This will help with the ambient light - as little as it may be. I've done it recently with that body at 11:30PM with sparklers and a little (very little) background light. Just my $.02.

TIFF also applies all your in-camera settings to the final image. Look at it as a JPEG with much more bit depth, which works better for some people's work flow. When using 3rd party software applications for post this MAY have an impact.

Oh, and shoot RAW and adjust the WB in post ... should work great. I have that same camera and I get great results.