david.wagle

<p>I have two of them. They've worked fine from day 1 and I have no complaints. I also have the new TTL capable model and it also works just fine.</p>

<p>For workflow, I dial in the ambient light I want, then I start adding each flash individually till I have the scene lit the way I'd like.</p>

<p>I'm still learning how to do this effectively though, so I'm probably not the best person to give advice on workflow.</p>

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<p>I bought one because for the low price it seemed like a no-brainer to give it a try. It is a fantastic flash. It works seemlessly with my 7D.</p>

<p>Now, that said, if you're going to use your flash off camera, don't use eTTL, shoot manual and control your exposure! To that end, you really don't need the features it brings. It's a good flash, but consider what you want to use a flash for - if you're going to be going the strobist route and using HSFs for off-camera lighting, and you want to manage your pennies, there's other buys to be had out there that will out-perform it at that price as a manual flash.</p>

<p>A contract without a time for delivery leaves room for a court to decide against you should a client be impatient. Always specify delivery commitments in your contracts. Dates aren't just reasonable, they're vital to protect your own interests. Setting customer expectations is a key part of good customer service.</p>

<p>Brides sometimes need help choosing appropriate makeup and applying it correctly. They generally don't need to put it on their necks.</p>

<p>Social networking does work, but like in-person networking, it works in proportion to how much effort you invest and your own individual talents for developing relationships (both on-line and in real life. ). Which social networking sites are best depends greatly on the type of photography you are doing. If you shoot corporate head shots, being on Linked-In is critical, for example.</p>

<p>Join a frequent flier club, or pick up an airline sponsored charge card and take advantage of the free checked bag.</p>

<p>Joseph, I'm not saying they're not useful -- after all, they can be used to light lots of stuff, and they're easily portable, and so forth. Like I said though, if someone's using multiple hotshoe flashses to light a subject from the same angle, or in the same softbox, or a single umbrella regularly then they're missing the right tool for the job. If they just buy more hotshoe flashes, then they're paying the newbie tax. IMHO anyway. Which, I will admit, is not an expert opinion by any means.</p>

<p>But note that it's not 1 stop per light.</p>

<p>Multiplying lights is all about the inverse square law. Alien Bees and similar devices are cheaper than trying to do the same thing with flashes. Because of the inverse square law. If you have (2^0) light, and you want to increase by 1 stop, you need to go to (2^1) (or 2) lights. But if you need two stops, you increase by (2^2) or 4 lights. And for three stops you need to increase by (2^3) or 8 lights.</p>

<p>A B1600 is $360. Testing by various folks has suggested the guide number for that is around 450 with an 11" parabolic reflector, compared to 190 for a 580 EX II, which you can get for $460 on Amazon. That means that a hot shoe flash on full power is about (2^-1) alien bees (or less).</p>

<p>I'm not an expert by any means, but I suspect that hot shoe flashes (particularly the name brand ones) are something of a newbie tax. Once you start pricing out the better lights, they don't seem that expensive at all. The hot shoe flashes are light weight and easy to use, but if you start having to use more than 1 to light your subject from the same angle, you're probably using the wrong tool for the job.</p>

<p>The point is that there isn't a simple answer. Some photographers will insist that the license terms require a photo credit. Others will not. Some will retain copyright, others will transfer it. All of these variables, and many others, combine to effect how much you charge your client for the product, rights and licenses you deliver.</p>

<p> </p>

<p>Genius tablets aren't bad, and are quite affordable. But honestly, the watcom tablets are worth it.</p>

<p>You need to have something that tells people if you're $500 photographer or a $5,000 photographer. However, having specific package prices is probably a bad idea as it will stop people from contacting you to have a discussion about what you can do for them.</p>

<p>The problem with your wife's philosophy is that it buys into the idea that photographers are interchangeable commodity services that should be evaluated based on price. But in reality the interaction and chemistry between client and photographer is critical to success. Price really needs to be about price ranges that fit within a budget, with the cost of not having a photographer whose personality and style match with the client being considered as well.</p>

<p>Ok, I'm not a professional. But, I do know something about customer service and what it means to be a professional in a field. And being a low rent photographer in any genre is not an excuse to not be a good photographer. That image is not a good image. </p>

<p>If I go to McDonald's I won't be happy if the burger is burnt, they forgot the ketchup on the bun and the bun has mold on it. I expect that they have the basics down, and that they will execute their low cost food well.</p>

<p>Exposure and composition are photography 101. Being a new, inexpensive photographer, your customers have every right to expect that you can manage exposure and composition well. If you can't, you have no business offering your services.</p>

<p>Learn from it. Recognize your weaknesses, and learn from them.</p>

<p>The demo method doesn't work very well at any scale because it covers up the grain of the wood too much.</p>

<p>Yes. It's the Ricoh repackaged with a Sea&Sea housing.</p>

<p>If you have one or two scratches, then it's not that bad. If you have a a heavily scratched guitar then you have the wrong prop for a shot if what you want is the typical beautiful brand new shiny guitar shot.A heavily used instrument is going to be a great prop for a shot of the heavily used instrument, where the scratches and dents are part of the story. But if you want pristine, the very first thing to do is get a new guitar with few if any scratches, disassemble, clean, polish, and reassemble it, and start from there. Proper polish and cleaning are essential to get the reflections looking right. Smudges are very hard to remove well in post production.</p>

<p>Thanks for the feedback folks.</p>

<p>This is, as has been noted already, a state by state issue. However, it needs to be restated that your contract is governed by the laws of the state you issue the contract within. Depending on the contract and the state, if your contract violates state law and you don't otherwise note within your contract that terms of the contract can be severed on a point by point basis, a contractual claim that violates state law may void your contract entirely.</p>

<p>I would strongly suggest that you get a lawyer and an accountant and have them offer you advice.</p>

<p>For multiple cameras what's wrong with adding camera info on import to the file name so the worst you'd end up with is:</p>

<p><shootname>_<cam1>_1234.cr2<br>

<shootname>_<cam2>_1234.cr2<br>

?</p>

<p>Of course, I don't quite get the focus on filenaming. Granted, I don't have several hundred thousand images, but for what I have keyword and date filtering in the metadata tends to get me what I'm looking for rather quickly. And I certainly would never remember the filename of an image.</p>

<p>Guys,</p>

<p>How did you go about getting started? I'm absolutely not interested in just jumping into shooting weddings. I'm not even sure that shooting weddings is the type of photography that I really want to do. I do want experience it though as a second or third shooter to see if it's something that attracts me.</p>

<p>I know how to handle a camera, I have high quality gear, a back-up body, lighting, and a good attitude. I get that as a second (or third) shooter I'm going to be doing a lot more 'step and fetch it' work than using a camera, and I'm perfectly ok with that. What I don't know is how to find a job as a second shooter to begin with -- let alone how to make sure I'm working with the kind of photographer I want to associate myself with.</p>

<p>I'm pretty sure I want to stay away from the craigslist crowd. Not because I have a problem with 'low budget,' but because I don't want to pick up bad habits. I want to see this world from the perspective of a professional, not from the fly-by-night side of the house. So how do I find someone who is willing to take on a 40 something johnny come lately?</p>

<p>Thanks,</p>

<p>I agree with Pete. Time to have a conversation "in house" about this.</p>

<p>This is the camera I use underwater and I'm very happy with it. The french angelfish in my gallery was taken with this camera.</p>

<p>Unless you're staying very shallow it does need an external strobe, and preferably two -- but that's true of any camera underwater.</p>

<p>This is the camera I use underwater and I'm very happy with it. The french angelfish and nudibranch in my gallery were taken with this camera.</p>

<p>Unless you're staying very shallow it does need an external strobe, and preferably two -- but that's true of any camera underwater.</p>

<p>A halfway decent standard mat runs about $4 around here, custom cut mats are $15 or more. I can cut my own for $1.50 or so in materials. It takes less than 10 minutes to cut a mat and mount a print. Since a good mat cutter can be had for $100 or less you can see it doesn't take many pictures to pay for the expense.</p>

<p>http://www.wired.com/gadgetlab/2009/05/free-software-beats-nikon-at-its-own-game/ Sofortbild.</p>