surfidaho

Howdy!

So they pulled the XTi, and replaced it with a lesser camera.

What an unsmooth move.

Later,

Paulsky

Howdy!

If it's the same seven point focus system as the Rebel XT, they can keep it.

Later,

Paulsky

Howdy!

Almost forgot. My best all purpose modifier is a beauty dish. It's large and cumbersome, but it's also made of metal, indestructible, and works well for both up close fashion type stuff and lighting a large group with soft light efficiently.

Later,

Paulsky

Howdy!

I use an Alien Bee 1600 to do these sorts of shots. All of what Nadine said is gospel, but I would like to add one or two more thoughts:

If you have absolutely no shade, the best thing to do is to turn the subjects with their backs to the sun, and fill with your Bee.

If you cannot get the sun behind them, and are forced to use the sun as key and flash as fill, have everyone shut their eyes for a few seconds, then one two three, open eyes and smile.

My flash meter doesn't work well under these circumstances, so I always arrive plenty early, take lots of test shots, and find a shady place to chimp.

And if anybody knows a way around that last paragraph, I'd love to hear about it. ;^<)>

Later,

Paulsky

Howdy!

Another problem with this scenario is that vendors (particularly $25 vendors) often forget that they are providing services for what should be the happiest day of a couple's life, and they start acting like union bus drivers. The lady who was taking down decorations could have waited a few more minutes. The other WOMAN was acting like a bus driver on strike by interfering with you when you tried to shut her down.

When vendors behave with the welfare of the B&G as their top priority, these sorts of things don't happen.

How would I have handled the WOMAN? I would simply ask her if her contract predates mine. If it does, I get all parties together to sort out who does what, right on the spot, MOB, B&G, Grandma, and whoever else is involved.

If her contract does not predate mine, or if she has no contract, I tell her to please stay out of my way. If she doesn't, I roll over her. If she takes the bride and groom away for pics, I follow. If B&G ignore me in favor of her, then they get what they deserve.

Once or twice, people have tried to hire me as a "backup" to their primary photographer. I tell them that if the other photographer wants me there, they can hire me themselves.

Later,

Paulsky

Howdy!

Nadine is absolutely right (as usual), particularly about E-TTL producing excellent results outdoors. I use it often to balance backgrounds with my portrait subjects. I have included a picture with this post for demonstration purposes. It was shot with E-TTL, with two remote 580EX units on stands controlled by an ST-E2.

But before I began applying a uniform method to my flash photography, I got terribly inconsistent results using E-TTL. It still surprises me from time to time, but when it does, it's because I made a mistake.

I overcome the problem of backlit scenes and widely variant backgrounds by always using spot metering, and always on a subject that is close to 18% gray, and locking it with FEL.

Later,

Paulsky<div></div>

Howdy!

I routinely use the 580EX with E-TTL, Flash Exposure Lock, spot metering on the face, with excellent results.

Harry said:

"I had the same problem with my 550EX which consistently underexposed pictures in certain situations by about 2/3 stops. I heard the 580EX II is allot better."

My understanding is that E-TTL calculations are all done in camera, and the flash model (as long as it is Canon) is irrelevant.

There have been many cases of people who have upgraded their cameras, and got better results from E-TTL. Whether they got better results because their skill improved with a more ergonomic camera, or because they got a more refined version of E-TTL, or they simply felt better about the results because they were using more expensive equipment, nobody knows.

Harry also said:

"Eventually I will probably get a 580EX II, but for now, I opted for the Metz 58-AF1 which has Thryistor technology"

Thyristor is not Manual Mode. It is simply a very old (and reasonably good) technology for doing automated flash. It has much simpler rules of operation, so some find it more comforting. However, it is not "manual". Here's more info:

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=00EqAk

Harry then said:

"(meaning you can shoot in Manual mode sans ETTL)."

You can shoot with any Canon flash in manual mode "sans E-TTL", but you have to dial in your own power for every shot.

Finally, Harry said:

"When shooting in ETTL while the camera is in Manual Mode, your best bet is to shoof at F8 or greater. For some reason ETTL works inconsistently at larger apertures than F8, don't ask me why."

When you make the aperture smaller, you make the flash work harder. I don't know for sure, but if the flash has to work harder, it's quite possible that it would have less headroom for subtle control. This could have a tendency to reduce variability.

However, if I use E-TTL properly, I find that even with large apertures, everything works just fine. Therefore, I consider most E-TTL inconsistencies to be attributable to operator error.

Later,

Paulsky

Howdy!

It's worth noting that E-TTL behaves differently depending on the shooting mode. The eos-flash article cited by Rainer expounds upon this in section II.

In general, however, E-TTL assumes you want the foreground properly lit, regardless of the exposure settings on the camera.

Exposure compensation and Flash Exposure Compensation are two different things. Exposure compensation does not affect Flash Exposure Compensation, and vice versa.

You CAN set the 580 EX to full manual. I do it often, but for a different reason. E-TTL is conservative, and will never blast out full power. When I absolutely need full power, I go manual.

Later,

Paulsky

Howdy!

If you are shooting wide open, your depth of field is probably very shallow. There are many online calculators that tell you what your depth of field is for a given aperture and focal length. Here's one:

http://www.dofmaster.com/dofjs.html

If depth of field is shallow, and you focus, lock, and recompose, the type of error that Anne describes becomes very common. Even though the center sensor (cross type, f2.8) is more accurate than the outside sensors (single dimension, f5.6) the outside sensors are usually plenty good unless you are trying to use AI Servo, or are focusing in dim light.

I would suggest three things:

1. Use a tripod, monopod, or image stabilized lens whenever possible.

2. Use custom function 4 to move your focus button to the rear of the camera.

3. Always use One-Shot for stationary subjects, AI Servo with center point for moving subjects.

4. When photographing people with One-Shot, focus on the eye using the most convenient sensor point.

Later,

Paulsky

Howdy!

It looks like you blinked, and they were gone!

Later,

Paulsky

Howdy!

Plastic-like is actually very easy. Just crank up the smoothness on Noise Ninja.

I was so glad one client canceled on me that I returned her deposit just so I would never ever hear from her again. But Tim, if you really are friends with this person, you should have posted anonymously.

Later,

Paulsky

Howdy!

Frank, they may just be overwhelmed with wedding planning and changing their lives.

Follow the previous advice. Check with the venue. Chances are they can tell you how to contact the B&G.

Later,

Paulsky

Howdy!

I originally said:

Let it go.

Perhaps I should have said:

Let her go?

Later,

Paulsky

Howdy!

Let It Go.

Later,

Paulsky

Howdy!

Nadine said:

"Any time you get attention from the male guests, you know you are dressed so you stand out, which isn't good".

I agree that proper dress does help convey an attitude of professionalism. But unfortunately, any time you combine a romantic atmosphere and alcohol, you may have to deal with unwelcome advances from guests, regardless of how you are dressed. Even I have had to politely disengage from overly fond female guests from time to time, and I'm no Brad Pitt. (Actually, I look more like Richard Dreyfuss).

The secret is to always behave like a professional. Be nice, but project a certain amount of reserved detachment. If ever in doubt, it's better for your reputation to be thought of as "too businesslike" instead of "not businesslike enough".

Later,

Paulsky

Howdy!

Before I answer your question, I think the car.jpg attachment might not be in accordance with forum guidelines. We're not supposed to attach or insert photos unless they pertain directly to the discussion at hand. There's a thread at the very top of the Wedding and Social Event Photography forum page from Mary Pearson Ball (the forum moderator) that explains all this.

Now back to your question.

My daughter used to assist me at weddings, and she wore the same kind of attire you describe: black pants, a nice collared top, and ballet flats. While I never understood how anybody could work in ballet flats, I thought her attire, and the attire you describe, is more than sufficiently dressy for a professional photographer at a wedding. My daughter never wore skirts, because you can't dive for a really great shot in a skirt without risking some exposure.

Tuppence,

Paulsky

Howdy!

Dave, you can solve the 50mm f1.8 focus hunting problem (or any lens focus hunting problem) with either a Canon ST-E2 or a Speedlight.

The ST-E2 is a controller for external Speedlights, but it also does a very nice job of painting the subject with a pattern of red lines that work great for autofocus.

Granted, it's Two Hundred Bucks, so unless you do a lot of work in really low light or work with external flashes, it's probably not worth it for you.

On the other paw, if you have a Speedlight and a 40D, you can turn off the flash functionality and use the autofocus assist functionality on the Speedlight to achieve low light photography without flash, in the same manner that you would use an ST-E2.

And of course, there's always the "pop-up flash autofocus assist" but that's really gross, and if you're going to use it, you might as well shoot flash.

Later,

Paulsky

Howdy!

There are some outstanding teams out there who offer comprehensive still and video photography as part of their packages. In my opinion, they offer the best option to people who are interested in both still and video photography.

Otherwise, when two sets of photographers are covering the same event, oftentimes both sets consider themselves to be "in charge". I simply eliminate all potential problems by insuring ahead of time that I'm in charge. I don't let anybody, professional or otherwise, shoot during the formals, and I limit still photography at all other times to amateurs, myself, and my associate.

Several years ago, I started out on the other end of the spectrum from my previous comments by letting videographers shoot as many stills as they wanted. But on multiple occasions, I ended up having to go into Photoshop and fix peoples eyes because they were looking at the videographer instead of me, and I actually got into one or two arguments with videographers about how to compose the formal pictures.

I am not afraid of competition in terms of money. I just hate competing for the attention of the wedding party. Therefore, the fewer people shooting that are not under my control, the better.

Steve and Maria, I understand your point of view. But it is incompatible with my contract. Therefore, in the unlikely event that you and I ever work together, and the customer's signature on my contract predates their signature on your contract, you will have to put your still cameras away. If you want to pop a hi-def frame using your video equipment, that's fine.

You might think my contract is unfair to videographers. Perhaps, but I can put whatever I want in my contract. If I choose to be the only professional still photographer at events I cover, then it is my right to enforce that clause in my contract. It is the customer's choice to accept or decline my services based on those conditions, and so far, my policy has not resulted in a decline in bookings.

Later,

Paulsky

Howdy!

Dave, before I ramble on, I must compliment you on your attitude and willingness to learn. It's way cool.

I suspect that the "wow" you were looking for comes from the experience of capturing a scene well with a minimum of effort by using a state of the art toolset.

In response to that, I have two words:

Me too. ;^<)>

Every time I pick up a camera, I want the same experience. You are definitely not alone.

While state of the art tools do not guarantee a "wow" experience, they certainly help. But the more experience and knowledge you obtain, the easier it will be for you to obtain the "wow" experience. And this forum is an excellent resource.

As much as we argue the relative merits of this or that lens, I myself have experienced "wow" with three (and only three) lenses:

50mm f1.8 - This thing is less than a hundred bucks AND has excellent optical quality!

85mm f1.8 - Sharp as a tack, and focuses really fast in low light!

70-200mm f2.8L IS - This thing is really freaking heavy (and expensive), but for the image quality and versatility, I'll carry it all day!

Even though it has excellent image quality, I don't get a Wow! out of my 17-55mm f2.8 IS. As a portrait photographer, most of my "wow" comes from the ability to isolate a subject from the background. Wide angle is nice, but it doesn't necessarily "wow" me.

Of course, everybody has different tastes. Keep asking questions. Look for inexpensive ways to add "wow", such as filters. You'll get there.

Later,

Paulsky

Hey Steve,

I'm sorry you took my post as a slam. In retrospect, I admit it sounds overly harsh, although that was not my intention. Let me rephrase.

A very reasonable answer to your question is "why bother with still photography"? Most still photographers would gladly give you as many images as you need.

I have asked videographers to put their still cameras away before, but I always do so nicely, and I promise to give them as many pictures as they want in return. Not one of them has ever tried to fight me on it. As a matter of fact, they're generally relieved, because they know my pictures are better than anything they can do with their own still cameras.

Those sorts of instances have mostly gone away however, because I make a point of telling the customer at signing that I do not allow any other professional still photographers at the event, and that it is their responsibility to make sure that point is clear with the videographer.

You may not think that you are competing by popping off a few stills for the DVD cover. But that's entirely your point of view. My point of view is that by charging money and carrying a still camera, you are competing. Call me petty, but that's the way I feel about it.

Tuppence,

Paulsky

Howdy!

I second Nadine's sentiment. My contract specifically states that I and my associates are the sole professional still photographers at the event.

If videographers need artwork for their finished product, I supply them with as many images as they need free of charge with a very discrete signature watermark in the lower right corner.

If this sounds unreasonable, imagine how you would feel if I showed up at an event you had booked with a video camera, particularly if I didn't know how to get professional results with it in low light, and started shooting video for the couple's website.

So Steven, if we ever shoot a wedding together, please expect me to ask you nicely to put your still cameras away and not take them out until you get home.

Later,

Paulsky

Howdy!

If flash was allowed, expose for background, and fill in the subjects with flash.

If not, expose for subjects plus one stop, shoot RAW, and use Exposure and highlight recovery sliders in LightRoom or Adobe Camera Raw to mash image into place.

Later,

Paulsky

Howdy!

If you examine the reviews, you will find that the 85mm f1.8 is one of Canon's sharpest lenses:

http://www.photozone.de/Reviews/Canon%20EOS%20Lens%20Tests/45-canon-eos-aps-c/164-canon-ef-85mm-f18-usm-test-report--review

However, now that I have the 70-200mm F2.8 IS, the 85mm never leaves my camera bag. The 85mm is sharper, but I love the flexibility of a zoom.

Later,

Paulsky

Howdy!

Are you taking your own car, or riding with the girls?

If you're taking your own car, just leave your tripod in the car when you hit the clubs. If I was doing a night shot, I wouldn't rely on a monopod. I'd do whatever it takes to use a tripod.

Later,

Paulsky

Howdy!

I work out of my home. I used to bring customers there, but I got tired of running my family out of the house, so now I just meet customers at the local Barnes and Noble. Everybody knows how to get there, and I pay my "rent" by ordering a latte.

Later,

Paulsky