jamesjems

<p>Hey.<br>

I've been thinking about this for several weeks and I'm simply not sure who to ask. I've got a problem. I teach at a school for Native kids here in Alaska, at Effie Kokrine Charter School. I teach History, Economics, Drama, and of course, Photography/Yearbook.</p>

 

<p>My problem is that a majority of my students don't have a camera in their family (most families can't afford them, nor a computer with which to view them) and the school only has three (five actually, but two are broken). They're Nikon P5100s, and they're fine for what they are, but they're not durable at all, as several have been in the shop for repair...</p>

 

<p>I'm kinda stuck and I'm wondering – well, no, I know – that there are obsolete cameras in drawers around the world, and they're not worth much, and I'm wondering if the members of the photo.net community would like to put them into the hands of Indian kids here in Alaska...</p>

 

<p>Asking on the Classifieds section wouldn't work, for the people with the cameras there have already made the decision to <em>sell</em>...besides, once a member with an extra camera posts there, they generally don't look back there often...</p>

 

<p>Who to ask here at the worlds largest and best photo community? <em>How</em> to ask?<br>

I'm stumped and could use the help/advice of a moderator on this one. Anyone?</p>

 

<p>Thanks,<br>

James Krall<br>

Teacher, Effie Kokrine Early College Charter School, Fairbanks<br>

**************************<br>

Bueller.............Bueller............. </p>

<p>I've got the same problem. Same lens, same broken ring; same gaff tape temporary solution. This month or next, I'll bite the bullet and send mine off to Nikon for a replacement. I use the lens a lot and it generates quite a few of my keepers: it would be foolish not to buck-up and fix it.<br /><br />But, yeah, $200 seems steep. (sigh). Oh well. Sometimes we gotta pay to play. </p>

<p>Great answers, you two, and Rob, thanks for the link to Guy's explanation. It was what I figured it was: discharge lighting. Tough to work around that won in an available light situation. The mystery, if it ever was one, is solved.</p>

<p>The only thing I can think of is different colored artificial lights cycling so fast that I pick up a different dominant light on the ice. Some of these shots, like 058, I can see it's actually getting more and more reddish the farther down the frame it goes. Is the color space shifting so fast – faster than the follow shutter is closing – that I can see a specific flood light cycling on and another coming off? This is the only thing I can think of. That, and that it was about -12ºF when I shot the game. Thanks.</p>

<p>I was shooting outside last night in low-light conditions. Sometimes with the camera in Manual, other times in Aperture priority. But with the motor drive turned on. Can anyone explain what's going on with the freakish color shifts?</p><div></div>

<p>The purpose is different. Thankfully so. People pick up tools i.e. microphones, cameras, and tell different stories with them. Stories that need to be told. No one makes an either/or choice in the matter. All our stories need to be told. <br /><br />And, no, I don't feel the audio commentary detracts at all. It's complementary. And necessary to tell the story. </p>

<p>Start by learning how to cancel the auto-pop-up flash feature. If you have time, learn about off-camera flash from Strobist.com. If you don't have the time for learning new tricks, turn your on-camera flash off, keep it off, and RENT equipment:<br>

Here's what I'd RENT if I were you:<br>

A powerful flash that can be swiveled/bounced off of other surfaces in the room. If you're a beginner with this flash stuff, which can get really complicated really fast, stick with program mode and let the camera's computer thing do it's thing. YOU have to remember to tilt and twist the flash head to bounce off another nearby wall/ceiling. This will make a measurable difference in the light quality of your images. You'll be amazed, actually. If you're really new at this, take the equipment to the sales staff at the store and ask for a tutorial. (Camera guys love to talk shop.)<br>

Then: I'd rent some fast glass. By that, I mean f2.0 or faster. (f1.8 or f1.4). f2.8 if you have to. Go with prime lenses (ones that don't zoom). Keep your flash turned off and turn up your camera's ISO settings as high as they'll go and still yield acceptable results noise-wise. Do some testing before the event, of course. Use the lenses' ability to gather natural light and see how low-light you can go.<br>

To do this right, technically, it's going to cost you some money. That's just life. There are sometimes shortcuts with equipment but in low-light situations, there are none. The right equipment just plain matters.<br>

Enjoy the learning curve and Bounce That Flash!</p>

<p> </p>

<p>When I looked at this week's entries, I have to admit that I didn't take my time with your image, Victoria, I glanced at it and kept on looking for something more visually arresting...<br /><br />Now that your image was selected as the one we pull-apart this week, I now have an opportunity to go back and decide why it didn't blow me away...<br /> First off: what's right about it: I like that it's simple: three colors, predominantly, with some balance thrown in too. The red pillows keep the balance, L/R, and stick out nicely. It's nearly black and white with out being a B/W image. (I always love that). I like that there are foreground elements, a middle, and texture behind the subject. If the planets align perfectly, or we get off our butts and endeavor to make pictures, we'll always have an interesting forground, middle ground and background, but alas, often we don't often get that. You did. That's nice.<br /> I like the fact that the window highlights are totally blown: it's an inside shot. We don't want to care about what was going on <em>outside</em>, now do we?<br /> Why did my eye not linger on the image the fist time I saw it? Well, here's why I think: The subject is lost in the rest of the room. He's too small. With me, (and this is personally my own bias), I look for the subject to become the dominant element in my composition. Not necessarily the biggest element in my photo, but the <em>dominant</em> one. Compositionally, he's competing with the red, black and white for my attention. Here, I don't know who he is...He's got on a boutonniere, but other than that, I don't know who he is...<br /> <br />Additionally, your composition is divided cleanly in half by the line the couch makes. He's nicely off-center (I like that), but the straight-through-the-middle composition isn't compelling me to look further. I'd like to see more shadow detail brought out in the sofa, and especially his clothes. You made a different choice than I did, and that's <em>fine.</em> *IF* I had had the time to improve this image when I took it, (and honestly, when shooting a wedding, no one has enough time...) but if I had had it, I would have used a longer lens, zoomed in to eliminate the distracting window at camera left and made the subject appear bigger while trying to keep the candles in the foreground. And keeping the brilliant RED both left and right.<br /> Keep these critiques at a healthy distance, Victoria: it's all too easy for any one of us to sit back and snipe from afar. I'm sure you can think of ways you would have improved your own work too. Keep it up. All of us need the practice.</p>

<p>Yes, David, I saw the thread, I read the thread, and I still didn't know what to charge. Julie has been helpful by telling me what she does..."I take the cost of the smaller album and triple it." That's the sort of info I was looking for. What would you do about a pricing a duplicate album? Yes, I do care what you think. From those of us in the industry, undercharging is terrible.</p>

<p>Okay, so the bride and groom love the quick little album I made for them in Aperture. The work's done. They were a low-end client, so they liked that the album wasn't much. Now their parents would like a duplicate album. If Aperture charges me about $50 for the album, by what multiple or percentage mark-up would you charge the parents for an album? Double it? Triple it? I'm just asking. My usual pricing "sin" is not charging enough.</p>

<p>I pre-visualized the shot, quickly recruited the groom's brother as a voice-activated lightstand, told the B&G what I was up to and had about 15 seconds to beat them out the door and take two test shots. I didn't pose them, nor did I direct them in any way. When I started my series, I took four shots, bending down lower and lower (because I couldn't see if I had the reflection in the window or not). Each time I got lower, the leading lines got better.<br>

Camera: Nikon D3, off-camera flash (SB-800) controlled with CLS through an SU-800. Light modifier was a Lastolite EZBox Hotshoe. 1/60 f9, ISO 2500.</p><div></div>

<p>To and from my assignments I carry my 2 bodies, 4 lenses (including a 100-300 f/4) two flashes and assorted goodies in a Domke J-2. Black, Cordura and fairly bombproof. When I make a switch into wedding shooter mode, I haul out my thinktank modular belt with pouches on it for what I need. I'm comfortable, fast and obviously the "designated" pro shooter for the event. My Domke and my runner bag with my light gear is in another part of the venue, out of sight and out of mind. Having two setups helps when I shoot mostly with available light and can break down and stash my big lights easily. Generally, I like the waist pocket system that the ThinkTank people designed. Much quicker than even the Domke, which is a pretty fast bag, all told.</p>

<p>Well, for those of you who would care to see the photo in question, here it is. (The couple loves it and granted me permission to use it in my portfolio, for which I'm thankful).</p><div></div>

<p>As a freelancer, an opportunity just fell into my lap. I've got 2 questions: I'll be to the point:<br>

Which insurance company would you contract with for coverage (health, equipment/liability) for a three week in-country visit to the provinces?<br>

Second question: how would you keep your laptop/batteries charged up while in the field? Some Humvees have inverters, but I wouldn't bank on being able to turn to Allied forces for that. How would you keep your stuff charged up?<br>

Okay, a third question: Who/How does one go about getting access to BGAN/Satellite data uplinks? What's the cost? Who do you contract through?</p>

<p>Acutally, Nadine, yes, I was thinking of trying for a WPJA membership. If it helps with new bookings. I don't know if that would or wouldn't, but hey – ...<br>

The image is so striking that anyone looking would suspect that I posed the couple, including any jury from the WPJA...or so I'm guessing. It's NOT a subtle image. I really really want to show it off, but I ....just ... can't...and it's killing me.</p>

<p>Thanks, William...I'll wait for the midnight knock on the door.<br>

I don't really know how I would characterize my style of shooting. Mostly it's with ambient light, but often, I'll set a remote, or a set of remotes tuned to different channels – ALWAYS off camera– and as the event progresses, I'll use, or not use, the lights available to me. <br>

The picture? Yeah, it was good. I was a hired second shooter. If/when the couple grants me permission to show it in my portfolio, I can then do just that. But not before.<br>

It's striking. It made me and a couple of people at the reception gasp as I was uploading it. It's really cool.</p>

<p>Thanks, Nadine, for your thoughts.<br>

I didn't pose the couple at all. They kissed as they got in the car, and I snagged a couple of shots, quickly.<br>

...BUT...it was night out. There was no ambient light, not coming from the front of the church, or on the street. Nothing. Nada. Zilch. All the light came from my one-light setup. Could I call the light "very discreet? Not a chance. I shot with an SB-800, warmed with a gel, through a 2 x 2 foot softbox. I had those tools pre-set with me for much of the post-ceremony moments. I just took it outside and positioned it a few seconds before the couple came outside too. Since I saw the shot in my mind's eye beforehand, I did take moment to take a test exposure and I *did* scale-back my light a stop or so. Would that pre-planning disqualify me?<br>

If so, let me know. (I won't change the way I shoot. No way. The image is too strong not to shoot that way)...<br>

But no, the couple wasn't posed, if that's the real deal-breaker.</p>

<p>Okay,<br>

So I envisioned this image while the couple was getting into the car to take them to the reception. I stuck a light on a stick and positioned it where I wanted, in this case, off-camera, near the left front part of the vehicle.<br>

I was pleased with the result, but does it disqualify the image, and me, for that matter, from practicing "wedding photojournalism."<br>

I don't mean to start a fight. I'm just asking.</p>

 

<p>Now now, Paul. There's room of all of us in the sandbox.</p>

<p>It goes against my PJ instincts, but when I shoot a wedding, I sometimes have to force myself to "arrange" or "manage" a shot. This is one of the times that I would have done so, but my adjustments/critique only comes with the clarity of detached hindsight. I actually looked a the image for a minute or so, thought about it and only now can I chime in. As we all know, when we're shooting a wedding, no one has that luxury of time, Or if we do, it's more of a photo shoot disguised as a wedding.<br>

My comments: I LIKE the blown out highlights / compressed tonal range. Interesting post production choice. That's COOL.<br>

I LOVE the tatoo on her back. Along with her eyes/face, I would have found a way to showcase those elements more. I don't give a wit about the natural framing done by the window. The subject is the woman. It's always the woman. ;)<br>

I would have moved in closer, recomposed, and had the woman give me even more of a coy over-the-shoulder look, only this time, I'd have her look at me rather than at my feet. Bonus points if you can pull that off and get BOTH of her eyes in the shot.<br>

So..basically, I would have made an entirely different shot. So my critique is unfair. Sorry.</p>

<div></div>

<p>Thank you Don!<br>

I never realized that there was a custom function that allowed me to use the aperture dial. But there it is...Custom F7...I'm breathing a huge sigh of relief. I can now spin the aperture dial manually and I'll "go."<br>

I'll "pull the trigger" on the Vivitar non-Ai set of tubes...<br>

phew!</p>

<p>Hmmm...<br>

Thanks, Josh...that answers my question (I think) that I asked here:</p>

<p>http://www.photo.net/nikon-camera-forum/00Uy3H</p>

 

<p>Stick with what you know, stick with what you have. Develop your own skills. Both Canon and Nikon systems are excellent but have much more in common with each other than they are different. Especially considering your lenses you already have. Great stuff.<br>

It's not the tool (unless you routinely need to shoot at ISO 6400/12800 or above), but the photographer that makes the difference.<br>

And I'm a dedicated Nikon guy. Frankly, I don't really care. I just want to be able to use my stuff to it's fullest potential – doesn't matter what brand it is.</p>

<p>I'm looking at using some extension tubes for the first time. Scanning ebay, I see some that are called "non-AI". Not sure what that means w/respect to extension tubes, so I'm asking.<br>

One troublesome worry: tell me what I'm doing wrong: Okay, assuming I get these 'non-AI' tubes to mount on my D3, will I actually be able to use Manual Mode and change the diaphram on the lens? I've noticed that if I put my AF nikon lenses on my machine, adjust both camera and lens to manual everything, flip the little orange dot switch on the lens barrel and try to turn/use the aperture ring manually, my D3 flashes "EE" at me. I expected that.<br>

What I didn't expect was that my camera wouldn't let the shutter fire if I had the aperture ring turned (unlocked).<br>

I need it to fire. I need it to allow me to go manual everything and let me do the thinking.<br>

My concern: if the extension rings won't allow stop-down data to travel to the lens...and the diaphram won't close down to what's displayed on the camera, will I not be able to trip the shutter? Will this limit my choices as to what extension rings will work with a D3?</p>