emeryfoto

Hi, I've been searching the posts for hours (don't want to repost an obvious question), but think i can

still ask:

 

I'm shooting my next wedding in 3 weeks and just bought a new Canon 85mm f 1.8 lens. I also have a

28-105mm lens. I have two Canon Elan 7 bodies, 1 550 EX flash (am renting another one). Also

renting two Quantum battery packs, plus bringing a ton of camera & flash batteries.. Will be bringing

my tripod, cable release, tons of film, etc. I think I'm set (equipment wise), although any suggestions

would be appreciated.

 

My question really is more about the lenses and film:

 

I've been researching for days, and the 85mm f 1.8 sounds like it will be great in my situation (low-

light). Should I rent the 24-70mm f 2.8, or is that redundant (since I have 28-105mm)?

 

The bride & groom prefer ambient light (but understand I might have to use flash for some of the

photos), and the reception hall is VERY dark, so I thought getting a bigger aperture would help. There

will be some candelight.

 

In terms of high speed films, I'm confused about what I've been reading on the various b&w films. I

have used TRI-X 400 in the past, and pushed it to 1600 or 3200 if necessary. From what I've seen and

read today, the Neopan 1600 sounds right for my style. I noted that some say that, with the Canon

Elan 7, it's best to rate it at 1250 - can someone explain this to me? (Do I then tell the lab to process it

at 1250 or process it as "normal?")

 

I usually don't like color film at higher ISOs than 800 - what do you think? I have a separate thread

going on artificial light, so dont' need to ask that here, but for ambient light photos of the reception, do

you think the 800ISO & a tripod would be appropriate?

 

I'm going to make a ton of tests on-site this week, so any advice is appreciated. I'm not the most

technical person, hence the questions! Thanks!

Oops, I didn't mean I got a lumiquest, but a lightsphere 2 (cloud)...

Thanks, Edward and Nadine!

 

I practiced last night at a party in dim conditions and the focus assist DID work - so I don't

know what happened the first time. I'm definitely renting a 2nd flash (as backup) and 2

Quantum Battery Packs.

 

Here's my latest question: I can't really bounce, as all the walls are covered in glass. The

ceiling is as high as a Gothic cathedral. I get the impression, because this is an intimate

(80 people) wedding in a very small space, that umbrellas and stands would be

inappropriate. Also, I dont' really have time to learn how to use them well - I think I'd be

somewhat panic-stricken if something went amiss with them.

 

So, my latest question: Do you think I can get beautiful images with a flash set-up? (If so,

maybe the assistant with a 2nd flash, as noted above)? I just want to avoid the "snapshot"

look common to flash, and I want to be able to move around fairly quickly.

 

I did finally buy the Lumiquest, after a lot of research, and in panic mode (!). I'm

experimenting with that.

 

I am interested in dragging the shutter, but I can't get my shutter speed lower than 1/60

(my lens is a Canon 28-105mm f 1.4) for some reason. When I set the camera to AV, I

can't get a fast enough shutter speed, so I keep setting it to P, and all I can get is 1/60

(won't let me dial up or down). Not sure what I'm doing wrong, as I've never had that

problem before...

 

I just bought the Canon 85mm f 1.8 lens - this should help, right? I'm thinking the larger

aperture will also help me if I do get to shoot any 3200 speed film, under candlelit

conditions.

 

Nadine, when you mentioned shooting at least 1600 with the lumiquest, can you please

explain? I've used neopan 1600 b&w, is there a good color one (I've shot 800 color but not

higher).

 

Thanks, everyone, for your patience. This is like a crash lighting course for me - !

Katie

Hi, everyone:

 

I went to the location last night - very beautiful, but it's going to be difficult. Cathedral

ceilings, and very low lights (at their highest setting, I couldn't get a good exposure even w/

3200 speed film). So I'm going to have to use flash for the whole wedding/reception. I will

see all your suggetions and practice, practice. I took a test roll last night. The only problem I

had was focusing in the low-light. The 550EX assist beam didn't seem to be working, or

maybe I don't know how to use it! I've been poring over the manual all morning, but it's not

telling me much - any ideas on that? Thanks!

Thanks, Nadine - I've been re-reading the planetneil articles this week and need to really sit down with them and learn.

 

Your other ideas are really helpful, too, as usual. I'm going to look into those other diffusers you mentioned as well. I think the room I'm shooting in is actually light colored (I'm seeing it tonight), but will check out the other diffusers and other techniques, too. I'm a little frazzled today, hence the new post.

:-)

Thanks - I've never done that type of thing (having different flashes firing elsewhere). How big is the learning curve? I've always been interested. Any detailed advice would be great, thanks!

Hi - I am VERY nervous as I'm not the best with the flash. All the weddings I've done in the past, I've shot

in all-natural light, right down to using 3200 speed b&w film at the candlelit receptions (luckily, my clients

know that and they WANT that type of look).

 

The wedding I have coming up in a month is similar - but it's the first time I'll be shooting such a late

event (wedding doesn't start until 6:00 p.m.) Everything will take place in the same venue - ceremony/

reception, etc. I'm going there tonight to check out the lighting conditions.

 

I hate to ask, because I'm so ignorant, but can someone please give me some basic tips on the best type

of lighting for the reception? The bride and groom really want the grainy, 1600/3200 speed look, but I

want to be able to shoot flash as well, for the color shots and for when the light gets too low. At my last

wedding, there really was NO available light once the dancing started, so I used flash - and the results

were pretty boring.

 

I use a Canon EOS Elan 7 (2 bodies) and my flash is the Canon 550EX. I have a

stroboframe and a diffuser (although I think I'll get one of those Gary Fong Lightsphere Clouds based on

another post I read)... I am going to go nuts practicing from now until the wedding, so any help would be

appreciated!

 

Thanks.

Thanks, everyone - you have helped me a TON! :-)

Hi, I just had my first meeting with a client since I stopped doing paper proofs - I posted the photos on

collages.net and we went over the proofs in person, too.

 

As usual, I edited down the images, leaving out all the unsatisfactory ones. I went over the ones I

considered the best with her, and we discussed possible cropping, prices, etc. This is what I have always

done but now I'm thinking I need to change - I know all of us have different styles, and some clients have

different approaches as well - I tend to be more laid-back, making suggestions, than giving orders.

(Apparently her family has used a photographer who presents a list of what they MUST buy, the sizes,

tones, etc.). I got the impression that she would like more direction, so I am going through the proofs

again tonight and making a list of recommendations (which photos would look best at what size,

diptychs, triptychs, etc).

 

Just wondering what others' proofing process is like? Any suggestions?

 

One bit of confusion is my file names are so long - I saw on a previous post, that other photographers edit

the filenames once they select the ones to show the client. What would be the best way to do this? (I still

use film, so need to know the roll and neg#).

 

I guess my real question is how to make the proofing session (including online proofing) easier, to make

the client happy and increase my reprint orders? I thought just having online proofing would help, but

apparently, not as much as I thought.

 

Thanks.

I may be wrong, but I thought that the photo.net responses couldnt' be found on google??

Hi, Pete - That is a great idea! I like it, especially as my lab does not give discounts on the

custom black & white prints, so I'd be cutting into my profit.... Thanks! Brilliant!

This is the WEIRDEST and most unethical thing I've heard of in a long time! My husband

almost died laughing at the sheer rude audacity of it! We can't stop talking about it. Next

time I shoot a wedding, if see one of these people, I am taking their photo and circulating

it, as well as dressing them down in public. My husband suggests pepper spray.

 

Have people no shame?

 

On a side note, I have a clause in my wedding contract excluding people from taking shots

while I'm shooting my formal posed pictures of the family - however, it doesn't help

much, as the families are the worst offenders! I was 8 mos. pregnant at the last wedding I

did, and this one aunt kept hovering over my shoulder, trying to take the EXACT same

shot I'd set up, with her crappy point & shoot. My assistant kept shooing her away, but

she just ignored her - and actually tripped me when I was coming down off the stepladder

I was using. I almost fell - and she didn't care, as long as she got her stolen images!

Here's the one i have used in the past: (very basic);

 

Model Release

 

 

For valuable considerations, I, the undersigned, hereby irrevocably consent to the

unrestricted use by (YOUR STUDIO NAME), her clients, customers, successors and assigns,

of my name, and any and all photographs which you have taken of me this day, for all

purposes, including without limitation, art, editorial, advertising or trade without further

compensation to me.

 

I hereby waive any right to inspect or approve the finished photograph, advertising copy,

or printed matter that may be used in conjunction therewith, or to the eventual use that it

may be applied.

 

In connection with the foregoing, I hereby release and hold harmless (YOUR NAME) and

each of the above from all liability.

 

I warrant that I am providing modeling services as a professional, freelance, independent

contractor. This agreement constitutes the sole, complete and exclusive agreement

between (YOUR NAME) and myself and I am not relying on any other representation

whether oral or written.

 

 

 

Signature: _____________________________ Date: _________________

 

Name: _____________________________

 

Address: _____________________________

 

_____________________________

 

 

Photographer: _____________________________

 

 

This form has been approved for use by:

Advertising Photographers of America/Los Angeles

APA/LA

Hi, everyone:

 

I just started using collages.net (mainly as an online presentation tool - i get the order e-mailed to me

and will take it to my local lab to get printed). I thought this would really speed things up and make the

whole ordering process easier - but the first portrait customer I've used with this (an old client of mine)

is, luckily for me, showing me it's more difficult than I expected!

 

Here's the difficulty: After much agonizing, I finally uploaded my price list. I offer machine prints on

color and for 4x6 black & whites, but all other size black & white prints are priced at the custom print

price, as they are beautifully printed on fiber paper and I don't want to offer machine-printed black &

whites on larger sizes (for quality reasons).

 

The machine prints are done at a well-regarded lab, and are color & exposure corrected, etc.

 

So, here's the print price list I came up with and I think it's too confusing:

 

4x6 Color or B&W Machine Print: $8

5x7 Color Print: $12

8x10 Color Print: $20

11x14 Color Print: $28

 

5x7 Custom B&W Print: $26

8x10 Custom B&W Print: $44

11x14 Custom B&W Print: $70

16x20 Custom B&W Print: $210 (the lab I deal with only offers 16x20 and 20x24 b&w prints in

"exhibition quality" prints, so the price skyrockets)

20x24 Custom B&W Print: $310

 

My client would like a bulk discount if she orders more than one print from the same negative - I can

offer that, but it gets so confusing building that into my collages.net price list - I have to rely on clients

to correctly pick the right price for the type of print/number of prints they want. (Like if I offered 1st

4x6 print: $8 and then they can also choose 2nd print from same negative, $-- ? It starts to get very

confusing!

 

When I look at other photographers' sites on collages, I see the same prices for all prints (maybe most

of them don't offer custom b&w printing as an option)?

 

I guess my question is, how to make my print price list user friendly and offer discounts online? Also,

how to keep them from ordering b&w images (which I offer only as custom 5x7 and above) with the

color pricing?? (I do want to offer 4x6 b&w images as poeple like these for albums).

 

I know this is confusing - any help would be appreciated! I have a wedding and some more portait

sessions coming up and want to iron out these kinks. THanks!

Giampi, I was just curious if you could elaborate on E-TTL being very reliable? I dont' know

much about flash, and I will be practicing it a lot in the next few weeks as I am shooting a

night-time wedding reception (I usually use available light). I want to get natural-looking

flash pictures - any suggestions?

 

(I shoot black & white (mainly) film).

 

I usually DO use E-TTL, but want to make sure it IS reliable. - thanks!

Hi, I usually shoot my clients in available light, but am interested in setting up a mini-studio mainly to

take portraits of my children and to practice with studio lighting.

 

I use a Canon EOS Elan 7 and have a 550EX flash. I bought a small studio umbrella and lightstand a while

ago. I didn't realize at the time that I can't use a cord to attach my camera to the flash (unless the clerk

was mistaken) - sounds like I need a wireless transmitter to fire the flash? Or 2nd flash on camera?

 

My question - is this correct? For a simple studio set up, what's the best way to position the flash and

umbrella? I'm totally new to this. I've used strobes in the past, but that was years ago. Is the Canon

trasnsmitter a great thing or a hassle?

 

Thanks!

Thanks, Steve!

Thanks, everyone - you've given me a lot to think about! Right now, until I learn PS, paying

someone else to design the albums sounds like a good route to go, thanks Anne.

 

Steve - do you know a place to recommend for a flushmount digital album? I was just looking

at the Leather Craftsmen one...

Hi, everyone: I've been spending the past week researching all the different wedding/portrait albums that

are available right now and I'm overwhelmed! After reviewing all of them, Asuka Book is the one I'm most

interested in.

 

Here's my problem - I don't know Photoshop (yet); at least not well enough to truly use it correctly.

 

I am probably going to be moving to digital in the next year, but in the meantime am shooting film. In the

past, I have created albums the traditional way (selecting photos and sending them and my template to

Leather Crafstmen).

 

Now I want to be able to upload my images (I always get my negatives scanned onto a CD) and design the

album online. I'd like to offer the coffee-table style books Asuka produces - I love them!

 

The reason I'm overwhelmed is that there are so many products out there ( Aperture, which I have but

mainly use for image management), Lightroom, Photoshop, etc. It's hard to know which one is worthwhile

to really learn and use on a daily basis.

 

Obviously, Photoshop is what I will have to learn to use Asuka Books, but here's my question - how hard is

it to learn, and is it worth all the trouble? Sometimes it seems easier to just stick with the traditional way

of designing albums, but then I think it seems really excitingly creative to design these albums and run

with them!!

 

Thanks.

Thanks, Nadine - I'll look into that! This really helps!

Hi, Nadine - To clarify, re: film vs. digital, I didn't mean that I needed to learn it to help me

with the darn cake pictures, just may want to start moving in that area for other reasons

(after years of swearing I never would - i'm still on the fence, really. I love the quality of

film but want to look into digital after so many of my friends have made the switch; also,

the expense. But I may stay a film holdout).

 

I am sorry I didn't post a picture - most of my older weddings are still not scanned (they

are all on fiilm), so I can't post any pictures from them, yet.

 

The main problem for me was this - if I used available light, I lost a lot of detail on the

cake; sometimes the light was so low, that getting a good shot even with fast film was

nearly impossible (although I did get ONE great cake-cutting photo that was only lit by

candlelight!) Catherine - those fun shots you got are similar to the only ones I ever did

that I liked - I like the action!

 

If used flash, the problem was the lighting just wasn't interesting - kind of flat. Even

though the exposure was correct, and I had the flash off the camera, etc., the lighting

wasn't great. Flat is the only word I can think of to describe it. This is why I think I need

to learn to master the flash - it doesn't come natural to me. I have a great eye for natural

light, but not the other.

 

I will look at the older threads as you suggested, Nadine - and I think I'll just have to

practice, practice, practice with my flash and some techniques (like dragging the shutter).

Thank you.

 

(Steve, thanks, too for the gary fong and lens info!)

Thanks, everyone - I'm going to re-read all these suggestions a million times, as they are all

great! Dolly, I LOVE your photo!

 

I am going to probably switch to digital some time this year, but I will be shooting film for

this upcoming wedding (don't thinK I can safely make the switch in less than 2 months). I

think I also will take an intensive flash class - I've always meant to do it, but never have.

Dolly, can you explain the flash you did for yours? I love it - very natural looking! Is it just

one flash off camera?

Thanks, Anne, for the detailed answer - that helps a lot. I think you're right - it's time

consuming and hard and I'm just going to have to figure it out! Your post will help me do

that. Thanks!

Hi! I've shot about half a dozen weddings (mainly do portraiture but am looking to do more weddings) and

I've gotten great feedback on them - happy brides & grooms, etc.

 

But I have a fatal flaw - I am terrible at the cake-cutting pictures. Also, the dancing. These are the two

areas of the wedding shoot that give me the worst headache. Everything else comes out GREAT, I must

say!

 

I shoot film, and usually use all-natural light. (My clients know this is my style and they like it - I shoot

really fast film when I need to (3200 ISO) and use candelight, etc. for the light.) However, this does not

"cut-it" (sorry for the pun) for the cake photos; and the dancing.

 

I have a flash (Canon 550EX), and Stroboframe, and that thing that goes over your flash (the name escapes

me) to soften the light, and I know how to use them, but just can't quite get these two areas of the

wedding to come out well. When I use flash, the pix are fine, just not interesting.

 

Any advice would be GREATLY appreciated - my next wedding is coming up in September. It's a night-

time reception, so I really have to get on top of this.

 

Thanks!

Katie

Hi, I have been doing photography part-time for about 10 years - still shoot film (I love it!).

 

One issue that always confounds me is pricing. I just set up an account at collages.net today and set my

prices, but not sure if they are good. I think they are too low, as usual! Before I go any further, let me

explain: I am having the orders come directly to me (via email from Collages) and will get them printed at

my local Los Angeles lab, which is great. It's about a 45 min. drive for me to my lab.

 

In the past, I never offered machine prints (I do B&W primarily), just custom prints on fiber paper. Now I

want to offer both - custom prints and machine prints (the ones from my lab are great and their machine

corrects for exposure, etc), mainly because the price of beautiful custom black & white prints has

skyrocketed - I think between using collages.net (easy online ordering) and offering machine prints, I will

make more sales....

 

Anyway, I usually double the cost of the prints to set my prices - but is that a good formula? When I do

that, it makes the machine print prices seem too low and the custom print prices seem WAY too high.

 

At the same time, I'm shuttling back & forth to the lab, talking to the technicians, etc., and offering high

quality prints.

 

I looked at the forums but didn't see anything specifically about a formula for setting prices - I'd REALLY

appreciate it, thanks!

 

(As long as we're talking about it, how about a formula for wedding album prices?? :-) This ALSO

confounds me!

 

Thanks!