jeff_shurak
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Posts posted by jeff_shurak
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<p>There's a lot of good responses on here. Yes, by offering a dvd with all the image, you are still giving the client control over the final images. However, by handing over unedited photos, you're almost guaranteeing that the client WILL edit the final result. Its about as close to 100% as you can get. By putting the work into and providing them with a variety of BW, sepia, whatever-else-you-may-do-to-them edited photos, you're at least reducing the likelihood (or severity) that they will make tasteless edits. </p>
<p>I've decided to pass this on this one. I would have jumped on this a few years ago, but now not so much. Let someone that really needs to get their foot in the door handle it.</p>
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<p>Hey, I'm not particularly new to wedding photography. I've been doing it for about 3 years now and have about 35 weddings under my belt as the solo/main photographer.<br>
My basic package is essentially a dvd with high res images. Every photo I take I personally look at and touch up or discard if its bad(the blinkers, goofy faces etc..). This is a major part of my shooting style as I don't really consider an image complete until I've personally signed off on it. I believe that I can't really call it 'my work' until its been through lightroom/photoshop and burned to disc. </p>
<p>That being said, I charge what I charge with that in mind. I occasionally get the request for untouched images, which I typically explain this concept. However, recently I've had an inquiry for an event, 5 hours coverage, all the photos on the disc. I've been teetering on the edge about accepting this and just doing the shoot and burn. I was initially thinking a few hundred dollars off my base price. The client asked me if I could do it for considerably less. Around a 1/3 of my base price. </p>
<p>At the end of the day, I'm not going to be giving this client MY work, just photos I took. I have no idea what she will use them for, what she will do with them, what possible artistic atrocities she will commit and tell her friends 'oh this was my photographer and this is HIS work'</p>
<p>My question are these:<br>
Do you shoot and burn? <br>
Do you charge a fraction of your price because its less time and effort on your part? How do you price it?</p>
<p>I'm hesitant to do this for such a low price because the potential side effects it may cause my business. Perhaps I'm over thinking this, but I can't call this my work if someone else has a direct effect on the final product. This client may do things to the photos that can potentially misrepresent my work and pass it off as mine. </p>
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<p>This is an ongoing issue with the d700. I've had my hotshoe replaced four times already and its pretty much guaranteed to happen. I wasn't aware that there was a "good" hotshoe replacement. (if there is, they have not given it to me and of the four times I've had it serviced) Unfortunately, It always seems to occur in the middle of a wedding. At this point I can only say that the d700 is not suitable for wedding photography. A shame because its a pretty amazing camera otherwise.</p>
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<p>I suppose if you had the hyperfocal length calculation done, you could focus on something at that distance, then turn it to manual focus</p>
<p><a href="http://www.dofmaster.com/hyperfocal.html#focusing">http://www.dofmaster.com/hyperfocal.html#focusing</a></p>
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<p>Michael, is this during wedding work? Does it work well with bouncing a flash? Much interest, I do a fair amount of tweaking.</p>
<p>Peter, that could be very convenient too. I usually work based on 'getting ready', or 'ceremony' anyway. I usally filter by meta data to work on a subset of photos. <br>
This reminded me. Using the methodology above, I can go back into a set of photos and exclude those that have the 'processed' keyword. So, if I'm halfway through processing a reception when I break for the night. I can easily pick up where I left off when I start working again.</p>
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<p>I'm interested in this discussion. I've been using lightroom for years and love it. Every now and then I learn some new tip/trick that improves my workflow. I'm always looking for ways to improve. The most recent (and ultimately biggest improvement thus far) was a combination of target collection and smart collections to speed up and better organize my work. <br>
Each wedding I shoot gets two smart collections. One entitled 'Full Collection' and a second entitled 'Processed Images'. I set the 'Full Collection' smart collection to pull in any images with the couple's names, event id as keywords (these are applied at time of import). The 'Processed Images' smart collection looks for the keyword 'processed' in addition to the couple's names, event id. <br>
I then have a third collection called 'Processed Catch All' (this is <strong>not</strong> a smart collection). I set this collection up as the target collection in Lightroom. This is going to be my target collection all this time. <br>
The hierarchy of these collections is something like:</p>
<blockquote>
<p>Weddings<br>
----Couple A<br>
--------Full Collection<br>
--------Processed Images<br>
----Couple B<br>
--------Full Collection<br>
--------Processed Images<br>
Processed Catch All</p>
</blockquote>
<p>Note that it is on the same level as Weddings. This is because no matter what wedding I am working on at the time, I'll be sending the images I finish working on into this folder. Pressing the 'B' button in the Develop Module is the shortcut to 'Add image to target collection'.<br>
After I'm done preprocessing, I navigate to the 'Process Catch All' Collection in the Library Module, 'select all' and add the keyword 'processed'. The 'Processed Images' smart collections I have set up for each wedding automatically grab these new images. </p>
<p>I find this valuable because I can switch back and forth between different weddings without and hiccups. I never have to go back and change my target collection. I never have to worry about sending the image to the wrong wedding. This is great when I have 4 weddings within a week's time frame. </p>
<p>What has really helped you step up your game? What was the big breakthrough?</p>
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<p>Hi, I'm wondering if any Philadelphia area shooters have shot weddings at the Kimmel Center. I have one next season and I'm wondering what techniques for general shooting/reception coverage. The place does not look very bounce friendly. First thought is the ol' flash on a stick</p>
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<p>I use a D700 and love it. One thing to keep in mind about it is that Nikon assumes its user has photographic knowledge. It lacks the mode buttons that facilitate beginner photography. However, if you've been using a D200, this should be a non issue. <br>
A few other things to keep in mind. Compact flash vs SD card. Depending on which camera you choose you may have to go out and get all new cards. </p>
<p>Lens purchasing, the newer lenses lack an aperture ring. You should determine camera compatibility when you purchase a lens if you plan to shoot some film</p>
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<p>Teri,</p>
<p>There are a number of different factors that can determine this. I guess you can start by using the lowest ISO setting you can get away with. How familiar are you with photography? I always recommend reading Scott Petersons' <a href="http://www.amazon.com/Understanding-Exposure-3rd-Photographs-Camera/dp/0817439390/ref=sr_1_1?ie=UTF8&qid=1288135986&sr=8-1">Understanding Exposure</a>. It really is a great book for beginners. Or you could try legendary shooter Joe McNally's new <a href="http://www.amazon.com/s/ref=nb_sb_ss_i_2_40?url=search-alias%3Dstripbooks&field-keywords=guide+to+digital+photography+joe+mcnally&x=0&y=0&sprefix=guide+to+digital+photography+joe+mcnally">Guide to Digital Photography</a></p>
<h1 >LIFE Guide to Digital Photography: Everything You Need to Shoot Like the Pros [</h1>
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<p>Do you have examples? There could be a number of things</p>
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<p>I second the fast 50, however, if you want that skateboarding look, you're going to want to go wider than that. Also, a lot of that action photography is captured via flash and not necessarily a fast lens. I would look for a camera who's pop up flash can act as a commanding unit. Then, i'd spend a little extra money on a second flash (nikon's sb600 (or maybe 480 for canon? dunno, I shoot nikon)....is a great little starter flash) <br>
with the flash combo, you can probably get some decent shots even with the kit lens</p>
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<p>:) I know plenty about lighting. No worries there. The OP was more a question of guest intimidation by using the biggest light source I have!</p>
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<p>I love where this is going :) </p>
<p>I've definitely been testings. The softbox is considerably more directional and confined then umbrellas. Throwing at 45 degrees created a little too dark shadows. I found myself setting up a fill light. I'm toying with the idea throwing it high up on a boom 25~35 degrees off camera. Not high enough for eye socket shadows of course.</p>
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<p>quick update. Lightroom 3 has an option to limit file sizes on full sized exports. Did the trick</p>
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<p>thank you all. It will be for web and possible small printing. I'll see what I can get with those options</p>
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<p>You have a few options. <br>
something like this would allow you to keep the 600 on board and bouncing while adding a pc socket.<br>
not sure if that will work with the 600 though.<br>
Or<br>
If you want to put the sb600 on a bracket, this cable will retain iTTL info.</p>
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<p>Ben, what exactly do you mean 'not the correct freq.'? Could you link the ebay?</p>
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<p>2nd the ram issue. How much does your pc have? If you're on xp, I believe that has a 4gig limit, still a decent amount, so I'm guessing this is probably less</p>
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<p>I have a client that has a 2mb file size limit for files she needs. I'd like to get her the highest quality images at 2mb. Is there an option in photoshop for this? I do the majority of my work in Lightroom and never really concerned with file size.</p>
<p>Thanks!</p>
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<p>@Ed - well, now you're filling me with doubt again!</p>
<p>@vail - this was a specific client request. Me on the booth, the 2nd covering the reception. Ideally, the majority of the action at this point would be centralized around the booth. Anyway, having complete faith in my 2nd shooters ability is a good thing</p>
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<p>Thanks for the responses. You're right, it certainly will be a more professional feel the experience.<br>
I'm actually going to be manning this. Its more of a photo session than a photobooth really. 45 minutes out of the reception, 2nd shooter will be covering everything else in that time frame.</p>
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<p>I had a couple request a photobooth style set up during the reception. Not a physical booth, but a backdrop/light + props. Very excited about it and kicking myself in the pants for not thinking of it myself. Its just about guaranteed online sales.</p>
<p>Anywho, I originally wanted to light this thing with a giant softbox. 30"x60". My concern is if this is overkill, too much. Its a really big softbox and I'm actually worried about intimidating the guests with it. Surprisingly, not everyone shares my nerdy enthusiasm for totally awesome photo gear! (weird, right?!)</p>
<p>Is it too much? Should I just go with a medium umbrella? I really want to use this softbox! =P </p>
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<p>Thank you all so much, I'll be picking this up today</p>
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<p>Thank you both for your responses. </p>
<p>No error messages, occasionally the shutter speed and aperture would flash, but that's about it. </p>
<p>Do you use any special cleaning element for electronic contacts?</p>
Looking for a second shooter in baltimore area - 9/22
in Wedding & Event
Posted
<p>I'm looking for an experienced second shooter for september 22, 2012. Please email me with your experience, equipment, etc.. thanks! Pay based on experience.</p>
<p>J</p>