ryangautier

ehhhhhh it looks ok

:)

Ryan

Mark those are nice....

Ryan

Josh sending you a message now.

Ryan

I checked out that link post previously Wilson TSOI, but I can't really find

anyone that shows they do volleyball.

I was wondering who here does shoot indoor volleyball in and around Tampa, FL.

Thanks

Ryan

YOU NEED A Tripod. The lighting is that bad you probably can't get anywhere near what you need to light it up properly.

You ARE going to need to be at F9 - F14 (maybe F11) for the team shots so everyone is in focus. You can't get this without multiple flash units (speedlights). Individuals doesn't matter. Shoot whatever as long as the face is in focus you should be ok. I still shoot F11 for individuals with a backdrop.

FEISOL makes a good monopod and tripod (as good as the bogen stuff but about 1/4 the cost). I have a tripod and monopod of theirs and love it.

I would say (can you afford) (2) Alien Bee - 400's? Get a couple decent light stands (they last forever if you buy good ones..20+ years) and mount them up and BAM you are set. Would help if we knew what your budget was and if you plan on doing this more often.

Hope that helps.

Ryan

Not sure about the OP, but I know that I can't use flash or strobes at all here in FL.

Ryan

I was wondering how many other sports shooters there are in the Tampa, FL area.

RYan

I was wondering who out there sets up viewing stations for viewing your shots

at events.

I am looking for specifically the hardware and software that you use and

exactly how you use it for customers.

Do you have multiple PC's that each have "x" software? do you use something

along the lines of Ncomputing?

How do you have them order? Do you accept credit cards right on site? How do

you get them to pay otherwise?

Thanks for any and all comments.

Ryan

Here is a Wiki on metering modes. http://en.wikipedia.org/wiki/Metering_mode

Also I would have to disagree with some here about shooting RAW. I would say get a grey (or gray) card and shoot custom white balance in the gyms. RAW is a workflow that is VERY time consuming for most. I only shoot RAW when I have to make sure that white balance is perfect and for sports for the most part the white balance is going to be fine.

Also I don't know about you, but most of the gyms I shoot in and most other HS Sports shooters can't open up their lenses more than 2.8 because there will be significant motion blur. I shoot M mode and depending on the shot I set my shutter speed to minimum of 1/400th for HS Varsity VB as well as Club and if it's JV I am at no less than 1/320th. I then set my exposure around this setting, and I go as low as I can on the ISO before I have to worry about dropping the shutter speed further.

I would also say I shoot 90% of my shots veritcal as well and use the Focus point above center also because then I get more in the shot and the face is in focus too.

I don't know why William is telling you NOT to use photoshop, because in my opinion if you can learn Photoshop the world is an easier place for phtotographers. Plain and simple there is SOOO MUCH you can do with Photoshop that it makes sense to learn it.

Jpg's are going to be fine, unless you are trying to get perfect WB I would say use that and get used to your camera first, then if and when you get comfortable shooting that maybe shoot RAW. RAW is MUCH more time consuming for your workflow and for the most part at this point in time might not be the best bet for you.

Get a few CF cards like the others mentioned they are cheap $20 for a 2gig card nowadays doesn't make sense not to have a few extras.

I LOVE Scott Kelby's books and also grab a copy of Light: Science and Magic. It's aimed at learning lighting, but there is a TON of information that is just plain good for any photographer.

The key here is to test out things, see what works for you, and then make a decision. I would say keep things simple. Shoot JPG. Shoot auto white balance, shoot Aperature priority and see what your camera does (what speed is the shutter and how does the picture look to you) then once you understand these start stepping out of the box and experiment with things to get an idea of what is happening.

Hope that helps

Ryan

Richard,

I will do what I can to help. Sorry to hear about you getting RIF'd. For onsite work I charge (depending on how far) anywhere from $100-$250. I don't ever give a CD of images (did once and it didn't work out well). IF I have to give out a CD of images they are anywhere between $50-$100 PER photo. Sounds high I know, but I don't want to give away my images and I would rather they NOT buy them really. Just MHO. I don't charge for my photoshop services (they are included in my prices). IF someone wants me to retouch photos that they took that is a different story.

Team and individuals are pretty much the same, but I try and do that WAY ahead of time to get a KNOWN income. For a 20x30 it's different for portraits or sports. Sports are easier so they are cheaper. I don't know the rates, but for portraits I want to say they are $200.

Hope that helped a little bit.

Ryan

Looks like the flash is WAY overpowered. Did you use a diffuser on it? Did you point it directly at your subject? What was the power on? Was it set to manual power?

Like everyone else I would just not even use the on camera flash. IF you need it for some fill put the power WAY down. I haven't shot much with flash yet, but these are the things that I am being told.

Ryan

ISO 1600 on the 40d is very usable up to (out of the camera) 11x14. If you want to go much higher I would suggest a good upresizing software (photoshop does an OK job here, but there are others that are better) Genuine Fractals is one.

Why do you have to be at ISO1600 if your subject is not moving? Can't you slow the shutter down and lower the ISO? ISO800 is WAY better than ISO1600 IMO.

I would say use the tripod and get as low an ISO as possible if your subjects are not moving and you should be all set.

Am I missing something?

Ryan

Thanks for the responses guys. I appreciate them. Question for you both though. Can you use something that is thinner than 12.6'? In other words if I have a 10' muslin or seamless paper can I use that on the stands, I would imagine you could, but not sure.

Is the width adjustible fully? Is it sturdy at MAX height?

Thanks again

Ryan

I found this Savage Port-A-Stand (http://www.amazon.com/Savage-Port-a-Stand-

Background-Stand/dp/B00061F8DC) for about $110.

I was wondering if anyone has any other better options. I don't want to spend

a ton of money, but something that will last is more important to me. I don't

want to spend more than say $200 and it has to be portable.

Any ideas?

Thanks

RYan

Bryan,

You are going to get a LOT of people that LOVE the AB and WL brands (both made by Paul Buff). There are difference for both and I am going the WL route. I can turn them down lower than the AB's.

You aren't going to find better Customer Service than WL and AB's. I am not to highly educated in the other lights, but I know that for the most part the AB's are the best bang for the buck. you also need to spend a LOT of money on modifiers as that is really how you shape the light

Ryan

Barry,

thanks for the useful comments. I appreciate them. Yeah I love that site wish someone had one for groups. I am trying to keep it simple. KISS theory. I am ok with buying the 60", 42", and softbox (just still need brands, but noone is commenting on that part). I am ok with lighting things however they work. My main thing for these shots for now is that the parents really liked the shots with just my speedlite on te camera, I just wasn't happy. I am ok with flat lighting (I just want the shot) for NOW.

Any other thoughts? How would you put the power on the lights? Would you position the lights just to the right and left of the camera? Or say more like 6ft away from the camera in the corners and pointing in toward the center?

As you can tell i am a little lost.

Thanks

ryan

I am buying a bunch of stuff for studio/on location work for large group shots

(hence why I am posting here).

I was wondering how some of you more professional photogs would shoot this. I

have groups of 16 kids (and then individual shots too) full body, probably

putting them in two rows (8 per row). The room is 16x32x 8ft high ceilings. I

want to shoot so everyone is in focus (F8 or F11 I assume).

I need advice on what modifiers would work best and where they should be

positioned please. Do I use umbrellas (size)?, softbox (what size / brand)?,

anything else I am missing?

What I have or am definitely ordering:

1. Mark III

2. 40D

3. 2x - 580 Ex II flashes

4. 2x- WL 1600 strobes

5. Mini Omnibounce for flashes

6. 4x - PW Plus II's

7. Sekonic 358L - with PW chip

8. 60" Photogenic Eclipse Plus umbrella

9. ?? Photogenic Eclipse Plus umbrella (what other size do I get?)

10. 3x - Avenger 635 light stands

Anything i missed and any advice would be greatly appreciated.

Thanks

Ryan

I would love to get examples like this website but for groups shots.

http://uk.fotopunto.com/articulo-explained-lighting-schemes_60

Here is a site that has a great bunch of pictures, with explanation and diagram

of where the lights are and what modifiers and such they used.

http://uk.fotopunto.com/articulo-explained-lighting-schemes_60

Anyone know where i can find something like this but for larger group shots?

10-20 people....

Thanks

Ryan

Nathan,

thanks again for the comments that helps, but i am still looking for more of a diagram to show me what I need and where i need to put it in relation to the group. I am about to post another thread and hopefully get more of a response with maybe some diagrams or something.

I guess I am looking for something a little more like this:

http://uk.fotopunto.com/articulo-explained-lighting-schemes_60

but with groups

thanks Ryan

Nathan,

Thanks for the response. I noticed that you shot with Brooks a little. Do you live in the area? So what brand of modifiers do you recommend? Are the Chimera THAT much better? I won't be using them all that much. Maybe 20x a year or so. They will be mostly broken down waiting to be used and then used for several hours and then broken down again. Would the WL or AB modifiers be ok in this instance? I am ok with spending the money if it's THAT much better, but really would rather not.

Thanks

Ryan

I have decided that I am going to start with 2x - WL1600's and now I need

modifiers. I also have 3 light stands coming and have 580 flashes.

I have a shoot where I need to figure out what to shoot and how. I havea

room 16'x32' x 8ft high ceilings.

I have to shoot team and individual shots in this room. The teams are going to

be 16 kids large (2 rows of 8 kids) and how would you light up the room?

I was thinking maybe getting a softbox (3x4') box for the main light on the

left shooting at whatever power will get me f8 or f11. Then use an umbrella

(bounced) on the right side at 1/2 power for fill and then MAYBE using the 580

flash for rear fill or backlight or something.

Any thoughts? What brands and modifiers would you use? What should I buy. I

don't know what I need so what should I buy.

Money is always an object, but lets say I am ok with buying Chimera brand (but

is it worth 3x the price). I was leaning with the WL brand because I get 5%

discount and it easier to order it all from one place.

I have 3x Avenger A635 light stands to go along with the lighting.

What are your thoughts.

Ryan

The WL's actually use better circuitry.

The main differences between the White lightning and the Alien Bee that I have seen are. The Bee has one slider to control flash and modeling output. The WL has seperate sliders for each.WL has a brighter modeling light than the Ab. The WL has a 5 year warranty and the AB is 2 years. One model(WL) has a 1/4" sync input and the other has 1/8" mini plug. Both have built in fans. WL housing is metal and the AB is lexan (plastic). Between the two,if you are on a budget, I would get the AB.

I am getting the WL1600's because the extra $100 is a no brainer for me and it has 7 stop increments instead of 5.

Ryan

Thanks for the posts guys. I have definitely played around with it for sure (but know there are a TON of better people than me out there).

I like a few of them.

Ole: Can you tell me what you mean by contrast reducing mask...

I figure I might be able to use some of them all combined and get a pretty good example.

Anyone else ?

Thanks

Ryan

http://www.photo.net/photos/ryangautier

This is a photo that was taken at my very good friends wedding. There was

unfortunately a lot of haze behind us. This is probably one of the better

photos (because I am not photogenic) that we have taken. I have been trying

to fix it in PS, but I am very limited (knowledge wise) to get this done.

Any care to help me out and then tell me how you fixed it in PS?

I tried to fix the exposure and darken and then mask the photo to bring out

the highlights, but to no avail.

Anyone want to help me out with this to make it look real nice?

Thanks

Ryan