gregcoad

I did perhaps provide more exposition than was perhaps

required but I also asked several very specific questions

about lighting equipment, set ups and modifiers. I didn't

anywhere in my post ask "should I hire a pro, or try to do

it myself." thanks for your advice anyways.

If I was looking for advice on how to run my business I

would have posted in another forum altogether.

 

Besides being a professional general contractor, I am an

avid amateur photographer with a great interest in

learning more about how to successfully shoot interiors

and so I chose to post on photo.net where I thought I

might find helpful advice in that pursuit. I may very well

decide in the end to hire a professional, but for now, I

am looking for lighting tips and advice. If you have

some, please share.

 

If you want to offer more advice on how I should run my

business, please restrain yourself.

I hope I'm posting this question in the right forum...

 

I am a residential renovations contractor specialized in

basement development. I am trying to decide what my

best option is for photographing our completed projects

for the gallery section of our website. Hiring a pro is

probably the best option but also probably the most

costly. I have worked out budgets of between $4-6k to

have 8 basements professionally photographed. I am a

fairly competent amateur photographer and I have a

very solid understanding and decent amount of

experience with off camera lighting. I have done a fair

amount of interior real estate type photography as well,

but mostly relied on natural light and some HDR

techniques as well to deal with lighting challenges. I

recently sold all of my Canon bodies, lenses, and speed

lights to join the mirrorless revolution a la the Sony a7.

 

So armed with my a7 and the new FE 16-35 F4 I am

contemplating tackling this interior assignment myself.

Keeping in mind that these are typically smaller rooms

(150-200 sqft) and bathrooms, with generally not much

natural light, and often some pretty wild color

temperature combos (think LED, CFL, halogen and

natural light) My questions are:

 

1. Do I really even need strobes? I hate post processing

so I always try to keep that to a minimum. Will the in

camera HDR function achieve decent enough results? If

I'm going to just available light, I don't want to be

spending hours in post blending exposures.

2. If strobe lighting of some kind is an absolute

necessity, what's the simplest set up that I might get by

with? Is it realistic to think that one 250ws strobe and a

wireless trigger will be adequate? Will a couple Sony

hotshoe flashes using their integrated IR triggering get

the job done? I'd certainly find more use for a few

hotshoe flashes in other situations whereas a self-

powered strobe would not find a lot of other use for

what I normally shoot.

3. If I'm going to use flashes/strobes, are there some

quick and dirty setups that anyone can recommend.

Tips/tricks of the trade? Modifiers?

 

Thanks for any suggestions or advice.

I am going to Vegas next week (first time) and I am

excited to take my relatively new a7. It will be a new

experience for me to travel with such a lightweight and

compact camera. In the past my old 1Ds and L-series

glass often got left behind because they were just too

heavy and bulky. I am trying to make the most of this

new found size/weight advantage and have decided that

I am only going to take one lens. I don't plan on checking

any bags... Going carry-on only so when I say that I plan

to travel light, I mean that I am going to be travelling

light! I won't even be taking a camera bag! I'll stuff a few

spare batteries in my tablet/carry on bag and share my

phone's micro USB charging cable in case I need a bit

more juice.

 

I have all of the new FE lenses (except the 16-35 f4 that

has been proving hard to find so far). I will probably be

mostly shooting "street". It is not a discipline that I have

experimented much with, but what else are you going to

shoot in Vegas right? Street scenes at night and inside

hotels and casinos are probably going to make up most

of the subject matter and settings.

 

I am leaning towards just taking the 35 f/2.8 to stay with

my ultralight/compact plan, but I am also tempted by the

wider angle and image stabilized 24-70 f/4. Which

would you take?

Specs say 14 bit raw but I think

the specs on the original A7 said

the same thing. The fine print

revealed the compressed nature of

Sony raw files if I am not

mistaken.

 

 

I am not usually one to live on

the bleeding edge and I have only

owned my a7 for 4 months but the

ergonomic improvements, and

sensor shift IS are reasons

enough for me to upgrade. And at

half the price of most similarly

capable FF options, why wouldn't

I? I knew when I bought the a7

that I was investing in a system

and that the body upgrades would

be frequent and tempting... I was

right!

 

 

Now, Sony, where's the weather

sealing?...

All very good points that I

didn't touch on much in my first

post. Fast zooms are of course

not critical for landscape but I

like investing in glass that has

more than one use if possible.

And yes, there are a lot of

other reasons that my photography

has fallen by the wayside lately,

a heavy kit is not the primary

reason. It's just one barrier

lately and a smaller, lighter,

more compact kit has been on my

wishlist for many years.

 

Jamie points out the other major

hole in Sony's lineup though and

possibly the one that has more

concerned than the lack of fast

zooms. Where are the wide angles?

I have been a Canon guy for the past 15 years. My kit

includes a 1Ds, a bunch of L-series glass, 3 speedlites,

a whack of filters, and a decent tripod to hold it all up.

My main interest is landscape, which fuels my passion

for backpacking (or vice versa). When it was just me

going on adventures, I could pack ultra-light with a tiny

tent, solo pot set, and minimal food, so I didn't mind the

20 lbs of camera gear.

 

About 3 years ago my kids began to grow old enough to

accompany me on my adventures, and I haven't taken a

single picture in the outdoors since. Yes, it is quite sad.

But now I have to carry food and kitchen for 3 and a

larger tent (they carry their own clothes and bedding but

that's about it). And so each time we are packing up, I

have the camera gear all laid out, ready to go, but when

it comes down to it and my pack is completely loaded,

another 20 lbs of glass and metal just does not make

the cut.

 

So for the past few years I have been hoping, praying,

wishing, for a small, light, weatherproof, full frame

camera to come along to replace my bulky 1Ds and it's

family of L-series glass.

 

Hallelujah! Sony announces the new a7 and a7r? I am

all-in. My entire collection is going up for sale the next

day right? Not quite...

 

What's with the lens collection announced so far? I

don't get it. A body that has all the specs to fulfill every

wish of so many enthusiasts like me, but a lens line-up

that falls so far short. I just can't get excited about

what's on offer so far (including the announced but yet

to be released offerings). A 55mm prime is great but

seriously, is f/1.8 the best they can do? And am I

supposed to be excited about a 35mm f/2.8? "But wait...

We have 24-70 and 70-200 coming next year. You'll

surely love that." Ummm... Sorry... Did you say f/4?

 

Can someone smarter than me please tell me if these

are just business decisions that Sony has made, or are

there physical constraints of design that mean we will

likely never see f/2.8 zooms and f/1.4 or faster

standard/wide primes? If they are physical design

constraints, I guess I will stick with my current kit and

hope that my kids can start carrying more of the load

sooner than later. If they are simply business decisions

that Sony has made, I suppose that leaves me with

some hope that the day that I can replace "the hulk" may

still come.

<p>iPhone... don't think so. Those are the ones with the apple on them right?... Not gonna happen.</p>

<p>Pentax Q is an interesting idea but I took a look at some sample images from the 3.2mm fisheye and don't think that is what I am going for.</p>

<p>That Lumix looks like the one to wait for. Thanks for all of the suggestions.</p>

<p>Hey! That's good news and good timing too! I think that could be my answer. A swivel screen would be nice but I guess I can't have it all. But the ability to cut the jpeg size down, turn on HDR, stick it on a tripod and get an image that is ready to upload with no post processing will be a major step forward and worth the $400. I'll be counting the days until these things hit the stores. </p>

<p>I think I asked the wrong question... I asked for recommendations for a decent P&S, but I should have asked for recommendations for a decent wide angle conversion lens kit. If I could find that, I should be able to find the camera to go with it.</p>

<p>I think I am looking for one of those cheap, crappy, screw on lens adapters to go on a P&S. Image quality is not on the radar here. I guess I am wondering if anyone has experience with a particular lens adapter/camera setup that is still available. Most of the ones I have looked into so far are discontinued.</p>

<p>I am looking for a decent P&S camera for interior still shots of renovation work that I do. The final images will just be going on my webpage. IQ is not the highest priority here. The two big things that I am looking for is ability to cover wider (sub 20mm) angles, even if it means adding an adapter lens, and baked in HDR mode. Since I am often setting up in the corner of a room, an articulating screen would also be good.</p>

<p>Up until now I have been hauling out my 1Ds with 17-40 f/4L on a large tripod and bracketing exposures to blend them in PS later. Its a lot of effort for what I am trying to accomplish here. I have a Canon S95, which I have used from time to time, but it just lacks the wide angle, and I am just hitting dead ends when it comes to finding a wide angle adapter lens to go with it. I have looked at Lensmate and others but it seems all of the Canon wide angle adapter lenses that used to work with that sort of set up have been discontinued.</p>

<p>Ultimately, I would like to be able to set up a small, compact and easy to transport tripod and camera, put it in HDR mode, set the jpeg to smaller/medium quality setting and get an image that is ready to go onto the website with no further post-processing required.</p>

<p>I have considered the G12, for the simple fact that it has the articulating screen, which my S95 does not, but I can't seem to find any currently available wide angle adapters for it either. The 28mm (equivalent) coverage of these cameras is just not wide enough for getting decent shots inside a bathroom.</p>

<p>I have also looked at some of the mirrorless systems out there, but most of them do not offer much for wide angle either and if they do, I am looking at north of $1000 for the camera and lens. Even an entry level SLR would still require a super wide angle lens given the smaller sensor typical in those cameras and super wide angle lenses (Canon EF-s 10-22mm) are not cheap.</p>

<p>Any ideas?</p>

<p>With the 17-40 on my 1Ds, I get no vignetting with 2 slots on the Lee holder. When I add my Hoya Pro-1 D circular polarizer to the mix, I start to get some pretty dark corners at 17mm that don't go away until 20mm. Its been awhile since I tried, but I think I even get dark corners with the same setup on my 24-70 until I go to 26mm or so (but maybe that was with 3 slots...)</p>

<p>So I am considering picking up the Lee Wide Angle Adapter (most expensive piece of machined aluminum I have ever considered buying....)</p>

<p>My main question is: Will I be able to thread the wide angle adapter onto the CPL and back off again, or will I have a hell of a time because of the recessed thread design (the spinning ring on the front of the CPL looks like it will be inside the WA adapter making it impossible to grip to thread on and off). Are there any tips/tricks/tools that make this feasible?</p>

<p>Also, somewhat unrelated, I am familiar with the wide angle effect in skies with CPL but I would only use this set up at wide angles when the sky wasn't a big part of the frame. However, I have read some posts that say the "correct" order is scene, polarizer, slot filters, lens and that to put the polarizer behind the slot filters is a real problem. I have done it quite frequently and haven't noticed any serious problems with the results but I don't want to run into any in the future either. The price of the 105mm Lee Polarizer is just too steep for me to consider unless it would make some really remarkable difference in the results. Ultimately, I am typically using the polarizer to cut glare off water and I just turn the polarizer until I am happy with the result and fire the shutter. I probably shouldn't be worried about it at all as long as I am happy with the results, but I suppose its just my own hang-ups around "doing it right".</p>

<p> </p>

<p>I will echo what Scott Ferris and others have said here. It was about 3 years ago when I was shopping for a replacement for my XTi and was considering a used 40 or 50D and Scott steered me towards a used 1Ds (mine had 6000 actuations for $1000). Never regretted it. Ya, it doesn't have ISO 125,000 or a transmissive LCD viewfinder with digital horizon indicator, but it is tough, waterproof and if it made NatGeo covers in 2004, I'm pretty sure it can make them in 2012.</p>

<p>I have hiked over several mountain passes with sideways rain and couldn't see 5 feet in front of me, slipped and fallen on wet rocks, landing camera first, and skied through waist deep powder, all with the 1Ds dangling from my shoulder. My camera bag stays at home more often than not and the 1Ds never complains. That is what I love most about this great camera.</p>

<p>Not to change the subject, but with the release of the 1Dx I have been watching used 1Ds mk III prices, which didn't budge at all, hovering around the $4000 mark, until recently. KEH is now showing Like New condition 1Ds mk III's with batteries and all original accessories for $2900. I only have one thing on my Christmas wish list now!</p>

<p>The 24-70 did not get IS.</p>

<p>Before moving up to a 1Ds, I dealt with this same dilemna often when shooting with my 400D. I tried a couple of Kata-type rain covers (the nylon jacket with plastic window type setups) and found them all to be way too cumbersome to be practical. I then discovered the Op Tech Rain Sleeve, mentioned here by others and all of my problems were solved. It used to be the most valuable (and cheapest) piece of gear in my kit. I never left home without one (and usually a second one as a back up too).</p>

<p>Off topic.... Don't know what Bob Bernardo is talking about with regards to the level of sealing of the 1 series cameras... My 1Ds has accompanied me on many hikes in torrential downpours, with no protection whatsoever and the only trouble I have in such situations is a bit of condensation on the glass. I wouldn't be afraid to take that camera in the shower with me in fact. Hose it down with a garden hose? Sure, if it got that dirty and needed a good cleaning... why not? I certainly wouldn't be worried about it after what it has been through, dangling around my neck in every condition imaginable.</p>

<p>I think we are all missing the point here....</p>

<p>What I am really dying to know is, where is John Tran buying and selling 70-200 f/4L IS lenses for under $300? Please enlighten us. That lens has been at the top of my shopping list for about 2 years now but I haven't been able to swallow the $1400 price tag. Even a bargain grade used copy at Keh.com is usually in the $900-1000 range. So please John, do share.....</p>

<p>All considerations of image quality, sensor size and lens capability aside, for me the only dissapointing thing about the G1X is that it has lost the ISO dial from previous G models. As my pocketable alternative to my 1Ds, my S95 doesn't have an ISO dial either, but I have always eyed the G12 ISO dedicated ISO dial but have never been willing to give up the pocketability of the S95 for that reason alone, so I have stuck with the S95. I guess there is now just 1 less compelling reason to switch to the G series if I ever decide the S95 needs to be replaced.</p>

<p>When it comes to any of these mirrorless compacts or high-end point and shoots for that matter, they all take great pictures when used properly. For me the ease with which the critical shooting parameters can be controlled are more important considerations than technical specs (but only because I know that Canon has those issues nailed down and I don't need to worry so much about those things). But for me the ideal compact camera would have a large sensor, very fast high quality optics, a fixed focal length of 50mm, robust build and 3 dials (shutter, aperture and ISO). Somehow I don't think I will ever see that camera.... </p>

<p>Once you get used to "de-coupling" autofocus and the shutter, you will never go back. Call it "auto-focus-on-demand." You can then forget all about the silly switch on the side of the lens and the AF only activates when, and where you want it. No more half press of the shutter button. No more waiting for AF to decide when you can release the shutter. Pretty sure all Canon's have this available in the Custom Functions.</p>

 

<p>For a very thorough explanation of how Canon's wireless speedlight system works go to:</p>

<p><a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">http://photonotes.org/articles/eos-flash/index3.html#wireless</a></p>

<p>The link above will take you directly to the section of N.K. Guys EOS Speedlight System article that deals with wireless. It doesn't discuss the 7D much (only one brief mention of it), but it helps to understand how the system works in general and then you might try to figure out how it specifically applies to the 7D.</p>

 

<p>I don't own a 7D so this is only conjecture. </p>

<p>I often use my 580 EXII on my 1Ds as a trigger only. When the 580 EXII is set to "trigger only", it still flashes. A common misconception with Canon Speedlights is that they use infrared to communicate with one another in the master-slave set up. This is not the case as I understand it. Of course with the ST-E2 infrared is what is used as there is no visible flash in that case. It has been awhile since I read <a href="http://photonotes.org/articles/eos-flash/">http://photonotes.org/articles/eos-flash/</a> but from what I remember from that definitive guide, the Canon speedlight system uses visible light to communicate in most cases other than when the ST-E2 is in use. So when I set up the 580 EXII to master with no flash, the visible flash pulse that is seen is actually a very small fraction of a second before the actual exposure. It is communicating the instructions to the slave unit via visible light, but not actually taking an active role in the exposure lighting. I would be quite surprised if this is any different with the 7D pop up set to commander only. So you will see a flash from the pop-up, but it won't influence exposure at all. </p>

<p>This would be easy to confirm via a simple test by setting up your 430EX to the side or behind a subject and go into the 7D menu and disable the flash as Wayne pointed out. If your subject ends up only lit from the back or side, and nothing in the front, it is working as a commander only. If your subject ends up lit from the front, then the pop-up is also factoring into the exposure.</p>

<p>Steven hit it finally...</p>

<p>You want to change the focusing screen and not the prism. When you say "prism", most think of the actual viewfinder prism and not a "split-prism" focusing screen. I use one in my 1Ds. First thing I changed when I bought the camera a few years ago. The 1Ds comes with a standard Ec-CIII.</p>

<p>There are a lot of options out there. Not all easy to find, and determining which one you want can be fun. Do you have the original 1Ds owner manual? Page 165 has the list of available screens at the time that the 1Ds was released (About 10 years ago?) I went with the Ec-B, the more traditional split, top-to-bottom. Its what I learned with on my first camera, a Pentax ME Super. I would have preferred the crosshair type, the Ec-I, but couldn't find one at the time.</p>

<p>Sorry for the crappy image quality. My scanner is broken and so I had to make do with what my blackberry could do.</p>

<p> </p><div></div>

<p> </p>

<p>"Are you shooting a sealed 1-series body?"<br />I am actually. I shoot with a 1Ds. <br />Weather sealing may not matter to others, but thought I would point out that key difference since the original question was about the differences between them. I for one rank weather sealing very high on my must have list due to the nature of my photography. When hiking over a high mountain pass in a driving, freezing downpour, its nice to know that my camera is not one of the things I need to be worried about. Critical in fact.</p>

<p>I will soon have to make the same decision. The other key difference between the two is weather sealing. The IS version is sealed and the non-IS is not weather sealed. Depends on where and in what conditions you will be using it, but for me, weather sealing is the deal breaker.</p>