richard_wang10

I agree with Nadine.

SC for me because it doesn't drag down my drawers like a 2x2.

What about renting a couple of laptops and several printers?

I'm in the San Francisco bay area and there are quite a few computer/printer rental companies.

It's probably because we have so many conventions.

There's also another way that is used in the tech field

Go to Best Buy and buy whatever equipment you need for the project, laptops, printers etc.

Keep all the packaging and all the receipts.

After the project return all the items and pay the 15% restocking fee.

It sort of like renting, right?

In all honestly, it's not the nicest thing to do, but you'd be amazed how often it's done on projects.

Kris

You want to be a photographer.

If it's your passion, I say go for it!

And I hope you succeed beyond your wildest expectation.

In my professional life, I've seen inflation, oil crisis, recession, dot.com bust, and now financial meltdown and every time people say it's the end of the world. Surprisingly we're still here.

But if you have passion, if you care about your clients, if you keep learning your craft, you'll have an advantage over 90% of the photographers out there. And you'll make it.

Don't worry, trust me you've got enough gear. And this is from someone with over $20K of gear.

Here's something I hope help.

Remember most of us stay mediocre because we would rather drag everybody down, instead of lifting ourselves up.

Once again the best of luck to you Kris

200-500 f/2.8 IS weighing about the same as the 400 f/2.8 IS and length not longer than the 600 f/4 IS.

No DO!

To give you an idea of what it's like to shoot on the Disney Properties.

I was shooting a article for a corporate magazine about an event they were having at Disneyworld.

The corporate events people got me permission.

I was escorted everywhere by a Disney press officer.

She didn't really like me there but I think since the corporation event consisted of a total of 3,000 guest staying on the property for 1 month, they were going to accommodate.

She told me I couldn't take any pictures of the operations area.

I had to get permission when using any of the theme park as a background.

I could shoot anywhere in the hotel.

She required that I give her a "courtesy" copy of all my photo files.

Here's the link for Disney Resorts Photo policy.

http://www.tripadvisor.com/Travel-g29092-c53073/Anaheim:California:Disneyland.Policy.Re.Photos.And.Videos.html

I suspect these rules don't apply when photographing for commercial purposes.

Is the event being planned by Disney Resorts?

If the event is planned they want to have the party use their own photog's.

If it's not planned, then just make out like you're Uncle George.

But be warned if Disney finds out you're making money on photos of their property, you will be hit with a cease and desist letter and if you don't comply they will sue you.

Okay here's my 2 cents.

Keep you camera on manual or aperture, keep it off auto because in low light the camera may get confused.

My advice on ISO, with no flash, is to keep it high enough that you're comfortable handholding. Practice at the highest ISO and keep on working down until it starts getting blurry.

If that doesn't work maybe go get yourself a monopod.

Unless there is absolutely no light at all, which I doubt, it's never too dark to shoot.

Plus you've got you own personal Sun with your flash. And if you've got a flash then you've got studio lighting.

Here's a little Strobist trick.

Get yourself a Bogen 3373 light stand, a umbrella adapter with a hotshoe mount and a Westcott double fold shoot through umbrella. Mount the flash on the adapter. Attach the umbrella. Attach PC cable or remote to flash and camera. You now have portable studio quality lighting. Not counting the Pocket Wizards, you're talking around $100.

Use this set-up all the time on assignments. Great because I don't have to lug tons of equipment.

You said you've got an assistant, save more money. Forget the Bogen and go to the hardware store and get a paint brush extension pole. Duct tape the adapter on and make the assistant carry it around and light the subjects.

Used this set-up a couple of time at media events. Worked great.

Remember at least it's not summer and no mosquitos!

Oh and go practice practice and practice.

Good luck!

I would recommend that you be very very careful with the Vivitar 5200 and the Sunpak before you connect them to a pc cable.

Canon advised that you stay below 6 Volts and Nikon advised staying below 12 Volts.

Now some say that you can go up to 250 Volts without damaging your digital camera.

If you look at this sight

http://www.botzilla.com/photo/strobeVolts.html

It's a huge database of what voltage is put out by what strobe.

Your Vivitar 5200 tested at around 9.4 Volts.

And almost every Sunpak tested above 6 volts.

If you going to connect these strobes to your camera you might want to get a sync voltage regulator.

70-200 f/.8 IS L and 1.4x TC works great.

I use the combo as a backup when my primary is either a 400 f/2.8 or 600 f/4.

Use this combo as primary when shooting breaking news.

Backup is 24-70 L.

I think IQ means image quality.

Quality not a problem with the combo.

Shoot with 1dMkIIN

<a href="http://www.sfphotojournal.net/photos/392896567_Gc2jx-L-3.jpg" target="_blank"><img

src="http://www.sfphotojournal.net/photos/392896567_Gc2jx-L-3.jpg" border="0" alt="SFPHOTOJOURNAL"></a>

<p>

OOOPS

Why do you need a tripod for a 100-400?

<p>

If you're renting forget all those other lenses.

<p>

Rent a real football lens ie. 400/2.8 or the 600/4.

<p>

And use a monopod.

<p>

But remember you can handhold anything with the right technique.

<p>

Here's a shot using a handheld 600 f/4 with a 1.4xTC.

<p>

No problem

<p>

http://www.sfphotojournal.net/photos/392896567_Gc2jx-XL-3.jpg

Great Photo's.

I really enjoyed the subject matter and the composition.

It really gave a sense of motion and the chaos of street life.

85 f/1.8 - 3 feet

85 f/1.2 - 3.5 feet

Moravec,

<p>

The 85 f/1.2 is a monster.

<p>

It's has the handling qualities of a rock, it's focuses slooooooooooow, it's got electronic manual focus, but....

<p>

there is nothing, absolutely nothing like it.

<p>

Look at these photo's taken with "The Big Black Pumpkin".

<p>

<a href=" title="Abbe Estrada 2008 Visit007 by

rnw1964, on Flickr"><img src="http://farm4.static.flickr.com/3007/2766961583_dc97317b63_o.jpg" width="702"

height="800" alt="Abbe Estrada 2008 Visit007" /></a>

<p>

1D mkII, f/1.8, ISO 640, 1/1600 sec

<p>

What other lens is going to give you such thin Depth of Focus? You get not only background diffusion you

also get amazing foreground diffusion.

<p>

<a href=" title="Abbe Estrada 2008 Visit330 by

rnw1964, on Flickr"><img src="http://farm4.static.flickr.com/3041/2767816656_bfb4d22250_o.jpg" width="533"

height="800" alt="Abbe Estrada 2008 Visit330" /></a>

<p>

1D mkII, f/1.2, ISO 640, 1/250 Sec

<p>

The above subjects eyes and nose are sharp and in focus, but notice how the diffusion progresses from there.

Notice his ears, shirt front and his mother's ring finger.

<p>

That's why the 85 f/1.2 is The Portrait Lens, anything else is just a compromise.

Here my highly prejudicial and very subjective review of SF Bay Area Camera Shops.

CALUMET SAN FRANCISCO

Never had a good experience with them.

The neighborhood is filled with dot.com and new media companies, and it seems that some of the salesmen only want to cater to these rich dilettantes.

The other salesmen act like tortured artistic souls and can't be bothered.

Overall not the most eager to answer questions, but they probably thought I was wasting their time.

Inventory of accessories very slight.

KEEBLE AND SHUCHAT PALO ALTO

Extensive inventory. They've got almost anything you would want with photography.

The salesmen are generally good. They are willing to help except when it get busy on the weekends.

Pro side staff is better than the retail side. Perhaps it the clientele.

Used department has some great deals. There are alot of rich hobbyist in the Bay Area, who are always trading in for the newest gear.

Bought a 1D MkII with 1,400 actuations for about $1500.00. Owner traded it in for a 5D because it was too heavy.

Rental department is the best part of Keeble, informed and willing to help. Only problem is that most of the rental equipment is old and well used.

Borrowlenses.com in San Mateo has newer and better rentals but staff not as informed or experienced as Keeble.

BEAR IMAGES PALO ALTO

This is the definitive pro shop in Bay Area.

You're not going to find any digicam for sale, but if you want to buy a Linhof lens board or a Think Tank bag, this is the place.

This is one of the only places in the US that you can walk in and walk out with a $30,000 digital medium format system. They're also willing to have you demo these ultra high end systems.

I'm lusting after a Phase One P 45+ digital back for my RZ67, but I don't think I can justify to my wife the $33,000 price tag.

The staff are all professional photog's.

ICAMERA OAKLAND

This shop is an Aladdin's cave. It's not located in the best part of Oakland, but if you've got to get a camera fixed or want to find some obscure camera or camera accessory - this is your store.

The owner will repair anything from digicam to Leica M3.

Also good place to buy used film equipment.

CRAIGSLIST.ORG

My favorite place to buy camera equipment, good discount and I can touch the stuff. But you've got to know what you want and what you're looking at.

Joshua,

1. Get two 1D bodies, I find it easier to have two primaries instead of a primary and a backup.

2. With this battery of glass, you can shoot in almost any situation. You'll find yourself using one lens more than the others. For me it's the 70-200, then the 16-35 and finally the 24-70.

3. I actually use Rodenstock HR's because I like the coating better, it's made in Japan instead of China or the Philippines, and the name is sounds cooler. But as long as it multi-coated, I bet they're all about the same.

4. If you're going the Alien Bee route, buy the ring flash and another light. The ABR800 ring flash will give you a lot of flexibility and the accessories are well priced. But if you go studio lighting you're going to need Pocket Wizards.

By the way great choices. I have the same gear. Great minds must think alike.

Here's my two cents.

First thing to do is get a business plan. Figure out your projected income and expenses. Make a marketing plan and a business operation plan. Perhaps even figure out how to get financing for your venture because it's always better to use someone else money to make money. Remember this is a business not a hobby.

Second thing - See above. I can't tell you how many people fail because they don't plan. But they are a great source of used equipment.

Buy used if you can. Let someone else take the depreciation. Get it from some rich hobbyist, they treat their equipment nice. Don't buy from pros. Pros abuse equipment.

Third. You don't need to go to school. Read some books on composition and look at photos you like (not your own). Then go out and take pictures. Photography is a skill. And you only get better by doing.

Danny,

Remember you're there to enjoy the game and your family might not appreciate you spending your time taking photo's.

You're not there working the game, so I won't recommend you bringing more than 1 body and 1 lens.

The 24-105 length should be fine.

It'll give you enough length to take some nice pictures of the park and also some pictures of your sons enjoying

the night out.

If you bring a whole bag of gear, you'll just attract attention from the ushers.

Plus don't get in the way of the other spectators who may not appreciate your photographic endeavors.

Finally, keep in mind you're going to be on private property, and unless you have permission ie. credentials, you

have no right to take pictures.

Don't force the issues and don't be one of those guys who ruin it for everyone else.

But to give you an idea of what it takes to really shoot a game, here's the gear I haul.

2 x 1D mkIIN, 2 x 1D mkIII, 1 x 400 f/2.8, 1 x 70-200 f/2.8, 1 x 24-70 f/2.8, 1 x 16-35 f/2.8, 1 x 1.4xTC, 1 x

2.0xTC, 2-4 x Pocket Wizards, 1 x Epson P-4000, monopod, clamps and gaffers tape, folding camp stool, kneepads,

Think Tank chest rig, large Tenba case with wheels

Danny,

3 questions.

1. What main subject do you want to take pictures of? Players, stadium or crowd?

2. Where are you going to be sitting? Base lines? Intermediate or upper deck? Club? Bleachers?

3. Are you going to roam around?

These question will largely determine what type of lenses you should bring.

Why do you need a monopod for the 2.8 IS?

It's light enough to handhold.

Second, why do you want a head on a monopod?

The monopod is used just to stabilize and distribute the weight of you lens, especially super tele's, like the

400 2.8IS.

You're going to need a pretty hefty head to take the weight of a super tele.

It's just more weight to haul around.

Remember for football you got to move fast and you've got a lot of ground to cover.

After the third quarter you're going to notice all that weight you're hauling.

Anyway on the white lenses, you always have a tripod collar, which is a lot faster than any head.

Leave the head for the tripod.

Save your money.

Instead of buying the head spend some time in the gym lifting weights and doing cardio.

It'll help you more on the field.

tien pham

Cal Civil Code Section 1709 reads

1709. One who willfully deceives another with intent to induce him

to alter his position to his injury or risk, is liable for any damage

which he thereby suffers.

There are no subsections.

I'm interested if you have a proper citation.

Bob Atkins stated that Cal Civ Code Sec. 1708.8 restricts the use of telephoto lenses.

The statutes actually reads that one is liable for criminal trespass when the defendant knowingly enters the property of another without permission to take a picture, recording, or video when the plaintiff is engaged in personal or familial activities.

It says nothing about telephoto lenses.

Get the 2.8 IS, why settle.

I've found this site very very helpful in my past excursions in extreme cold.

http://www.kodak.com/global/en/professional/support/techPubs/c9/c9.jhtml

Be glad you not using film in extreme cold.

Petra

I have a G9 with all the bells and whistle - Lensmate, custom grip, Raynox tele and wide angle, and it's a great

camera. Use it for travel and stealth/candids/street.

My sister has a SD870 which I played with extensively.

They are not in the same category.

The G9 is the top end of Canon's digicam line. It has almost all the functionality of a DSLR.

The Digital Elph is a great camera and easy to use. But it's really a consumer grade point and shoot.

But then again the G9 is 2x the cost of a SD870.

Both take great pictures.

But in order to use the G9 to it's full potential you've got to spend time learning it.

The Elph can used right out of the box. Just load the batteries and go.

Now I'm going to get all philosophical on you.

Photography is a skill. You've got to learn how to handle your equipment. But more important then the equipment,

you got to learn the skill of taking a photograph.

I bet you can tell a snapshot from a photograph. There just something different, and that difference is the

person behind the camera.

Don't worry about the equipment. Look at art and photography books. See what catches your eye. See how the

artist composed the painting or photo. Look at lighting. Try to see if there's a pattern.

Learn about photo composition: The Rule of Three and The Golden Ratio (Goggle it)

The go out there and shot. Try to remember how those photo's were composed, the patterns and try to reproduce

them. And shot as much as you can. Remember it's a skill and skills need to be practiced.

Finally, welcome to the fraternity.