booray
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Posts posted by booray
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<p>In-camera. It's a photo-booth for a vintage-themed wedding. Goes straight to the printer from the camera...</p>
<p>My 5dmkII has a sepia setting but the 40D doesn't. However, a google search found press releases for the 40D that mentioned sepia via color tone..</p>
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<p>Does anyone know the best settings in-camera for a sepia effect on a Canon 40D?</p>
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<p>I haven't posted in a while so let me jump in here and alienate some people. :)</p>
<p>I think that letting the debate go down the path of "image quality" and "social media rules" is way off base. It's not about that.</p>
<p>If I were the hired photographer and a fellow pro posted images on Facebook before the Bride and Groom had seen mine, I can't say how I would react. Are they table shots of friends or are they artistic images shot in the style of a pro wedding photographer? I might be ticked, I might not care.</p>
<p><em>HOWEVER.</em></p>
<p>If I were the hired pro and there was another photographer at the wedding who intentionaly kept his images from the Bride and Groom until they had seen mine in an effort to not mute the impact of my viewing, I can tell you exactly how I would react: <em>I would gain respect for that guy</em>. Even if I didn't care whether or not he posted, I would respect the fact that he took steps to make sure he didn't annoy me. The next time I had a double-booking, that guy would be at the top of my list for the referral.</p>
<p>That's all you need to know about what the right decision is in that situation.</p>
<p>(Actually, that photographer would be second on my list for the referral. The guy at the top of the list would be the one who didn't bring a camera to the wedding at all. :)</p>
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<p>I used to carry two camera's with a Black Rapid dual sling. I would hot swap my flash between the two since it had a transmitter attached for the OCF.</p>
<p>I recently switched to a Spider Holster. Now I carry one body and hot-swap between two lenses. I'll never go back to shoulder rigs.... carrying my camera at my hip is more secure and so much more comfortable. I carry the camera on one hip and Boda Bag on the other for my second lens and anything else I need.</p>
<p>Besides being more comfortable, the Spider Holster allows me to free both hands for posing, etc, with no swing and sway from my camera. Plus, it makes me feel like a cowboy.</p>
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<p>I have a Naneu Urban gear U220 that holds everything. It is backpack sized with wheels, handle and a tripod case on the size (which I love). Been using it over a year and it's still in great shape.<br>
When I work on the sand I carry a Boda Bag with a waist belt on one hip and a Spider Holster on the other. 24-70mm on the camera, 70-200mm in the bag and plenty of pouched for cards, gels, batteries, phone, keys etc. </p>
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<p>I'm confused.</p>
<p>Why does everyone seem to feel that a .jpg is un-touchable by the client but a RAW is "a pile of parts?"</p>
<p>Exposure, color balance, levels, etc can all be altered on a .jpg. RAW just does it better. If the client wants to alter the files, they will regardless of the format.</p>
<p>I'm not sure why it's okay to give a client the .jpg's (which they can alter in Photoshop) but not the RAW's (which they can altar in Photoshop RAW). It seems to me that the real issue is whether or not to give the digital files at all. Once you havd decided to give them out, what's it matter what the format is?</p>
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<p>There are plenty of photographers who deliver hi-res files on disc with their wedding packages. So, the only thing you are asking is that they give you the RAW's instead of JPG's. Since it's just as easy to ruin a .jpg with bad retouching as it is to ruin a RAW, I don't see what the problem is.</p>
<p>If you try to get the RAW's from a photographer who doesn't normally provide digital files you won't.</p>
<p>However, I provide hi-res files with every wedding. I only hand retouch files that are printed or put into the album. If you told me you didn't want an album, just the RAW's, I'd shoot the wedding, hand you my card and go home with my check. I consider myself an artist and I might resent being treated like a "guy with a camera" but not nearly as much as my children resent a dad who can't afford to buy groceries. </p>
<p>I will say that I wouldn't take the gig unless it was within a month or two of the date. I don't take "shoot and burn only" gigs a year out. But, call me six weeks out for a day that I'm gonna be on the couch? You'll have a strong negotiating position then.</p>
<p> </p>
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<p>Hi everyone.</p>
<p>My wife's company stages small beach weddings in the Tampa Bay area and she is getting calls from clients who want her to stage on the east coast. We are putting together a list of vendors we can contract for these gigs and she has asked me to put the word out for photographers.</p>
<p>These are quick gigs, usually just an hour. You shoot, sort and send to us. Pay is by the hour as well as commission on sales of the digital files. The average one hour shoot pays $166.</p>
<p>It's not something you'll make a living at but it will put some money in your pocket and pictures in your portfolio for a small amount of work. :)</p>
<p>We are selective about who we choose to shoot for us. Please visit the website and look at the images there. You must be able to replicate that style since that is the style that our clients expect to see. www.perfectfloridabeachwedding.com</p>
<p>If you are interested, drop me a line. Include a website link or some samples. If you use off-camera light you go to the top of the list.</p>
<p>Thanks!</p>
<p>PS - Nadine, I apologize if this email violates the rules of the forum. I figure it's not much different than advertising for a second-shooter. :)</p>
<p><strong>Moderator Note:</strong> Booray, this is fine, except that listing of e-mail addresses in posts is against guidelines, even for second shooters or assistants looking for work. So while I am removing the e-mail address, I am also un-linking the website. If people want to contact you, they can click on your name, which takes them to your workspace page and gives them a e-mail utility to use.</p>
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<p>I provide a disc of images, full-size and hi-res with every wedding. Last year I had only one wedding that didn't order an album. In addition, several clients ordered canvas prints, etc.</p>
<p>The secret is to have products that are unique and valuable. If the majority of your brides aren't ordering an album then you aren't showing them a "must-have" product. I get plenty of brides who say thay just want a disc until they hold an album or see a custom canvas collage. </p>
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<p>This sort of question gets asked a lot and it gets several informative answers about price structure and CYA, etc. All very good to know.</p>
<p>But, having been in your shoes I suspect what you really want is for someone to just give you a number. Or for a bunch of people to give you a number so you can take the average. So here's my number:</p>
<p>$500</p>
<p>Make it clear that you have never shot a wedding. Get a contract. Prepare and work hard. If you do a good job, raise your rate to $1000 for the next one and go up from there based on the market, etc.</p>
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<p>I have a drawer full of diffuser products that are never used. Luckily, I have never bought a bracket or that would be gathering dust as well.</p>
<p>Get a bounce card.</p>
<p>Bouncing the flash will leave you open to being creative and not just taking snapshots. Even if you are in a dark room with black walls, the bounce card will still work and serve to double the size of the light source. When you move to an area where you can bounce, you are ready to go. </p>
<p>With a diffuser you are blasting light in every direction no matter where you are. I have an omni-bounce in my bag and every so often I will put it on for some snapshots at a wedding just to see if I can create better light than with my bounce card. I never have. </p>
<p>I set my camera on a tripod with a remote and shot my own face using every thing I own (omni bounce, bounce card, direct, different tilts, Demb Diffuser, etc) First, let me say that it is one scary character study.... but more importantly, I was able to compare everything, side-by-side. The best light was produced by bouncing off a surface behind me, bouncing off the ceiling with a bounce card throwing light forward and a diffuser only.... in that order.</p>
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<p>What Laurel said is fairly accurate I think: If you promote yourself by printing on-site you tend to get business from people who want you to print on-site."</p>
<p>If it were me I would go the off-site route. Shoot for the first half of the event, take your cards to a quick-print during dinner and set up a table by the door so everyone can get the prints on the way out. Otherwise, by a good dye-sub hi-volume printer for about $900 and do it right there. It's an investment to be sure but all you need is one paying job and it's paid for. </p>
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<p>I use a Lumopro compact lightstand (about 19 inches collapsed) with a Zumbrella for my off-camera light. I have never used a reflector unless you count bouncing flash off a wall, etc. :)<br>
<img src="http://www.boolog.com/web/wedding.jpg" alt="" width="400" height="600" /><br>
I was using Cybersyncs for my radio remotes but have recently switched to the new Pocket Wizards with TTL. I spend so much time shooting in the 10 minute window of perfect light (lots of beach weddings and portraits here in Tampa) that the speed of the PW's allows me to get more setups. Also, being able to adjust the remote flash power from the camera is heaven since you can adjust the backlight quickly without having to walk over to the flash.<br>
<img src="http://www.boolog.com/web/family.jpg" alt="" width="600" height="400" /><br>
If you are on a tight budget (and who isn't) You can't go wrong with the Cybersyncs. They have never failed me. The Lumpro flash from Midwest Photo Exchange is a solid off-camera light for "dumb-fire" use and has a built-in optical slave. If you want to use the PW remotes with TTL you will need a TTL flash. Also, I don't know if they have released the Nikon version yet (mine is Canon)</p>
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<p>I have Alienbees and i used them a couple of times before switching to Speedlights. I use Eneloop batteries and Canon battery packs on the off-camera strobe and the on-camera both. It's rare that I have to change batteries at all during a 4 hour reception but then I shoot at ISO 1600 and above all the time.</p>
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<p>I've been using the Black Rapid Dual Strap for a while. It's very comfortable and I keep it on even when I switch to one camera for the reception... much easier on the shoulders than any other strap I have tried, including the regular Black Rapid.</p>
<p>Having said that, I've recently stopped carrying two cameras and started hot swapping lens instead. I use a Boda Bag with it's built in belt to hold my lens and it's very comfortable. But I still have my dual straps and I am waiting a while before I sell them in case I decide to go back. </p>
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<p>I think Dieter has got it right. I need a UDMA card reader</p>
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<p>This is my reader and I have tried it in multiple ports front and top.</p>
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<p>I recently bought a new computer and it has a built-in card reader. The download speed of a card in that reader is at least twice as fast as a card in a USB connected reader (Lexar USB 2.0 multi-card reader). Is this normal? It's very frustrating because the built-in reader is broken now and I am back to super slow-poke. I miss the speed!</p>
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<p>Canon D40 - f2.8 - 1/160 - iso1600<br>
<img src="http://www.boolog.com/web/First%20Dance%20Booray.jpg" alt="" width="700" height="467" /><br>
First Dance</p>
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<p>Are you talking about studio-style photography or run-and-gun weddings? Surely you don't use manual flash on-camera?</p>
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<p>Great questions John.</p>
<p>When using more than one OCF, both flashes are treated as one for the purpose of exposure. With Canon's IF system you can modulate 3 or 4 flashes from the OC flash. With the PW, all OCF are treated as one by the Canon system. So, if I was using more than one OCF, I would set them to manual. The truth is, I don't use more than one very often and when I do the second is usually an optical slave.</p>
<p>I think the ETTL is measured the same regardless of where the flash is aimed, much as it is when using bounce flash. Flash to sublect distamce is not needed as the ETTL is calculated off the pre-flash. This is, in fact, one of the things I like about the PWs. I can move my OCF around at will without having to change the power settings. However, the flash zoom is manual.</p>
<p>It's a love/hate relationship with these remotes. I shot a Senior Session last week in multiple locations and light that went much faster because I was able to let the ETTL do the math for me with an occasional FEC by me. Sunday I shot family portraits at the beach and the exposure seemed to jump all over the place. Looking back at the images though, the exposure wasn't really moving as much as I thought so I chalked it up to the difficulty of reading your LCD in bright light.</p>
<p>I'm definitily trying to find value in the investment (I'm a second-guesser by nature). There is no doubt that in most situations it is much faster than manual. For example, last week I was shooting headshots for a bartending company (in a bar). My manual steps would have been:<br>
1. Set the camera for ambient. When I do this I try to set at 800 ISO and 5.6 because I know that my flash at 1/8 through an umbrella from 4 feet is about right at that setting. If I can't get that setting, I then have to "do the math" do figure out my new manual flash setting.<br>
2. Set the flash position. If the flash position is different than my default than it's more math.<br>
3. Test shot and re-adjust the flash power.</p>
<p>With the PWs my steps were:</p>
<p>1. Set up the flash. Expose for the ambient and shoot. When I wanted to move my light for a group shot, I just moved it. When I wanted to drop my aperture to 2.8 for a detail shot, I just dropped it. The ETTL adjusted the flash for me.</p>
<p>I've attached the first shot I took. I set up the flash, took one test shot (PW's require this) and then took the attached image. Never touched my flash settings.</p>
<p>For me, the value comes from several sources. First, I like that I don't have to do any math with my initial setup. Second, I like that I can move the OCF at will and not have to re-figure the flash power. Third, I like that I can adjust the FEC from the camera which leaves me more freedom to put my flash in out-of-the-way spots.</p>
<p><img src="http://boolog.com/web/Booray%20Perry%20Photography" alt="" width="400" height="600" /></p>
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<p>My problem is that I have two systems that aren't compatable (sp?). The PW will fire the one receiver I have and my Cybersyncs will fire the two I have for it. So, if I want to fire two flashes by radio I have to switch to the cybersyncs. If I wanted to fire three I would have to use both systems at the same time (which is two much "stuff"). So, the optical slave gives me two with the PW or three with the CS, whichever I need.</p>
<p>You're right that regular PW receivers will work with the MiniTT1 but I'm not about to shell out for that when I still have the Cybersynchs.</p>
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<p>Speaking of "duh" moments.... yesterday while shooting a Senior Session with the new triggers, I pulled out my Lumopro flash to use as a kicker light. It took me about 5 frames of head scratching to realize that I wasn't seeing the kicker in the shot because it was firing early... when it saw the TTL pre-flash (it's an optical slave).</p>
<p>So, I switched out for my manual triggers and spent 10 minutes re-configuring to get the shot.</p>
<p>When I got home I checked the Lumopro manual and discovered that all I had to do was flip a switch on the flash to make it ignore the pre-flash. DUH!</p>
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<p>Ian - With manual flash, there would be no problem. With TTL flash, the camera is reading the exposure and adjusting the flash power for every shot. When the second speaker steps up in a black suit, the camera reads the scene as darker and increases the flash. While it's true that the suit is darker, the persons face is not and so you get an overexposed face.</p>
<p>Keep in mind that I was shooting full/half length so the clothes were a major part of the frame. Had I been shooting close-ups, the faces would have filled the frame more and the clothing color would have been less of a factor.</p>
<p>By the way, this is the same reason that I use center-weighted averaging for my meter mode and not evaluative. In evaluative mode, the focus point is given more "weight" when figuring exposure. That can be a problem at a wedding when one shot focuses on the dark suited groom and the next on the white dressed bride. I discovered this the hard way when shooting cake-cutting pictures. I wrote a post about it on my blog. It includes test shots that show how a small change of the focus point from a light spot to dark can move the exposure a stop or more. Just google my name if you want to read it. (not allowed to post links here)</p>
<p>As for the high-speed sync (called Hyper-Sync by PW), I can tell you that it works like a charm. I live in Tampa so bright sunlight is a fact of life for us. I can now shoot with off-camera flash as fast as 1/2000 of a second (maybe faster, I just haven't tried to configure it that high.)</p>
what do you do with "photobooth" pictures?
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