ellery_chua___singapore

<p>As spoken by many check with the pastor where are taboo areas follow that. In all other areas remember on rule - you are hired, to be paid you need to delivery photos. If you waste time agonizing if you are being too much of a side show, after doing what you can not to be ie shoot fast n disappear, then you will miss key moments and this will cause the couple to have harsh word or more with you. Yes I have been only once asked to take a rest and have a seat in a church but that was 40% my fault , clients had no problems with that as they got the coverage for their wedding. Do first apologize latter a good way to work - just tone down so it is not a praparzzi shoot okay ?</p>

 

<p>There is no feel of a clear intent of what you are trying to say with the image. They are if I may be frank a series of snap shots that any one with a camera can do, so it would not be good portfolio material. What you show should be what is you want some one to see, what is not in that should be excluded by shooting tighter or by change in angle and composition. I have shot weddings commercially with a D70 and its kit 18-70 for 75% of the shots with the balance using a 80-200 or a 12-24 it is not about equipment. <br>

I would suggest googling wedding photographers and visiting some sites to see what other pro an shooters are doing. Or checking the local pros websites to get some idea what is the standard like If you are the primary for this, it time you sat down and thought thru this in great detail. It is doable I did my first wedding at age 14 on film, but I was not shooting primary, the main guy had a hard day simply because he was shooting on auto pilot to get the most done with the very least effort. My friends sister after 40 years still loves what she got from me.</p>

<p>Sounds like you really are lost in this woods. You shoot at 1600 sharpened but did not check to see if you need to reduce any noise from underexposure and sharpening ?? Then you compound it all when they complain about noise - without check how specifically did they get to see this noise, not go do a couple of tweak files to them to check if this is what they want. When bad stuff happens work on fire fighting do not ask if they want you to do this or that. </p>

<p>tom good pp save. Sam you need to use the reflector or fill flash for shots like this - saves time after the shoot.</p>

<p>You want a quick selection of possible to show. It would be faster to pick out what you want then throw out what is bad then you still have to pick out what you want. My guess is that you are shooting raws, for the newer bodies raws can be computer intensive. I am using a D800 and even on the current higher spec standard IMac with 16 gig ram it can run slow. The work around I am being to use now is to shoot raw on one card, the other saves Medium , fine. I do the quick edits on the jpegs - it is much quicker plus the size on a D800 is more than enough to do most things. Same day edits are a PITA to do - after selections you still have to export and then do up a slide show. LR's slide show capability is no the best for this.</p>

<p>Your problem is a work flow issue not a hardware issue.</p>

<p>Sorry just to add I would avoid linking your site to your 1st shooter's it would start out by making yours look downgraded. </p>

<p>At the chance of sound total silly, I suggest this. Find some one you know who is getting married but is tight on budget, offer to shoot their wedding, do a proper preplan- do all that could be done to prep for this go in prepared and do the dammest best you can. Edit and finished the photos to the best the images can be without unrealistic post production ( that can come after wards). Use these since that would be 100% your work.<br>

Using 2nd shooter work to show case a wedding is a little dangerous, 1. you will have an incomplete set - no 1st shooter will have you in for bride prep, you might get to do groom prep , 2. most of the couple shots would be controlled by 1st meaning that you did not handle the set up or directing of it hear me well there is a crucial difference when you have to do it yourself, 3. there are issues with getting approval from the 1st shooter and the couple who may be less than pleased at the exposure - they may have a black out request with the 1st shooter that you do not know about. <br>

Business matters also need to sorted out - a contract, how to structure the payment of feess, how much to charge - this is the biggie (get that wrong and in a short time you be bleed dry), insurance, the need for an assistant ? Shooting is relatively simple running the business is the hard part unless you were a business owner person first and a photographer latter. <br>

Maybe you could contact the MPA in UK, membership has some good points you can start to network and possible to find a mentor who has been in business long enough to be able to guide you. Your current guy seems to be a little green - it takes about 4 to 5 years being in the business full time before you are actually stable, the first 2 to 3 are elimination rounds. </p>

<p>Okay this come out of digesting day 2 of Yervant's workshop running at Creative Live. He mentioned that he creates for his clients aka the bride as good a piece of art as he can for around 30 plus images out of the 100/120 that the client selects. What he does is guided by the consultancy meeting where he sorts out what the client likes and more importantly wants - the work done is broadly defined by that. It is not a blind all out attempt to create the biggest piece of artwork per image - from experience this can be time draining to try to irk out every last iota of possibilities after a point only you would spot the slight differences you'd probably lost the client some ways back. Of course if you showed before and afters they most probably could see what you mean. <br>

As for the look, there is a good and bad to this. If your look depends heavily of a post processed setting, you are at the mercy of being copied by countless others as soon as this becomes popular, or it could be so generic that any one using the same preset or program will achieve this. Yes I agree there is a strong need to do some degree of post processing just to differentiate one from the hoards of new wanna bees, who may will post process better than you (see that they have low job volume and need to post to cover fundamental flaws) the dangers are too much post makes an image become too unreal - badly done HDR images come mind and the toll on time; a pro's most valuable resource. I think you may need to take time to clear your head, you appear too close to the work now; step back take time to recreate yourself. Take inspiration at the other photographers who shoot in a manner similar to yourself and produce work that makes you go wow. Not all big names will produce work that makes you go wow, even then the same work say 2 years down the road may seem so mundane. It happens as your vision grows that which entrances you changes. Then come back to the work. Perhaps a good starting points for clients is the best each images you deliver could be with dramatic super unrealistic post production, what we call good photography with a light touch of the magical extra. (even this takes time - am editing a recent wedding in light of what Yervant said - it is shaping up to be one for the best job done category. I am applying what I say to you here there).<br>

Okay I do not know how you shoot or what you produce, is there any one you assisted who would spare you an hour or two to look thru what you have done. Being there at the same job, those would be the best people who would know what could have been gotten from the shot. Out of curiosity how long and how many jobs you have assisted on ? </p>

<p>eneloops work better for me than other brands. You might want to get the external HV battery pack from either canon or 3rd parties that uses AA's for the main flash. Also to push the ISO if you have to - it helps loads when using flashes in wedding venues.</p>

<p>My opinion to your last question - whether they can stop you from doing your job if you refuse; is that they can not do this to their client -the bride and groom.I had to do a wedding gig at a historical hotel they told me I could not use the foyer area and parts of the outside for some shots of the bride and groom. I spoke with the manager and that was his stand, I pointed out that their client had requested for that. His answer was this was their policy. It was interesting how fast this stand stood the minute the bride and groom questioned him what did he not understand by this was their wedding and they were a paying customer - something like 1 minute.<br>

Yes I agree we should try to sort out as much as possible by ourselves but when situations like this there is a need for the couple to be come involved. We need to know when this point is reached.</p>

<p>My opinion to your last question - whether they can stop you from doing your job if you refuse; is that they can not do this to their client -the bride and groom.I had to do a wedding gig at a historical hotel they told me I could not use the foyer area and parts of the outside for some shots of the bride and groom. I spoke with the manager and that was his stand, I pointed out that their client had requested for that. His answer was this was their policy. It was interesting how fast this stand stood the minute the bride and groom questioned him what did he not understand by this was their wedding and they were a paying customer - something like 1 minute.<br>

Yes I agree we should try to sort out as much as possible by ourselves but when situations like this there is a need for the couple to be come involved. We need to know when this point is reached.</p>

<p>Alex check with the priest if it is okay to do the family group near the enterence of the church. Who knows you may luck out and it has steps lead into the church.</p>

<p>I tend to find using a card 6~7 x 4~5 on the back of the flash and head angled varied from 90 (straight up) to 45 works well worked in conjunction with the active face of the face pointing at subject or angled off left or right up to 90 degrees. Of late for large venues I use the large Rouge modifier and will add the fabric face to use this like a softbox for certain situation. This replaces the A4 plus size card for wide angle work, or in dark cave rooms. I like cheap solutions that are light as some time stuff gets lost. Shot with giant white coasters gaffered on when the card got torn off, styrofoam coffee cup when the strobofen hit a beam and got swipped off - not too bad a tad warm but worked out okay lots of blue light wandering light at that gig.<br>

I used the soften before it is a nice effect but bare bulb lighting has good and bad points. I bought and tested the Gary Fong unit too broad a brush plus it will damaged the gears on the flash head in prolong usage. I can be many thing in a shoot but choose to avoid being court jester who drops what is like a small head on occasion. <br>

Gels I used to use velco but after a workshop session with McNally and speaking with his friendly assistant move on to using gaffer tape which is silent on stick on and tear off unlike velco. <br>

I still have that lumiquest softbox which by now is abt 20 years old which I used in cave dark situations where I need to have softer light in direct flash application (seldom) or just use direct with cut back to suite. A stiff fabric snoot is lovely when you are shooting far and only want the subject lit - special application work. A grid is the back up for the snoot. I had 2 big bouncer but lost both.... let just say they got adopted by some very desperate people at some event work - the Rouge replace the big bouncers. <br>

Bottom line what you use should be directed by the shoot situation. Lighting is what we bring to the shoot when we pull out a flash be prepared to be decisive about the kind and quality of light you want. With the excellent new body high iso low noise is a reality, so why stop your iso at 800 take a chance look at what shooting at 1600, 3200, 4000 or 5000 does for you ( you need to figger out where is the limit which your camera works for high iso low noise sharp enough images).</p>

<p>Lily, from where I am working in we do not have the exclusivity clauses in contracts. The clause (when written corectly) is fine as long you have the stones to enforce it. What it means is that you are the only authorised shooter there full stop. If one one else get into act and you inform the client of that and ask them to get the party to stop, and if they do not or will not and the party is disrupting your work you have the right to stop work and still collect payment.<br>

That wedding is water under the bridge. You messed up by not knowing what rights you have, not exercising those rights, not having a game plan for these situations., not being firm and if necessary stern. Get it right and move on.</p>

<p>What you did wrong was (from my opinion after reading yr words)<br>

1. did not raise the issues of how having another shooter there will effect your work. subjects not knowing where to look. The other one block your shot or worse is either now foreground or background addition. Causing delays in the shoot - weddings are time sensitive events.<br>

2. did not limit the activities of the other shooter before the shoot day (yah need to ask them to be specific how many other shooter they said what soundlike 1 you got 2) - only shoot before the wedding, or during reception, they are not to be working during ceremony, during formal groups. During formal groups, you have the right to tell them what to do ie you could get them gather people for next shot (keeps them busy outta your hair)<br>

3. on day of shoot you should have had that little briefing talk with them - out line their role there and what they cannot do and they will have to comply with your directions. This should be done in a professional manner - with the needless but essential explaination that you have been hired as main shooter and you need to deliver, they have been hired as 2ndary they too need to delivery so this how we do so everyone delivers. Get agreements to your instructions, silence is not agreement cos when it does get ugly they will always say I did not agree to that. <br>

4. Make that formal compliant to the couple. When they wanted the couple you should have said not until you are done with group - the group shot can not be done without the couple so they will have to be there till it all ends. Learn to say no there is no such thing as being mean or selfish - you have a job to do go do it. <br>

5. When it all starting going southwards, you should have step up to the couple and told them that the other shooter needs to stop as they are interfering with the formals when you need to get done before this time or the whole party will be late to the reception. Then more picture opportunities will also be lost. <br>

6. Formals you did not say if they shot your setups - 2 cups of coffee says they did. One dirty trick is to set it up fast, make the loud announcement for every one to look at you and no one else so the couple can have a good group shot with every one looking good and click 2 shots and say quickly "okay thanks guys it done you can go." But you gotta make sure you got it. The trick is to shoot fast and move on, occassionally to stop to tell the other 2 loudly to stop shooting as it will interfere with the shot for the couple. <br>

7, Your sneak preview needs to have some form of titling - whose wedding, when, your branding, and most importantly this is the only site of the official photographer hire by the couple to be the sole photographer for their day. Plus of course contact detail of some sort. IMHO first and last frames of the sneaks are lovely places to make these announcement be creative make it a part of the display. But honestly I hope to BGees that your work is better than the other - infact in this sort of cases you need to put in extra effort to make sure it is. This is the reenactment of the OK Correl shoot out.</p>

 

<p>Shawn what you suggested "high speed syn" comes at a price. In order to syn the flash with the higher shutter speed, the flash is now a series of pops which means there is a significant reduction on the flash power (if you check the manual there is a more detail set of values roughly it like a loss of a min of 50% of power). You may have noticed that most times the SB types flashes then to have to nearer to the subject roughly in the 6 to 9 feet max (it can get as close as 1ft from subject) distance which is in large group shots (say more than 9 people) not workable the flash(s) will be in the shot. If I had to use SB in these cases, they would probably need to be at least 11 to 15 feet away and would have to shoot without modifiers (it is like pulling teeth). But I would rather do this with min a quantum head or best a 500w onwards strobe. Indoors the equation does reverse for mood shots, where you do not need to raise significantly the levels of the background.</p>

<p>On a small side note here. By now you would have received a ton of advice on lens choices. You should consider the business aspects of wedding work as well. Shooting it is a skill, to keep doing that you also need the skill to run that business. Finding, signing on and latter directing the client in choices and options for the album and wall art are skills most shooters may not have in the measure they really need. Some time finding a mentor in the area and being allowed to be there from the start to end of the job may offer you insights into many areas you may not have considered.<br>

Or yes - you are right to buy what you need and can afford. </p>

<p>get some training would be a good place to start. Try Bambi Cantrell is you can - she has a video of a 3 day class she did at creative live which should move you along the general direction you need. Look at more photo of better photographers - see what they did and try to understand how they did it. Hard to say if you have the eye - I seem to see some "same icon" shoots render incompletely but again only you will know for sure. It is not a total wash so that in itself is good news.</p>

<p>There is a weight factor or maybe I am just getting old. the D600 is whole lot lighter so it would be kinder to you wedding days are roughly speaking 6 to 10 hour days. <br>

From a little experience I find that the low light focus capture of the D600 to be superior to the D800. I shot a beach wedding and the after sun set portion when the light level has dropped to a point where you can just see the subject, the d600 with a 24-120 afs f4 work like lay the focal point on subject, press shutter button, acquires focus boom shoot. No one instance of hunting. A d800 would have been hunting and hunting from previous experience. A d600 is on my 3rd to buy item list. Dam if only nikon would do a 24-85 f 2.8 ads VR this is lens for 80% of wedding work. The 24-120 is okay but it has issues , while sharp enough it is not a cutting edge lens in that respect. My older 28-85 afd does better way better.</p>

<p>If you think you have problems doing a decent job be kind to your sister(s) have them get a professional for the job as main photographer. You can dabble for fun just do not get in the way of the main shooter. <br>

You can shoot at high iso - with a newish body shooting at 3200 or 6400 should be do able provided you get the exposure right. Noise can be handled if you know how. If you plan to shoot at maximum 400asa then best turn down the task it will be a total disaster for an existing light shoot. Even with high iso, you should use a flash to make the lighting work for you. People normally do not notice a flash or two but if you are shooting motor drive with a flash then that would be distracting. Note that shooting a 2.8/1.4 is not for every shot. <br>

There is nothing holy about existing light - light is just a tool we use. Where it comes from is not material what is how we craft it to do what we want. </p>

<p>If you plan to sail near legal limits know what they are. Calling something fine arts does not give anyone a free pass to break the laws of the country you are in. Pointedly it was silly and stupid thing to do. </p>

 

<p>Charlie,<br>

While you did no say which areas you find lacking in your D300 nor if this is for hobby or work. Hobby normally has a budget - yes even if the wife see this I said it grin keeping to the straight and narrow is another thing entirely. Okay I am find my wife's D5100 to be surprising good once you get past the issues - its small, it works in a strange way read that as different. Then when you use this in low light, tungsten or artificial lights, its strong points suddenly shine through.<br>

1. AF in low light is remarkable more effective than the D300. With same lens in same setting, the D300 has some problems acquiring focus, the D5100 does not miss a beat.<br>

2. Higher ISO, cleaner image - D5100 has a workable max limit of 3200 maybe 5000 if you have no choice, the D300 is probably maxing out at 1600 to last resort 2500. I would have to post process to balance of Nikon's gift of texture grain in the D300 more than in the D5100.<br>

3. It can do video sort of.<br>

4. It auto white balance is more advance and intelligent vs the D300, in menu you can tweak the WB Y-B or G-M setting effectively do something like a kevin dial in. <br>

Hadda to admit what looked like a toy camera actuals hold its own and pulls ahead of the D300 in certain circumstances.<br>

I would most probably get the D800 but not just yet. There appears to be some settling down that has to be done first. Nikon has also to redesign the 24-70/2.8 to have VR. This puppy plays better with VR lens, yes we could remember to brace, lock before shooting but sometimes there is no time for that. The camera in the D5100, D7000 range are for the time being good substitutes. </p>

 

<p>I supposed this hadda come. But I did find some of Gary Fong's tirad hard take given that if I remember right he sort did the I made a pile from shooting weddings pitch to push his lectures. Hype vs talent that has been the main problem with our industry. </p>

<p>I would work with the 50 most of the time - band shots about 30 to 40% about environmentals and 85 for the portraiture shots. I think you will need to work with the flash. Most of these places are probably tungsten lights so in order for your flash's light to blend in please gell the flash with a CTO (convert to orange) gel. Think of other ways for the flash to add light in other than bang straight on. That's flat mood less lighting, think bounced of ceiling off side walls. Try to mimic how the light in the room is, you can cheat to stimulate window light of sorts. <br>

All of this is to blend the light from the flash you added to the light that is basic to what there is in the room. Then it will all look natural, do it wrong and it looks bad.<br>

You will need to fiddle with the white balance setting to make it all look - ah sigh natural and with mood. As opposed to looking to clean and sterile. Since light in these places is a little warm one white balance point would be a little warm but not as warm or reddish yellow as it is actually. </p>

<p>Well David the first thing I would suggest is when you load up LR2 to doing in the 64bit mode. I use this with an entery level MP with 2GIG - what I notice is that the export function now flies in comparison to my old computer - a P4 3mhz with 3 gig ram. LR2 however will get sluggish when the catalogue grows in size and the hard disk on the Mac get lower on space. I am putting in another 2 gigs and probably a 320gig hd replacing out the 160. <br>

The export function is roughly speaking 3x the speed on 32bit on my P4. The rest is about 30 to 40% in the begining now that my hard disk is abt 80% full - I sometimes see an occassional lag in loading and slider access. </p>

 

<p>Alex,</p>

<p>6-6 vision is otherwise known as perfect vision. <br>

If there is softness it could be from AF, if MF was used the clarity of your vision - check your eyes or glasses, the lens itself, camera craft issues. Work thru the list by testing each area. </p>

<p> </p>