richard_wang11

<p>In the spring, after more than 300,000 actuations one of my 1D Mk IIN's shutters broke. Sent it to CPS.<br /> Came back in TWO days and cost $150</p>

<p>3 months ago, CPS replaced my 1D MkII shutter in 2 days and charged me under $170.</p>

<p>It all depends on your shooting style and what you're shooting.<br /> <br /> I shoot quite often in low light situations - photojournalism and events. I use zoom mainly because I don't have the ability to compose or plan, I just have to react. I'm also find myself in situations when I can't use a flash.<br /> <br /> The two lenses I use most often are the 70-200 2.8IS and 16-35 2.8.<br /> <br /> I use the Zeiss 50 1.4 and really like the look of the lens. But it's manual focus and in real low light situations if you don't have the right focus screen, bright viewfinder and good eyes you might miss the shot.<p><br /> I also have the 85 1.2, great portrait lens but awful low light lens because it focuses too slow and hunts around in low light.<br /> <br /> Used the 50 1.2 last weekend at a concert and found it has the same problems as the 85 1.2.<br /> <br /> Haven't ever used a 35 1.4 but I see quite a few colleagues who shoot weedings using it. But for the price of a 35 1.4 I'd recommend getting a 70-200 2.8 IS instead. I find it a very versatile lens and the quality is top notch.</p>

<p>Focus is manual but there is AF Confirmation.<br>

So watch for the beep and green dot.<br>

I use a EC-B focus screen when shooting with the Zeiss.<br>

It has a different look than my 50 1.2.<br>

The Zeiss seems to "glow" more.</p>

<p>Canon 85mm f/1.2L - headshots<br>

Caon 50mm f/1.2L - fullbody shots<br>

Canon 200mm f/2 L - beautiful bokeh<br>

Carl Zeiss 50mm f/1.4 - beautiful lens</p>

<p>I've used or have in my battery 1DS, 1DS MKII and 5D.<br>

<br /> To replace the 1DS MKII, I tested the 5D MkII, 1DS MKIII and a Phase One P30 digital back for a RZ67.<br>

<br /> The 5D MKII is a great camera. As a friend of mine said, "The images it produces makes you look like a better photographer." It is certainly worth the additional money over the 5D. The images produced are almost as good as the 1DS MKIII but it didn't compare to the digital back.<br>

<br /> Though it's an exceptional camera I didn't really consider the 5D MKII. When you show up with pro-sumer equipment, there is a tendency for the client to say "I can do that. I have the same camera." or worse "Uncle Bob's got the same camera, let him take the pictures."<br /> <br /> Yes, Yes I know it's not about the equipment, it's about the photos about the skill of the photographer. But remember this is a business and your success depends often on the image you project. And sometimes being taken seriously as a professional means having a big camera.</p>

<p> </p>

<p>I'm always perplexed when people say the 70-200 IS is a heavy and huge beast.<br>

My assistant is maybe 5'3" and weigh no more 100lb and she handholds the 70-200 IS all day long.<br>

The only lens in my battery that give me trouble handheld is the 400 2.8 IS.</p>

<p>OK I'll bite.<br /> <br /> Here's my prediction - The next pro body that Canon will produce won't be a DSLR but will be a Hybrid Camera.<br /> <br /> Hybrid cameras are capable of taking of taking Super HD video and high mp stills.<br /> <br /> It's competition won't be the D3/D3x but will be against cameras like the Red Scarlet.<br /> <br /> Here are my reasons why:<br /> <br /> 1. As sensor size and memory capacity become larger and larger, it becomes easier to have super high quality video captures.<br /> 2. Canon is already a major player in the pro-level video cam market. Look at their XH H1s.<br /> 3. There is already on the market consumer level HD cameras that can take relatively high mp still. The Sony HDR-SR 11 produces 5.66 mp stills. My old 1DmkII was 8 mp.<br /> 4. There is greater demand from editors and clients for pro photogs to take both video and stills.<br /> 5. Look at the 5DmkII. Canon is known for introducting new tech in their consumer/prosumer equipment before introducing it in their pro equipment. There are problems with the 5DmkII but image stablization had problems at first also.<br /> _______<br>

If Canon does produce a pro-level hybrid camera, it will completely leap frog Nikon. Nikon doesn't have the resources to develop and produce a hybrid camera. Perhaps that's why Nikon is developing the Mx.<br>

Canon's only competition then will be from Sony.</p>

<p>I use both PW Plus II and CyberSync's. Too bad they're not compatible. I went to CyberSync's because I need to control 6 heads and buying that many PW's wasn't in the budget. CyberSync's work great they do what they're suppose to do. Now use CyberSync's more than PW's. Keep the PW's around so I'm compatible with other photogs.</p>

<p>70-200 f/2.8 IS L</p>

<p>24-70 f/2.8 L</p>

<p>Finally, you are a photographer, a professional photographer.<br>

The camera for a professional is no more than a tool. <br>

You make money producing pictures.<br>

Will switching make you more money?<br>

If it does. Make the switch.</p>

 

<p>Blah Blah Blah Blah, <br>

I'm getting tired of all the "Should I or Shouldn't I switch" post. <br>

This is not a life changing issue. <br>

Why are you so emotionally invested? It's a camera!<br>

If you got the money, no problem. You can expense and depreciate the purchase.<br>

I agree with T. Hardy. Stop all this handwringing. It's getting silly</p>

<p>Mary Ball Pierson's post reminded me.<br>

My dressmaker friend made me up a "emergency kit" for gown disasters.</p>

<p>crochet hook - to help brides close sometimes tight dresses<br>

double- sided tape - keeps dress up and takes care of many clothing issues<br>

6 safety pins of various sizes - rips tears and buttons.<br>

small bottle of wite-out for stains<br>

superglue</p>

<p>My having this kit has gotten my some booking because it demonstrates that I care about the bridal party and I think ahead.</p>

 

<p>1 x 1d Mk II N<br>

1 x 1ds Mk II<br>

2 x 580 EX II with Gary Fong lightspheres<br>

1 x 70-200 f/2.8 L IS<br>

1 x 24-70 f/2.8 L<br>

1 x 16-35 f/2.8 L<br>

1 x 135 f/2 L<br>

1 x 300 f/2.8 L IS<br>

1 x 1.4 X TC<br>

1 x Quantum Turbo 2x2<br>

4 x 16GB CF<br>

1 x Epson P4000<br>

I cut up a Grey Card into disks and stuck them to the front of all my lens caps.<br>

1 x Toshiba laptop I bought used off Craigslist to play a slideshow at the receiption.<br>

Business cards</p>

 

<p>Simple<br>

Here are my most used 6 lenses.<br>

16-35 f/2.8 L<br>

24-70 f/2.8 L<br>

70-200 f/2.8 IS L<br>

135 f/2 L<br>

300 f/2.8 IS L<br>

(The following are used about the same - depending on assignment)<br>

85 f/1.2 L<br>

400 f/2.8 IS L<br>

600 f/4 IS L</p>

<p> </p>

Set up

Ann,

 

Nice Strobist set-up.

 

But before you do anything else, you should know that your set-up should be flipped around.

 

Note in the below photo that the knob on the flash clamp always faces you.

 

That's why you flash is off center.

 

Since you've got the Strobist set-up you should try David Hobby's Q and A.

 

Here's are two that should answer your question in the Lighting 102 Archives.

 

http://strobist.blogspot.com/2007/06/lighting-102-unit-11-position-angle.html

 

http://strobist.blogspot.com/2007/06/lighting-102-12-position-distance.html

 

Finally if you've got any additional question about the strobist set-up try go to the flickr strobist group

 

This entire thread reflect the all too common notion that wedding photography is a commodity.

 

That every photographer and every result is the same.

 

Well, if you maintain that attitude, and I've seen scores of wedding photographers here who have that attitude, you will fail.

 

I come from marketing and sales and the most critical task is to create an unique presence in the marketplace.

 

I seek constantly to understand what drive my clients, what are the emotional triggers, what are their desires, dreams and aspirations.

 

Nothing brings up these emotional triggers like a wedding, except for the birth of a child.

 

A bride will spend up to 1 year planning her wedding, in fact I think most brides begin planning their wedding since they first saw "Cinderella", "Little Mermaid", "Beauty and the Beast", etc.

 

An agency won't spend a year planning a major campaign!

 

I don't offer a commodity.

 

I offer me, my skills, my understand, my shoulder to cry on, my ability to organize.

 

I offer something unique.

Thank you for your responses.

 

I suspected that clients wanted to see wedding photos. Editorial clients don't want to see photos of my ad work, and commercial clients don't want to see photos of the building fires.

 

I'll go the second photog route. I hope that weddings aren't any worse then covering a presidential candidate.

Joe,

 

I could get one of my friends to have me as a second shooter.

 

It'll certainly be cheaper then staging a photo shoot, but there's always copyright ownership and release issues.

 

My question is more specific.

 

Do clients want to see wedding pictures in your portfolio?

 

I've schedule with a designer to shoot her wedding gowns, so I'll have formals by next week.

I've got a portfolio for editorial and commercial work.

 

But I don't have a wedding portfolio because I've never shot a wedding.

 

Are clients primarily interested in seeing wedding photos or are they looking for a certain style?

 

Do I need to bite the bullet, hire some models and wardrobe and stage a wedding shoot?

 

Any input would be appreciated.