marc_david
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Posts posted by marc_david
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<p>Leather Craftsmen make gorgeous albums.</p>
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<p>Make up, posing, lighting, perspective+'right' focal length and retouching.</p>
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<p>Do you need AF? If not, I would suggest a Hasselblad V system (body+80mm lens for 700-1k), and, depending on your needs, an H20 (requires tethering, 16mp) or a P20 (same sensor as H20, but does not require tethering) will get you going for 3-4k at the top end. If you need more MP, then you'll have to pay more...</p>
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<p>In fact, the laptop was expected to provide power for the back (or you need an external power source while being connected to a laptop). Most new laptops won't even have firewire 400 that these backs require. From what I've heard, most older PC laptops with FW400 did not provide enough power for these backs. My 'old' white Macbook (4,1) does provide enough power, as should the previous gen. Macbook Pro's. You can get either of these for a song.<br>
These backs require a)power from a laptop, and b) to be tethered to a laptop running Capture One. </p>
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<p>Obviously, if the camera does not move, then indeed the DOF will increase with a shorter lens... I have not looked at the formula since math is not my strong suit, but does it not account for varying subject to camera distances? It just seems highly impractical that this would be the case. I guess I am perplexed as to why someone would simply change lenses without recomposing (always assuming one wants to achieve the same FOV of a given subject).</p>
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<p>I don't have a different equation, nor do I claim to. My apologies for stating that you were wrong. If the numbers are right, then I can accept that, as with everything in photography, the numbers are proven and they work (it's the basis of lighting, film exposure+processing, as well as digital work as well). If in doubt, check the numbers. I cannot deny that. That link show's examples which reflect my own experience with using different focal lengths while maintaining the same FOV on the subject. Coming from a portraiture background, I don't use different focal lengths to achieve more or less DOF, simply to achieve the perspective I am looking for, and knowing that I am working with the same DOF, for a given magnification, of a given subject, at a given aperture.</p>
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<p>BTW the person who runs that website seems to be pretty well respected... At least, camera makers tend to think so, in any case.</p>
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<p>That's not my website... Did you take a look at the examples?</p>
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<p>From what I've heard from my friend who shoots the Toronto Fashion Week, no flash is allowed... This may be different where you are. Just keep in mind that you may not have flash as an option.</p>
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<p>No Q.G. is right. Here are examples which demonstrate what he is talking about:<br>
http://www.luminous-landscape.com/tutorials/dof2.shtml</p>
<p>"At the beginning of this tutorial I wrote, <em>"Most people also believe that wide angle lenses have more depth of field than telephoto lenses (</em>false<em>)." </em>Why is this such a common misconception?"<br>
http://www.luminous-landscape.com/tutorials/understanding-series/dof.shtml</p>
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<p>Set up your light fairly fairly broadly (closer to the camera axis), meter it, mark the floor so you wont have to re-meter everytime. I'd be more worried about time than anything else: in an 8 hour day, you'll have 2 minutes per model, assuming you don't take lunch. With such limited time, you won't have time to establish which side is better for each model (and this matters alot, as no face is completely symmetrical). You also won't have time to build much if any of a rapport with each model. The lighting may end up looking 'respectable', but that doesn't mean that the overall image will be great...</p>
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<p>40 people in one day? No chance, unless you give each 5 minutes, in which case you will end up with garbage. If we shot this in studio, the minimum they'd have to spend on the whole thing would be 8000$CAD (200$each), and there is no it would get done in a day.</p>
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<p>I find a bellows shade with drop in filter slots much more practical, as the Imagons are hard(er) to focus, have set aperture which you have to change manually (as in take the lens out and swap the aperture). The Lindahl bellows are great, and you can get them in a kit with several different filters (softar, bottom vignetters, round vignetters, crookios etc). This way you can have any lens be a 'soft' lens. The shade is also great as an all around adjustable shade.</p>
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<p>Is it possible the images are simply overexposed? Without seeing an image, we're all guessing here, so it might help if you post a non-colour corrected image.</p>
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<p>What is the cost of running your business on a yearly basis? Divide that by the number of shooting days you intend to have within that year. Then you'll know how much you have to make per day in order to break even. Maybe this will help: http://www.nppa.org/professional_development/business_practices/cdb/cdbcalc.cfm</p>
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<p>For the price of 2 speedlights, stands, tilt heads, umbrellas etc, I'd get a lower end strobe kit from one of the major manufacturers. They usually come with stands, umbrellas+reflectors and a case. I've been using my Bowens 200 w/s kit for 2 years, indoors and outdoors with battery pack ( rented). I tried going the speedlight route but it ended up being more a pain in the ass than anything else. You can buy or rent more accessories+modifiers for real strobes as well... It also looks much more impressive to clients.</p>
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<p>What shutter speed are you using?</p>
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<p>4 lights is enough to do an indoor portrait. They key is to not overlight it. Do you have any other modifiers apart from the octa? I'd use that as a mainlight, another octa or umbrella as a fill light and one speedlight as a background light. You could use the 4th speedlight as a hairlight/kicker. To keep things simpler and eliminate the need for background/hairlights, you could shoot in front of a window but you'll have to watch for reflections from your modifiers, especially big ones such as octas. Remember: angle of incidence = angle of reflectance.</p>
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<p>Hint: in my previous post I said they were custom made. I don't think you can buy these kinds of backgrounds in canvas. I would gladly be corrected, as I'd like to have some made myself, but lack the funds at the moment.</p>
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<p>Agreed with Jeff. If your BF truly wants this gig ( which will pay him if he gets it), he should invest in some quality headshots. It will cost him more money if he doesn't get the gig because of crappy headshots, then if he spends an extra few hundred dollars on some headshots. Consider it an investment.</p>
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<p>You have to forgive the arrogance of my response, I'm just a 24 year old student (non-photographic) who has 3 years experience in the field as an assistant. By no means am I jaded, rather I look at the industry as in state of transition which is in dire need of a pickup after a few years in the slumps of crappy rates and garbage imagery. Unfortunately, it seems that despite my lack of experience, which I don't hide, I seem to have more humility than most who post on this board with less real world experience than I. Or maybe I'm the joker in the deck.</p>
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<p>Which reinforces my point. Obviously the subject nor the photographer cared about the picture, and it shows. Maybe that's part of the image. I get that. I guess the clientele we go for a) cares about their image and b) pays for it. Yes [gasp] believe it or not, certain companies and firms ( no not fashion driven) actually do care about the image they project, and will pay a premium for a superior product. It turns out it does pay off to know your ratios and your retouching.</p>
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<p>I guess it depends if you want a decent head shot or a great head shot, and what your definitions of those are...</p>
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<p>I understand market pricing, but when the 'CEO's brother in law' offers to do it for nothing, which Charles refers to specifically in his post, that's undercutting.</p>
Anyone still using Medium Format to shoot Weddings
in Wedding & Event
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