kelvin_nash

Bryan, I have the same issue on my N90s. I have two chips of that nature in same size and distance from each edge. I must say that my camera is handled pretty roughly. It works like a charm however. I figured my problem was due to rough handling, and not much else.

 

Kelvin

Has anyone here ever done class reunions? I have been asked to do

two class reunions. I haven't gone to my own, and I don't really

know what it entails. Any general or specific info about

photographing this kind of event would be great. I'll be getting

specifics on what the customers will want in the next couple of days.

 

Thanks,

Kelvin

What I've done in this situation is to use my camera's spot meter. I check for the difference between the bride's face and dress, and the groom's tux. If things don't fall within the film's latitude, I choose the closest exposure to the bride's face that will leave some detail in the bride's dress. Like it was said previously, shine on the faces of women isn't as much of a problem because of make-up, but it can be with men. It is a good idea to have them use a handkerchief or tissue to wipe any excess oil off. When you have a variance of skin tones, always err on the side of the bride from what I've seen and been told.

I'm giving myself the project of documenting/capturing the essence of

my town through my eyes. I don't have an immediate time table for

the completion.

 

Have any of you taken on such a project? Have you had any problems

along the way?

This happened at my wedding. During the bouquet throw, one of my wife's best friends ran over my niece, and swooped in and grabbed the bouquet from two little girls that were oh so close to getting it. It was hilarious. The photographer caught the forearm that my niece got in her back. You guys should see the determined look on the friend's face. The two girls wound up crying, because they thought they were going to get the bouquet. Of course, this was all precipitated by one of the worse bouquet throws ever!

I've done the good and bad of what Marc has said. I've just gotten shots that the photographer couldn't get, so that I could supplement the photographer's work. I've also duplicated, or nearly duplicated some shots that the photographers set up. This was done with the permission of the photographers involved and at the B&G's request because I was shooting B&W, while the photographer was shooting color only. The one thing I always do is stay out of the way. It's funny because a couple of the photographers were really nice and helpful. They noticed my hesitance in getting some of their shots, and they would ask me to jump in and shoot. Most of the time I would decline, because I didn't want too many of their setups.

I showed my wife this thread, and told her this is why I haven't done any weddings, yet. I've been a "2nd" shooter that had friends only getting color photos from their photographer, and I agreed to do b&w for the experience and as a gift. Before doing this, I've asked every photographer there if I could shoot. I've even explained this to the couple, because I don't want to take money out of the main photographer's pocket. I've had my own moments doing this, especially with flashes. But it is nice in the end when the couple says, "We should have hired you!". I smile and think to myself that there was no pressure, because I wasn't the photographer on record.

I too own the 80-200mm F2.8, and I wound up buying a Sigma 105mm F2.8 for macro. I wound up using the Sigma much more for portraiture, and I love the results. I like the lighter weight, and as mentioned before, certain subjects can be intimidated by the bigger lens. I've also contemplated the 85 F1.8, more for DOF considerations, than any other reason. I definitely understand the weight issue, if the light is low. I'd suggest getting the 85 or any other lenses in that range if weight, DOF, and low-light situations are important.