alex_dannenbaum

<p>I am not a professional photographer, but as an outside observer, it seems that by "stacking the shoot" the client is altering the nature of the contract. The shoot price you set was based on an understanding of shooting one product. Now the client wants to alter the set of assumptions, while claiming to stick to the broad "shoot" terms. In essence, they are trying to take advantage of the situation. (Nothing wrong with that, except you spend more time in the setup for the same amount of money). What if the client wanted to add 100 products for the "shoot price"? Obviously that wouldn't be fair. <br>

If I were in your shoes, I would point this out to the client, and renegotiate the "shoot price" based on the additional setup time required. Since all the other factors, are not changing, the price increase should be fairly modest. <br>

That should make it a win -win for both. The client gets 7 seven products promoted, for a modest increase in the "shoot" rate. You get a portion if not all your additional time covered, and the client doesn't take you for a patsy. If you negotiate reasonably and fairly, assuming the client is a reasonable person, you should both reach a fair understanding. <br>

In the future, you will know when setting a "shoot price" and writing the contract, to enumerate the components of the "shoot" and acknowlege that the price may be modified if the client elects to alter one or more of the components. </p>

 

<p>I just read the article referenced above. If you are saying that the Error 99 code arises when the lens is "stopped down" to a small apeture like f/18, then it is possible that this is a lens problem. One way to check that out is switch the lens to another Canon DSLR camera and see if under similar settings you get the same Error 99 code. </p>

<p>You are right. I had my camera set to Highlight Tone Priority (Enabled) which eliminated the ISO 100 setting. I also note that in the manual, it says that when Highlight Tone Priority is enabled, "noise in the shadow areas may be slightly more than usual." (Exactly my problem). <br>

I have since reset it to Disabled.<br>

Thanks</p>

 

<p>I was taking some landscape shots at late dusk with my Canon 50D when the ambient light was pretty low. My lens started having trouble automatically focusing, and I decided I better manually focus anyway. <br>

I prefer to manually focus in Live View, because I can get a more accurate focus. Unfortunately, it was so dark, all I could see in Live View was a black image. Couldn't see much better through the view finder. I suppose one option would be to manually focus in brighter light, and wait till the light was right to take my shots. (That would work in the evening, assuming I set up early enough, but what about @ dawn?)<br>

Is there a trick to getting an accurate focus in low light?</p>

 

<p><em>Thanks fo the previous input. I am sure now that the images were underexposed. I still had the images on the card, and checked them in the camera. They were pushed left. In the future, I will be more diligent about checking the histograms and uping the exposure as needed, For these types of shots, I will also keep my ISO set at 200 or 400 (100 is not an option on the 50D) . Lightroom's noise reduction seems fairly good, but could not effectively overcome the excessive noise from this shoot. </em><br>

<em>Here is the additional data:</em><br>

Shot in RAW converted in Lightroom to DNG<br>

ISO: 640 (one of those mid range ISOs) -<br>

CF II 1 - Auto; CF II 2 - Low; CFII 3 - Enable; CFII 4 - Low <em>(should I choose higher settings than "Low" on 2 and 4?</em><br>

Setting was Tv (25 sec @ f14)</p>

<p> </p>

<p>I am a big fan of going local. I occassionally buy and sell used Canon DSLR camera bodies and lenses on Craigslist with good success. I would monitor the local Craigslist to see if there is an active market for your Olympus model. This will also give you a rough idea of the going market price. If you don't see a lot of activity for your camera, you can try posting anyway and see if you get any nibbles at your offering price. <br>

Another option is to see if there are any Camera Fairs in your area. Get on their mailing list. At the camera fairs around here (San Jose/Bay Area) the market is evenly split between film and digital. At a used camera fair, there is almost always someone who will be interested in your camera if it is in good condition. If you can't find a local camera fair, you might check with camera clubs in your area. Someone there could probably direct you to the local used camera market.</p>

<p>I have taken hundreds of landscape photos in the evening near dusk. For what it is worth, I shoot most landscapes with a Canon 50D, and wide angle EF-S 10-22mm. Intermittently, I seem to encounter large amounts of noise in my images. It happened again tonight when I was taking long exposures (20-30 sec.). Ambient light was pretty low at that time, and I was experimenting with painting my foreground subject with light. I wanted to take a longer exposure (to capture that misty look of the shoreline) so I was also using a ND4 filter. I had elected to shoot with an AWB. I always assumed that most noise was a function of ISO setting; but tonight, I made a point of shooting between 200-640 ISO (levels that I shouldn't encounter much noise at all). <br>

When shooting, my light meter was indicating the correct exposure. In my viewfinder, the image review appear well balanced for the light (I keep forgeting to check the histogram). However, when I get home, and load them into the software, the images appear far darker on my monitor. (No problem, I think, I will increase the exposure and fill light via the software). This often does the trick, but not tonight. When I adjusted the lighting, a lot of noise emerged. My foreground subject seemed ok, but the darker background portions were dark red and loaded with noise. <br>

What am I overlooking? What adjustments should I be considering to get a correct exposure, and reduce the noise?<br>

Thanks<br>

</p>

<p> </p>

<p>Thanks that did the trick! I was failing to: "choose MapMailer from the Export To pop up menu at the top of the dialog.". (at least that is what it says right in the book). I am either blind or stupid. When I pulled down the scroll window I saw it right away. I think the screen shot on the previous page with the Hard Drive selected threw me off. <br>

After I have read through the book and attempted most of the techniques I can easily absorb, I will then give lynda.com a shot to extend my education. </p>

<p>I am new to Lightroom3 (and Lightroom in general), having migrated over from Picasa. Obviously, Lightroom3 has a lot of advantages, but is a also a lot more complex that Picasa. I recently purchased Scott Kelby's book on Lightroom3, and have been working through it pretty much step by step. I recently encountered a problem in the Exporting Photos section: Emailing Photos from Lightroom. I tried to configure the program to set up for emailing. I got to Step 8 on page 237, where it suggests that "Lightroom should take it from there, and the next thing you'll see is a new email message window open ..." <br>

Well, that's the problem, I see something else: a "Browse for Folder" pop-up. I retraced my steps and I know I am doing things correctly, including having properly downloaded the plugin. Does anyone know what might be the problem and how I can fix it? <br>

If not, is there a source I can go to to trouble shoot problems I encounter working with this book?<br>

Thnx</p>

<p>I had a similar dillema. I think it all comes down to how you will use it. Like others, I thought the IQ was pretty similar. What I wanted was a true walk around lens. I may be crazy, but I alway thought that the 24-70 was not only more heavy, but more fragile as well. (Just my opinion). Consequently, I was always more careful handling this lens. My camera equipment was getting heavier with each upgrade. In the end, I gave up the extra stop and weight and sold off the 24-70 I may miss some shots, but overall, I beilieve I enjoy the experience of carrying the 24-105 on my camera for a day's outing much more. </p>

<p>You both make good sense. I was considering the full frame 1D body largely because I was going to use the EF 16-35mm wide angle lens as alternate to the EF-S 10-22mm I currently own. I reviewed my photos from previous shoots and photos using the 10-22mm look as good as most of the wide angle shots in the magazine. So perhaps you are right, and I can save money by passing on a new body, and avoiding a a steep learning curve. I think I will go with a back up body and a waterproof housing.</p>

<p>I am on the verge of doing my first paid gig for a magazine photo shoot for kiteboarding. I currently shoot with a Canon 50D, EF-S 10-22mmf/3.5-4.5, EF 100-400mm f/4.5-5.6L IS and a EF 24-105mm f/4L IS. This combination has served me well for wading into the water, having the subject cruise by and using a rain cover. This however is a paid magazine gig. I want to step up and maximize the professional look and be sure I get the best shot possible. If an equipment upgrade would make a difference, and I stick with Canon, what should I rent for this shoot?<br>

Here is what I was thinking: EOS 1D Mark IV, 16-35mm f/2.8L lens, and/or 15mm f/2.8 fisheye, Waterproof Housing, etc?<br>

Any other ideas?</p>

 

<p>I realize this post is so old that by now you have already made your purchase, run some magazine articles and had your first exhibition, however here is my opinion anyway. ..<br>

I have the EF100-400mm lens and it is pretty awesome. I shoot kiteboarders, and wildlife. If you are shooting from the shore, you will need just about the entire range (400mm) all the time. Even in the water, I find myself often shooting at the long end of the lens (400mm). When you are in the water, with your subject, when your subject gets close, things happen so quickly that there is not enough time to adjust your telephoto range manually. Consequently, I would not rule out a long prime. <br>

If you get really serious, your best investment will be to get as close to your subject as possible. Waders, wet suits, wide angle lenses and a water proof housing can go a long way to generate some awesome results. </p>

<p>Does anyone know if RAW files can be displayed on the iPad?</p>

<p>Howard,<br>

Why do you need long range glass if you are shooting mostly landscapes and macros? For the most part, long lenses such as the 100-400 (which I own) come into play largely for sports and wildlife. I agree with many of the other commentors that you should choose the better lenses first then select a body you can afford. Buying an DSLR with one lens defeats a major purpose of an SLR: to choose between multiple lenses for your unique subject. With one lens you are limited. For that reason, I would not select the 5D MII with the 24 -105 lens. They are a great combination, but you will find yourself wishing you had more variety, and by the time you can afford another lens, your camera body will already be obsolete (well,... second generation anyway). Besides, you will lost valuable time gaining experience with a range of lenses. <br>

Here is the way I would go with it: <br>

Canon 50D $1100 (nice body, that will serve you well for a couple of years)<br>

EF 28-135 F3.5-5.6 $410 (An ok walkaround lens, that fills the middle range, (I would recommend the 24-105 f4, but it would push you over the $ top - the 24-105 would have the added benefit of transisitioning well to a 5D model in the future). <br>

EF-S 10-22 F3.5-4.5 $699 (great wide landscape lens) - This lens is a great value. <br>

EF 70-200 F4 $639 (Real solid long lens. Forget IS, use a mono or tripod if necessary)<br>

Save your money for a month or two and buy a EF 100mm 2.8 Macro. $530. <br>

After you have mastered your skills, saved some more money and hunger for something else, upgrade to the latest 5D model and trade in your EF-S lens for a super wide like the 16-35 or 17-40, then later upgrade your long lens to a 70-200 2.8 IS, or that 100-400 if length is still important to you. <br>

Another comment about the 100-400 lens. This is a very good lens but not a lens to use in low light. Since I shoot primarly at the 400 range, I am often at 5.6 which causes the AF to go on the hunt, in low light. <br>

To save $$$ I started out with new equipment, but am quite happy now to purchase lenses used through Craigslist or someone I trust. I have never been burned (good lenses, if well maintained generally last a very long time). </p>

<p> </p>

<p>For me getting to Manual has been a gradual process. As self taught, I started out about 6 years ago with a P&S. For the first few months I shot everything in full auto. Then I started playing around with the other various auto modes. Later I got a DSLR and started shooting mostly in the Program mode, locking the ISO and letting the camera do the rest. Over time I learned to assess the important factors in a scene. I began to decide whether lighting, depth of field, or shutter speed was the most dominant challenge, and selected the appropriate tool (Av, Tv, or M - Canon lingo). I currently use Apeture Priority (Av) most frequently, because it does allow me to adjust both the lighting as well as the depth of field. Time Value (Tv) is useful when movement is the dominant factor. I use Manual mode whenever I have plenty of time to plan and test my shot. If I feel hurried by an emerging opportunity or changing light, I will choose either Av or Tv as the default. As Scott Kelby recommends, when not in active use, I do keep my camera in Program mode, in case that "shot of lifetime" unfolds before me, and I have no time to think (which seems far too often). <br>

As a training tool, when faced with an unusual lighting situation, or just generally lost, I may start with Program or one of the Automatic modes to see how the camera would set up the scene. I will check the EXIF data from a well exposed shot to reverese engineer the settings, as a starting point for manual mode. <br>

Though most of my shots these days are in RAW, I do have one exception and that is when I am shooting kiteboarders. In those situations, (fast movement and changing lighting) I will often choose the Sports mode (Jpeg). I have no time to think, and need the camera to do the work. In Sports mode the camera quickly selects the right balance of shutter speed exposure, and light sensitivity (ISO). As importantly, it saves precious card space when shooting in burst mode. Those RAW shots take up a lot of card space not to mention limits the burst speed and length. <br>

After you get comfortable in the Creative Zone, and are generally able to get the correct exposure for your subject, one the next steps will be to learn how to how to get the proper <strong><em>balance </em></strong>of lighting. The skills required will become working with the histogram, artifical lighting (flash, , reflectors, lamps, strobes, diffusers etc.) and/or filters to help get the best possible exposure throughtout the entire scene. </p>

 

<p>I recently was walking down a street in my neighborhood and took a photo of some children in a private school pressed up against a window looking out. The photo was taken was taken from the public street. I would like to print, display and possibly sell this work as an artisitic piece. </p>

<p>I am not familar with the laws regarding this situation. Is their anything unlawful, unethical, etc about photographing children as described above? Am I required to get the school's permission? Do I need parent's permission or model releases?</p>

<p> </p>

<p>Thank you all for your responses. It is reassurning to learn that not all lenses fit like a glove. I certainly don't think the lens will break off, since the play appears to be in the circular plane of the lens/body interface, and not in the up/down of the lens attachment. <br>

JDM, I will take your advice and check the screws, but despite having about at least a dozen different screw drivers of varying sizes, I cannot find one that fits the lens camera mount. </p>

<p>I noticed that my recently purchased used 100-400 f/4.5-5.6L lens does not fit snugly on my Canon 50D body. There is a slight amount of play in the interface. I checked out the play with my other lenses (24-105mm f/4L; 10-22mm f/3.5-4.5; and a 70-200mm f/4L, which the 100-400 is replacing). Though there is the tiniest amount of play with all the other lenses, there is a much more noticable (adjustment, click, play, whatever) between the long lens and the camera body. I have generally used the lens on a monopod to shoot kiteboarders and wildlife. I have not noticed any obvious technical problems with the images, but I would not know exactly what to look for. <br>

Has anyone else encountered a less than tight fiting Canon lens before? What problems could this cause? Is there an acceptable amount of play between a lens and a camera body? Should I be concerned?</p>

<p> </p>

<p>Ok, I get it...Blast the Flash. <br>

In addition to selecting an HTML or CSS web designer or template, are there other critcal first steps that need to be taken when putting together a business website for a photographer?</p>

<p> </p>

<p>A good friend of mine has been doing photography as a hobby for over 30 years. He has outstanding work and done several exhibits, shows and even won some awards. Not being a professional, however, he has made no serious attempt to market, publish or present his work until now. He would like to start by setting up a website to both establish some legitimacy, display his work and possibly make some sales. His work runs the gambit from architectural shots, portraits, landscapes, fine art and photojournalism. He generally does his own prints which can be quite large. </p>

<p>He spoke with another friend who recommended he find a website developer who specializes in Flash. What recommendations would you make in planning and implementing a professional photo website? <br>

��</p>

<p>I am an amature photographer who was recently approached by a TV production company who saw one of my images on an Internet posting and want to use it for a TV program. The company has said they might use it for up to 14 days of broadcast including possible website and program distribution via online use. They have also said that payment would be made upon confimation of broadcast. </p>

<p>The image is really nothing special, simply something I shot with my P&S of an unusual location. Any ideas of how I should price this? Are their any online resources for how to license your work?</p>

<p>I don't use my on camera flash very often. Today I wanted to use it while outddoors for fill flash. I was in a fairly shady area, shooting a portrait about 15 feet away. For some reason, it ddn't fire. I tried everything. I changed the settings, (I ran through them all), I tried the flash button, etc. After a minute or so of frustration, I was able to get the flash to pop up, however, after running through the settings again, I still could not get it to fire. <br>

When I got home tonight, and tested it indoors, tada! it seemed to work fine. This looks suspiciously like a user error problem. What am I doing wrong?</p>

<p> </p>

<p>A couple of questions:</p>

<ul>

<li>What camera are you using? (it makes a difference on the recommendation of lens based on the size of your sensor). </li>

<li>Why do you require a zoom lens vs. a prime? </li>

</ul>

<p>One place you can start today, while searching for a class/school is to study your camera's manual, and learn to apply it. The sooner you know the features and functions of your camera, the better equipped you will be to take full advantage of any educational program you pursue. </p>