john_deerfield

April 17, 2014

Better is subjective. In other words, define better. That said, for groups of people and interior shots, I would have to say the Canon 17-55 is the better choice. You aren't going to want to shoot interiors or groups of people at f/1.8. Probably not even f/2.8 for that matter. You could also look at the metadata of some of your favorite images now and see if that gives you any clues. In other words, are 80% of your shots at 50mm? Well, the 18-35 doesn't go to 50mm! Are a lot of your shots at 18mm and you really wanted to shoot a shallower DoF? Then the Sigma might make sense. But an 18mm shot with a wide aperture is more of a speciality than your typical photography.

March 26, 2014

Lots of advice. To repeat some of it, lighting a large group with a speedlite isn't ideal no matter how you modify it. I would not use a shoot through umbrella as too much light is wasted and you don't have a lot of power with a speedlite to begin with. There are numerous lighting solutions far cheaper & more powerful than a TTL speedlite when it comes to lighting a group.

For wedding formals, I would never use TTL. The point to TTL flash is allowing the system to determine flash output. Flash output varies on ISO, aperture, and distance of flash to subject (TTL will also vary on reflectivity of the subject). None of these apply (or should apply) when shooting formals so manual flash is the fastest, easiest and delivers the most consistent results.

Really, the very best thing you can do is learn lighting. It's fundamentally critical to good photography. Whether using ambient, flash, TTL flash etc. Learning lighting answers the question of why (or even if) you should use an umbrella, what type and so on.

March 26, 2014

I would agree that nothing beats custom…. but some of these come pretty close:

http://www.healthyfeetstore.com/mens-orthopedic-and-orthotic-friendly-dress-shoes.html?sf=1#/sortblock

And many are made for custom orthotics. I have a pair of Drew Walkers I use for weddings and oh what a difference it makes. For what it's worth, I use to use Rockports. No comparison. Another tip I was given some time back: compression socks. For most of a wedding we are on our feet. This means that our feet will swell every so slightly (more for some). This adds to the discomfort. Compression socks will control the swelling.

March 11, 2014

Yeah I tried that. It seems only to have RPT mode. There's no way to change it from that (SEL button selects Channels, on/off button turns each channel on/off, Mode button does nothing, third button top row (with green dot) does nothing

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I am not sure I understand? You power up from the top down. The flash is in the "on" position. When the flash fires, you switch the flash from the "on" position to the "master" position. Other than that, I would make sure all devices have the most current firmware.

March 4, 2014

The SB900 need to be in the master mode. The turn on sequence is to turn the SB900 on normally. Turn on the PW. Turn on the camera. There should be a flash. Then put the SB900 in master mode.

February 5, 2014

We are a multi million dollar company and I run all of the projects, so I don't always get the time to set my lighting up.

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Then you have to accept what you get. I'm not trying to be rude, but what if a client wanted work that would take 2-weeks and told you it had to be done in 2-days?

As for that kitchen, it is about the smallest we go and there was nothing special about it to make me want to spend the time.

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The first day of a composition class I asked the students to take a picture of a rose I had brought to class. At the end of the class, I had a student tell me: "you didn't tell me to take an nice picture of the rose". And this person was being serious. And I said that right there is a huge mental roadblock. If you want better images, you have to want to make them better!

Would you recommend lighting the scene over HDR blends?

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Of course. HDR isn't even really part of the same conversation. HDR is for capturing scenes with more dynamic range than what the camera can natively record. The color of the light has nothing to do with dynamic range.

And would you say constant lights or flashes?

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Well, flashes are the easy answer. But there really aren't any easy answers. The flash is simply a light source. It isn't the source of light that is the issue as much as learning about lighting. Again, I know you said you have read some books but have you read "Light: the Science and Magic". All of these issues are covered.

And yes, I do need to try gels. It's something I haven't dabbled in yet, but need to try

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And more importantly is understanding why you are trying the gel.

February 3, 2014

I agree that you need to give a specific image and what it is you want to improve upon. As with others, I think the largest improvement will be the lighting. But I am wondering if you are running into a negative cost vs benefit. Meaning, the images look solid right now. Not that there isn't room for improvement, but that improvement will come at quite a cost (so far as I can see). For an insight into lighting, read the book Light: the Science and Magic. You will learn a great deal about lighting, surfaces, reflections and so on.

January 27, 2014

would I be able to knock down the sun at high noon with 1 quantum T5DR?

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Very, very unlikely. Profoto is certainly one of the best, but you could also get a the Paul Buff Einstein & mini Vagabond battery for several hundreds of dollars less.

January 19, 2014

Resolution = quantity. Compression = quality.

Your camera camera produces a file with "X" resolution, something in the neighborhood of 6000x4000 pixels. This is "full resolution". Of course a camera with less megapixels will produce a smaller file, lets say 4000x3000 and that would be "full resolution for that camera. You can export out of Lightroom an image that has all of the pixels (thus full resolution) or, you could export an image with less resolution. As example, you could export the image to be 2000 pixels on the long side. If memory serves, Facebook limits images to 700 pixels on the long size. Keep in mind that you really only need "full-resolution" when doing some sort of larger print. A HD TV or monitor has a resolution of 1920 on the long side. So your image wouldn't need anything more than that for that viewing medium.

Compression is the quality of the JPEG. Compression throws away information in order to make the file size smaller. Photoshop uses a scale from 1-12, Lightroom (I think) uses a scale fro 0-100%. Typically, you won't see a visual difference using a compression of 10 or 80% and you get a smaller file size. Compression is independent of resolution. You can export a full resolution JPEG (quantity of pixels) with any compression you want. Other file formats, such as PSD or TIF do NOT have a compression setting.

So, simply viewing the images on the web doesn't require a full-resolution. A good monitor might have 1920 pixels on the long side… no reason to have an image with 6000 pixels! An image with 1920 pixels on the long side will have a much smaller file size making it easier to upload/download. Additionally, you can compress the file to be uploaded reducing the file size even more.

January 18, 2014

Pretty bad indoors

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Well, posting example can't hurt, but there isn't going to be any good news. The first thing you need to understand is that any camera is simply a tool used to record light, to record an exposure. All cameras fundamentally work the same way using the same math. Meaning the settings you need to take a picture will be the same on an iPhone as they would on a DSLR. It's just that a DSLR gives you more choices in how to record the light. You don't like the pictures indoors because there simply isn't enough light for the camera to record enough of it to create a "decent" picture. Recording an exposure (recording light) involves three camera variables: the shutter, the aperture, and the ISO. In auto, you have no control over any of them. In other modes, you have various degrees of control. This control does NOT have anything to do with the light you are shooting in, it's only a matter of how the light is recorded. There isn't a camera on earth that has any control over the quality, direction, color, or intensity of your light.

So, in order for any camera to record enough light indoors, this means the shutter will be open longer… this leads to blurry images. One thing that can be done to correct this is to shoot at a higher ISO. The higher the ISO, the faster the shutter speed. The drawback os that the higher the ISO, the more digital noise in the image. The Panasonic FH20, ISO 800 doesn't look too good at ISO 800 and downright terrible at ISO 1600. Another solution to gather more light indoors is to use a "fast" lens. They are known as fast lenses because their wide apertures allow for fast(er) shutter speeds! Unfortunately, the Panasonic FH20 doesn't have what would be considered a fast lens. And when zoomed, it's actually a slow lens: an even slower shutter speed will be needed.

In the end, the best you can probably do indoors is learn to use the flash. If considering a new camera for indoor shooting, you want one that has a decent "high" ISO (useable 1600 or higher) and a "fast" lens (such as f/2.8 throughout the zoom). But that camera will be considerable more money than a Panasonic FH20.

December 31, 2013

We need more information. You have a mini TT1 in the hot shoe and a Flex 5 off camera with an eTTl flash? If you are looking for TTL control, you need something as a master. Either a TTL master flash in the TT1 hot shoe or a controller such as the AC3. You can probably set the system up to have the mini trigger the OCF "old school" which is to say that you are controlling the flash power from the flash position but that defeats the purpose of the Flex system.

December 21, 2013

- Second, and most important: It should recompres only the blocks in the JPG where changes occur (aka where I type the text) and leave the other blocks untouched.

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I don't think that is possible. A JPEG is a delivery format (as is a MP3). It's compressed from it's original uncompressed format. Editing applications that I know of (such as Photoshop) do NOT edit uncompressed files. When you open a JPEG in Photoshop, information is interpolated (made up) to give you an "uncompressed" image file. Then, when you save the new image, you can save it as a PSD if desired saving all the information (even though some was made up). Or you can save it again as a JPEG in which case redundant information will again be tossed out. I don't know of any application that can compare "blocks" and control a compression algorithm to deliver the same exact compression as before.

December 16, 2013

Please post a sample image.

December 8, 2013

Just to add to some of what has been said, I would definitely want to store my media on an external hard drive (although I would prefer a Thunderbolt drive). And here's one of the small differences that add up over time with the Mac OS, you can call your external drive whatever you want and the drive stays with the name. In other words, it's harder to lose the connection between Lightroom and your media. On a PC, an external drive gets assigned an arbitrary letter assignment and then if you move the drive to a different PC that assigns it a different letter, now you have to reconnect your media!

December 7, 2013

You have already been given the advice needed, but I just want to clarify. You don't get to set any shutter speed or ISO or aperture and have the camera "render" an image. The only thing a camera does is record light, much like an audio recorder simply records sound. When the light is low it is necassary to use a combination of the ISO, aperture and shutter speed that allows enough light into the camera to be able to record the exposure. Imagine trying to record a child's whisper, it's difficult to do well, but it has nothing to do with the recorder! It's simply that the decibel is too low. Just like the light levels being too low.

November 26, 2013

I wasn't offering a critique of your photography, your intentions, your business plan or anything else for that matter. I was merely trying to put you on the right path. Your current line of thinking, statistically speaking, isn't going to deliver the outcome you desire.

Thanks for your reply, but I think the comparison between a plumber and a photographer is completely wrong, photography is creative, and I am getting better results out of my entry level and below equipment than a lot of professionals I know.

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Of course you do. How about I use a painter? They choose their canvas, their paint, their brushes based on the result they want. Implying that they first know the result they want and subsequently the tools to get them there.

I have often heard a story of how John Lennon once said "I'm an artist, give me a tuba and I'll create something worth listening"

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OK. Did the story also go on to say how John was wondering what Tuba would deliver what result?

I agree, if I'm offering a professional service, I should have professional equipment, but not every one has the luxury of being able to afford a university education and top of the line pro kit.

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Professional means just that: professional. There aren't any shortcuts. Think of any other profession where it would be acceptable to use inferior tools for the job. Or, to not know what tools are even needed? Just one. I am not going to hire a mechanic, a contractor, a doctor, a lawyer, or any professional that doesn't have the skill and/or tools to complete the job. Especially if the reason for not having the skills or the tools is that they can't afford them.

Perhaps you might want to teach your students to be creative's and artists rather than machine operators??

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Thanks for the advice. I do teach a class on composition. And part of composition is knowing how you want the shot to look along with the skill and equipment needed. If you want a razor thin depth of field you need the knowledge of how to do it, along with gear that can pull it off. Simply wanting a razor thin DoF isn't going to get the job done.

November 26, 2013

If I had a student that approached my interesting in 2nd shooting and wanted to know what gear they needed, I would ask them what gear they thought they needed. The tools are simply a means to an end. If I hire a plumber, I assume they know what tools they need otherwise I am not so sure they should call themselves a plumber. To continue, I would say that the trifecta of lenses on a full frame camera would be the 17-35mm f/2.8; the 24-20 f/2.8; & the 70-200 f/2.8. With the 24-70 being the workhorse lens (the one to get first). On a cropped sensor body, this would be the 17-50 f/2.8 lens (17-50 being the rough equivalent of the 24-70). None of these lenses are cheap, although you can save a bit buying third party lenses from Sigma, Tamron, or Tokina. You have to have faster glass (f/2.8 or wider apertures) in order to shoot weddings in low light where flash isn't allowed. It's a simply as that. The other advantage to better glass is better, faster, more accurate auto-focus. So the 17-50 f/2.8 is the first lens to get regardless of how much money you have to spend on gear. Plumbers need wrenches. If they can't afford wrenches, well then they can't do their job. The next lens in the line up gets a bit trickier. The 70-200 f/2.8 is a great lens. But you can save some money and pick up something like an 85mm f/1.8 prime. This gets you a reasonably long focal length (136mm on a cropped sensor Canon) and a fast aperture.

In terms of lighting, for my 2nd shooters, my first advice is to learn lighting. For portriature, you don't need anything fancy like small AA powered TTL flashes. For weddings, it can be difficult to not need small, AA powered, TTL flashes. Not that it can't be done, but a manual flash for a wedding is a far more disciplined approach that discipline isn't something most new shooters are interested in. The drawback to shoe mount flashes, even at weddings is simply their lack of power and their expense (compared to manual strobes). In the end though, light is light. It's how you use it that matters. The bare minimum for a Canon shooter would be the 430ex. Personally, I wouldn't let someone be a primary with that flash as there is no way to connect external power. And without external power, you can be in trouble with large wedding parties during key moments such as the processional. For non-TTL strobes, the Cheetah Stand lights look particularly interesting right now, although I haven't shot with them.

And of course as it's been mentioned, you will need back ups of everything. I would accept the 18-55 kit lens as a back up, on the condition that sooner rather than later, I would expect a 2nd shooter to have a fast prime something along the 30-50mm mark. This would make a better addition to the camera bag and serve as a better back up if needed.

November 14, 2013

The easy answer to your question is: No. Beyond that, you will need to better define what it is you want to accomplish. I am not sure if wireless TTL flash is even possible with the Bower flash regardless of equipment, but I suspect not. You could look into something like this:

<a href="http://www.adorama.com/PHOTTFTNKTP.html">http://www.adorama.com/PHOTTFTNKTP.html</a>

And you would need an extra receiver for a third flash. And then I believe you can do the two Nikon flashes in TTL and the Bower in manual. But I would research that to make sure.

November 10, 2013

I agree 100% with DPI… there is no point in assigning any number when dealing with the actual number of pixels. We give clients 3000 pixel images. According to MPIX, this is enough for them to print a 16x20. I like to define the output for two reasons. One, consistency. Even if I have cropped an image, the pixel size remains constant. Two, that is roughly half the file size as "full-resolution" (depending on my camera). I have found that most clients find it less difficult to browse 100's of images with a smaller file size versus a larger file size.

November 5, 2013

For some perspective: I need to rebuild a friends transmission this weekend. I usually just change spark plugs & oil, put in a water pump once so I am comfortable with that. These are the tools I have (list tools). Any advice?

You either know and understand lighting (principles of lighting are the same regardless) or you don't. You either know what to do, or you don't. My advice (besides the don't take money to do this shoot and tell your friend not to expect too much) is to don't try anything fancy. Put the camera in the Program mode. Keep an eye on the shutter, don't let it get to slow (raise the ISO when it does). Pray.

October 30, 2013

I think what they are saying is that when you press down on the shutter button you are moving the camera just a little bit prior to taking the picture. And, at f/1.8, your fraction for focusing error is thin: move of your focus point just a bit and your subject loses focus. This is usually more of a concern in hand held macro photography. At the shooting distance of this image, I don't think it would really play much of a role. Likely suspects have already been discussed.

October 29, 2013

My advice: learn photography. Perhaps that sounds cheeky, but there really aren't any shortcuts. A photographer should know that shooting f/1.8 is shooting a lens wide open and that gives you a very shallow DoF. Conversely, trying to shoot everything at f/32 isn't really an option, at least at a wedding. Two reasons: one, you need a LOT of light to shoot f/32. Weddings usually don't provide that much light. Two, the 50mm f/1.4 only goes to f/22. You need to understand that the shutter controls motion (so at 1/8000th of a second there isn't going to be any blur due to hand holding the camera) and the aperture controls DoF (depth of field). With your friends wedding a month away, you need to read,practice, read some more, practice some more. You can't learn it all in one month, but you want to be comfortable with your camera and shooting choices because during a wedding you don't have the luxury of learning as you go. You either know what to do or you don't. If you want to shoot aperture priority, shoot aperture priority. But you need to use something that is going to give you a bit more DoF (such f/2.8 for couples, f/5.6 for groups). And you have to learn to keep an eye on your shutter so that if it dips to slow you change something, ISO, aperture (then keeping an eye on DoF), use flash, but something.

October 25, 2013

What else makes a light good?

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Color consistency between flashes and even between shoots can be important. Flash duration can be important. Build quality, availability of modifiers (build quality of modifiers), availability of accessories allowing you to do what you want, such as the ability to control the flash from the camera position (think Elinchrom Skyport or Buff's Cyber Commander).

October 9, 2013

I might say that if the OP is using layered PS files of D800 images, then they will certainly use all of 16GB of Ram and more. I have 16GB or Ram working with D600 files and I use swap.

Off topic... the new Mac Pro looks like a very interesting machine. But we will have to see what price point in comes in at. Speculation is abounds... and most of it not very good!

October 9, 2013

I am going to both agree and disagree with Larry West: yes, you want to get an external storage solution for D800 files. This alone is going to speed things up. However, I would look into something like a <a href="http://www.g-technology.com/products/g-raid-thunderbolt">G-Tech G-Raid drive</a>. Without going into the expense of a dedicated RAID system, these external drives are much faster than your typical set up. Merely saving a layered PSD from a D800 file can take some time. The slowest will be using the internal computer drive. A bit faster will be using an external drive. And using the G-Raid and you can be back to normal save times! Of course these are two drives in a RAID configuration so you will want a solid back up plan.

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Posts posted by john_deerfield