chauncey_huffman

<p>I am a "former" portrait/wedding photographer turned Professor. I have taught introductory photography courses for years, but next semester I will be teaching our section of Portrait Photography. I am putting together my curriculum now, and I thought that I would open it up to the professional world to see what your opinions are on these questions:<br>

1. What type of content would you put into a class like this, or what type of content do you think is most important?<br>

2. What assignments would you use?</p>

<p>For this class, it will be almost entirely Juniors and Seniors, so 20 years of age and up. All will either have their own cameras, or will use the school cameras (Canon SL1's). We have a host of equipment to use, including these lenses:<br>

50mm 1.8<br>

70-200 f/4<br>

100 f/2.8 macro<br>

And also, we have access to a Canon 1DX, Canon 6D and a Hasselblad H3D2-39 with 80mm f/2.8 and 120mm f/4 lens. </p>

<p>I want to make the most out of their experience, so any/all suggestions are welcome. Thank you in advance!</p>

<p>Great shots by everyone! I'm new here, I'm actually a Nikon shooter, but I recently made a large purchase at my workplace that was entirely Canon equipment. I'm using the Canon gear from work and Nikon gear at home, but I'm pondering making a switch to Canon. We'll see...</p>

<p><img src="https://scontent-b-ord.xx.fbcdn.net/hphotos-prn2/t1.0-9/1097949_10201563133867729_1349619076_n.jpg" alt="" width="960" height="640" /><br>

Canon 1DX - Sigma 35mm 1.4 @ f/1.4, 1/160 - Natural window light - ISO 800</p>

<p>I am an Assistant Professor at a University and we have just placed a large order to replace our stock of cameras and other photo equipment. With the new inventory coming in, I want to be able to manage and keep track of the items efficiently. I would like to be able to use a labeling or marking system on the cameras and some other equipment that is hopefully semi-permanent or maybe permanent. Any solutions that are tried and true?<br>

Thanks in advance!</p>

<p>This is my favorite shot of my son. I've taken thousands of shots of him, but this one sticks out to me. Of course it's had some Photoshop work done. Nothing has been done to his skin tone, I just hand painted the background and some of his hair. I obviously greyscaled the image and them put color back in where I thought appropriate. I would have uploaded the original, but this is the only version I have on me at the time.<br>

<img src="http://farm8.staticflickr.com/7188/6796019592_63090d9156.jpg" alt="" width="216" height="326" /><br /> D90 - 50mm @ 1.8 (ISO above 800, but I don't remember exactly)</p>

<p>Jeff and Eric, thanks a lot for your advice! I will definitely start trying to get in with bands to shoot their gigs.</p>

<p>@Eric, I would LOVE to try to get in a position to have a relationship with promoters etc, but I'm not sure how to go about doing that. I don't live in a big city, I have to travel to go to my concerts, so it's not as easy to me to make those connections.<br>

@Jeff, SF must be very different than my area (Kansas City, Tulsa) because around here they are very strict about taking cameras into venues. Very small clubs and bars aren't that bad, but when you step up to a place that can hold over 500 people I have yet to find one that allows "interchangeable lens" cameras. They usually have signs up stating that fact. I always call the venue ahead of time to find out what the policy is and I've not been able to take my DSLR one time.</p>

<p>I'm not dilusional about using a P&S, it's the ONLY thing that I can use. I know the limitations of P&S's very well, but I have to basically choose "the best of the worst". Let me be very clear about my intents. I don't shoot Concerts for anyone but myself so I don't have exclusive access to use whatever camera I want and get into any position/spot that I want. I have to use a P&S b/c that is all that is allowed in many venues. As far as what concerts I go to they range from large stadiums to small clubs. I am mostly interested in something to use in a small club/medium sized venue setting. I would really love the NEX series, but I would probably have to use the 16mm lens just to get it past security and it would almost definitely be too wide.<br>

I'm thinking about breaking the bank for the X10 but I'm really having reservations because I could save a little more and buy a Nikon 85mm 1.4 lens for my weddings. I'm having some indecision issues!<br>

Fred - the shots that you put up are very similar to what I'm hoping to get. Part of the reason I posted this question is bc I'm not experienced at concert photography so I wanted a little input from those of you that are, and I've gotten that. Thanks for all of the suggestions so far!</p>

<p>Thanks for all the responses. I thought about the NEX-3 and other micro 4/3, I just wonder if they would be allowed into most concerts. Many of the concerts I've been to simply have the rule "no interchangeable lens cameras". I don't know if it's worth taking a chance that I can't use it because I wouldn't have a huge need for it outside of the concert situation.<br>

Has anyone tried taking a micro 4/3 into a concert or concerts?</p>

 

<p>I've read reviews and looked for a while, but I would like to get some feedback from actual photographers with first hand experience. I am looking for a P&S to take with me to concerts that is capable of good low light photography without flash. I need this because I go to concerts as a spectator, not a commissioned photographer so I can't take my DSLR into most venues. I realize the inherent problems with P&S's with regard to sensor size and noise handling, I'm just looking for the best of what's available. I would prefer a Nikon, and I've looked at the P7100, 9100 and 8100. I've also thought about breaking the bank for the Fujifilm X10, but I would prefer to stay under $400, really $300 is ideal.</p>

<p>My wishlist as of right now is...<br>

D800 + grip<br />24-120mm VRII f4<br />14-24mm f2.8<br />200mm Micro f4<br />another SB-700<br>

and a P7000 for everyday fun use.<br>

As far as current cameras features that I would like to have changed or upgraded, I would say that I would like the D7000 features and body size with the D3s viewfinder, about 7-9 fps and an FX sensor for even better noise control and wide angle possibilities. I would be exceptionally happy with that camera, and I'm hoping that's what the D800 will offer + more.</p>

<p>I'm thinking about buying a pair also, but I have a few questions, maybe you can answer.<br>

1. Do you have to buy a Mini TT1 AND a Flex TT5, or can you just buy (2) Mini's or (2) Flex's?<br>

2. Are they hard to set up?<br>

3. If you don't have to buy one of each of the transmitters/receivers is there any advantage to either of them?<br>

Thanks a lot!<br>

Nice pic by the way.</p>

<p>Nikon D90 (Main)<br>

Nikon D70 (Back up)<br>

Minolta Maxxum 7 (Film Back up) (Maxxum 50 1.7)<br>

Nikon 50 1.8 (Getting Ready Shots, Reception)<br>

Nikon 17-55 2.8 (On the D90 75% of the time)<br>

Nikon 70-200 2.8 VRI (Ceremony, Portraits, and Reception (it helps put catch natural expressions since you can stand back from the crowd)<br>

Lensbaby Muse w/Close-up Attachments (Reception and close ups of the rings etc.)<br>

SB-900, SB-800<br>

Nikon 18-70 3.5-5.6 (Back up)<br>

Polaris Incident/Reflected light meter (only for tricky situations)</p>

<p>Can I just push the "repeat" button? I agree with everything above. In a nutshell, here is my workflow<br>

1. Import RAW images into Lightroom<br />2. Weed out any "horrible" shots, vastly over or under exposed etc.<br />3. Edit exposure (referring to the overall tonality of the image, not the "exposure" slider)<br />4. Fix White Balance if necessary<br />5. Color tag those shots that I will burn as final proofs<br />6. Do a few more creative effects on those final images (play with clarity a little, maybe vibrance)<br />7. Burn Full Size JPEG's to a specific folder.<br>

Photoshop<br />1. Open about 10 images at a time in PSCS5 and I use Nik Software's PS Plug in to help skin tones. There are a variety of things that I do to smooth skin, both with the plug in and with PS's tools.<br />2. Any other creative effects I deem neccessary (add text, vignette, selective color, etc.)<br>

I know that I could probably do just about all of it in Lightroom, but I'm more comfortable with PS from a creative aspect, so I continue to use it. I spend equal amounts of time in each program.</p>

<p>I can't speak about the 1.4, but I do use my 50 1.8 wide open very often. I just make sure that I get the focus as sharp as I can and I take multiple shots usually. Often these shots are some of the best I'll take all day. Since you're using a D700 though you could probably get away with using the 1.4 at f/2 or so and just bump your ISO. I'm using a D90 so the highest I ever go is ISO 3200, but I know that many people are very comfortable using the D700 at ISO 6400+.</p>

<p>I have a D90, and love it. However, if you want to shoot wildlife and nature I would recommend a used D300 and the 70-300 VR much like <a href="../photodb/user?user_id=5761759">Mihai Ciuca</a> did. The D90 and D300 are similar in many ways but the D300 is weather sealed and has a better AF system. Those two things will help you immensely for Nature photography.</p>

<p>I use an Intel iMac at work (graphic design) and all day every day it's put through the paces and I can't say that I've ever noticed it being exceptionally hot. It's not cool to the touch on the back of the case, but it's nothing that I'm worried about. It performs well, and it's a workhorse.</p>

<p>Keep the Nikon. I have the Nikon 17-55 2.8 and at one time I entertained the idea of replacing it with the 16-85, I was that impressed with it. I think that you already have a great combo with the 16-85 and the 50 1.8. You wouldn't really be gaining anything with the Tamron, you would lose flexibility. There are MANY times that I personally need to go wider than my widest setting at 17, I can't imagine my widest setting being 28mm.</p>

<p>Mark,<br>

As a rule, I NEVER use flash for the ceremony anyway. I shoot with a D90 and a Nikon 17-55 2.8. I will also use the 70-200 2.8 VRI, but only for a few shots. Here is how I approach low light ceremony shooting. First of all, take a few test shots of the venue to figure out your exposure. Since I don't have VR on my 17-55, and it's a heavier lens than yours, I'm a little more limited than you, but I always get my shots. I always shoot manual (only recommended if you are experienced enough to remember to change your exposure) and if I have enough light I will try to shoot at f/4 to retain as much sharpness and DOF as possible, however there is usually not enough lighting for this. For most cases I will shoot wide open at 2.8 and set my ISO at 1600+. I say 1600+ because that's my starting point. I will bump my ISO to be able to increase my shutter speed. You have to make adjustments often. If you know that there is going to be action soon, you'll need to bump your ISO to be able to bump your SS in order to not get blur. However, if it's a part that is slow moving (reading vows etc.) then you can afford to keep your ISO down and try to steady yourself well enough to use a slower SS like 1/30 with VC on. I've gone as low as 1/30 with my 17-55 when I had something to prop myself onto and the result was clear, not award winning, but clear. My best advice to you is to continually check your screen and zoom in on detail areas like the eyes to make sure that you're retaining sharpness, if you aren't then make an adjustment. Good luck!</p>

<p>If you're a member of NAPP they have a watermark creator that's free for their members. I use it and it takes about 5 minutes to set it up one time then it just runs like an action. It's the best thing that I've found so far.</p>

<p>Epp, I thought that the wording was wrong too. I suppose I could grab a telescope and attach it to my camera. Lol.</p>

<p>Thanks Joe. I sent that email to the park a few days ago and I haven't gotten a response yet. I searched on their website a bit and found this: http://kansascity.royals.mlb.com/kc/ballpark/kc_ballpark_security.jsp. In the screened box under Ballpark Security is says that "Camera with 12" or more lenses" will not be allowed. If that's true, then the 70-200 should be okay, and I could just stow the TC. It's kind of worrying me though. I don't want to spend the $ to rent the lens and be turned away. I guess I'll call and print that page off to show evidence at the gate, and just hope for the best!</p>

<p>I will add however, that there have been times that I didn't have time to set up OCF, or CLS failed me. In which case I had to make lemonade out of lemons and I either solely used my on camera flash with a large white card attached or I have my wife (lol, my assistant) hold my largest reflector to my right and I would bounce the flash off of it. Neither of these yield BAD results, but not as nice as my OCF when I have it working correctly.</p>

<p>Mark, I use it much in the same way you do. Right now I use a Nikon SB900 on my camera with an SB800 off camera on a lightstand with an umbrella or sometimes bare. I will use it w/umbrella for formal group shots to my right and raised. I will use it for various formal shots of the B&G if I feel that it's needed, and I have A LOT of fun using it bare at the reception. I will set it up in a corner out of the way or close to the DJ stand and since the SB900 is so easy to switch between master and normal mode I find myself assessing the situation to see if i want or need the OCF. If the reception hall is large I might aim the sb800 towards the ceiling and fire it off, I have to use an external battery pack though b/c it will chew through 4 AA's in no time. I also use a little pocket slave flash from Smith-Victor to backlight the veil for some formals. I position the SB800 to my side (which ever side I need to make my lighting pattern I want) and then I place the slave on the ground about 10-12' behind the bride. The SB800 handles the lighting in front and triggers the slave to light up the back. I really want to upgrade to a Quantum set up b/c the Nikon CLS system isn't totally reliable, but I'm doing just fine for now.</p>

<p>I echo what has been said, you must try to go to the venue early and plan things out. It's not a competition, it's cooperation. Test things out. You need to know how wide or narrow the coverage of each others lens' are so you can make sure that you're not in the shot. If you are going to shoot a wide angle shot at the back of the church, your partner needs to get behind you or have someplace to duck into quickly. After a while this will become second nature, but you both need to be aware of each others position at all times. Good luck!</p>

<p>I'm a Nikon shooter with a similar set up (D90 w/17-55 2.8) and I have more than a few lenses, but if I had to pick one extra it would be close between the 50 1.8 and the 70-200 2.8, with the 70-200 getting the SLIGHT advantage. The 50 1.8 is invaluable for the VERY low light situations. I can get a lot of low light shots by cranking up my ISO to 2000 with the 17-55, but I would much rather have lower noise images with the 50 1.8, and the DOF isn't a problem when you get used to it. However, the 70-200 gives me the reach to get the more important shots that are very unique, such as the kiss from the back of the church, or close ups of the expressions on peoples faces without them knowing that you're shooting them. I probably use the 50 1.8 more, but the 70-200 is more valuable to me.</p>