rt_jones

<p><strong><em>We did not appreciate the videographer grabbing the wedding party for still when we were shooting the formals. I guess we'll just grin and bare it the next time.</em></strong></p>

<p>As am ex-wedding videographer myself I think you should be miffed. I can't imagine infringing on the photographer's rights to take the stills any more than he/she picking up a Sony FX and shooting video.</p>

<p>And I agree with everyone else. If you don't want something to happen, cover it at signing.</p>

<p><em><strong>Could you share your metering settings for the vignette?</strong></em></p>

<p>Yes, I'd like to know how to shoot these as well. :)</p>

<p>Almost everything I PP has a slight and subtle vignette, corner burn on it.</p>

<p>I wish I could dump my shots and just deliver them as is but it's just too easy to express yourself these days in post and it doesn't change who or what is in the photo.</p>

<p>All you photographers getting sucked into a one-sided story should know better by now.</p>

<p><strong><em>would images taken with a 24-70 2.8 clearly out perform the 17-55 2.8 (on a 40D) if the 24-70 was used on a full frame camera such as the 5d?</em></strong><br>

Talk about Apples to Oranges...<br>

I can't even imagine comparing the 17-55 with the 24-70 much less compare the later with 2 different cameras. <br>

One is clearly designed for use with a Full Frame. The other is its counterpart for a cropped sensor. Plus it has IS.<br>

If you are tying to decide which to get for a 40d I wouldn't even consider the 24-70. It will become 38mm at its widest - a focal length pretty much worthless for "run and gun" situations.</p>

<p> </p>

<p>Cybersyncs. Cheap, reliable, small transmitter, long battery life, great range.</p>

<p>You can still use a flash on your camera while firing remote units off camera. Just run a cable from the transmitter to the sync port on your camera.</p>

<p>Mount the flash in your camera's hot shoe and use it like you normally do.</p>

<p>All one needs to do to see what's "trendy" these days is look at the facebook pages of your clients and see how they've mangled the photos you've given them.<br>

Many are converted to B&W, faces are cropped out, cheesy borders, outlandish glowing vignettes etc...<br>

I usually stop looking when I run across one of mine with a cute poetry blurb across the bottom.</p>

<p>Copy and sell 'em. What's the difference if the B&G does it for them? (Other than you you'll be compensated for it). They want you to do it because of the labeling/artwork on it.<br>

Of course get permission first.</p>

<p><strong><em> for the mother who called me twice crying thanking me for the DVD. </em></strong></p>

<p>Yet another reason why I don't mix biz with the family. Too many times I've done one of the "kids" weddings in our clan only to have a parent be the appreciative one. Nary a word from the ungrateful niece/nephew/urchin.<br>

I'm guessing in your case, you were "asked" to do the wedding then this pro was hired later on. So, in a misguided effort to protect your feelings and keep the peace somebody decided on the tactic you describe? (A stretch I know...)</p>

<p>RT <-- denying family discounts & freebies since 2004.</p>

<p>Most hardcore Uncle Bobs I run into have gear better than mine.</p>

<p><strong><em>so I don't necessarily see the 1.8 or 1.4 as an advantage over 2.8 if the DOF is too thin.</em></strong></p>

<p>Wow. 2 full stops has no advantage? It most certainly does and that DOF widens the further back you are. Plus, a faster prime will focus quicker.</p>

<p>Also, some of you are tossing around the 70-200 without mentioning whether it's the IS flavor or not. Two different beasts.</p>

<p>The 85 f/1.8 for the budget minded,<br>

The 70-200 f/2.8 IS (Mk1 or 2) otherwise.</p>

<p><strong><em>Since it is a large group, some 100 people,</em></strong></p>

<p>I wouldn't even attempt this with 2 SB600's.</p>

<p><br /></p>

<p><strong><em>Or do I have to save according to the size of print they want?</em></strong></p>

<p>I only deliver in native 2:3 ratio which is fine if they want to print 4x6, 8x12, etc. Anything else they'll have to crop themselves and they're at the mercy of the software built into those cheap kiosk machines.</p>

<p>If they want carefully cropped photos for a specific print size that's not native to your camera, that's all the more reason to order prints from you.</p>

<p>ISO 500,000?<br>

I agree with Nish. He was pulling your leg and you missed it. :)</p>

<p> </p>

<p><strong><em>You can learn a lot like how to get control and keep it in a professional way. </em></strong><br>

How can mentoring with a pro possibly help you with the task of herding guests? There is no "silver bullet" secret or right way to do it... you just need to "do it". <br>

Some days you win... other days you lose.</p>

<p><strong><em>I am not looking for criticism, I am looking for help.</em></strong></p>

<p>Nix the DJ announcement. Become vocal and assert some control - politely of course. During staged shots (things you orchestrate), if you see somebody standing nearby and poised to shoot tell them to wait until you give the all clear. I shoot with one guy who uses optical slave flashes during some of the indoor formals just for this purpose. After a few guests trigger his strobes it's funny looking at their expressions and they seem to stop. :)</p>

<p>Other shots throughout the day are another story. You are just going to have to tolerate them and work out an agreement with the major violators one on one. These types tend to rear their heads early.</p>

<p>You might not be able to outwit a guest but you can certainly outlast them.</p>

<p><strong><em>I like the idea of using flash drives but I don't think anyone will like the math.</em></strong></p>

<p>Sound logic Art but one needs to factor in the time to prep a DVD if one is doing them in house like me. (I probably spend more time on them than I should though). But like I said, maybe a spindle of pre-printed DVD's would alleviate this.</p>

<p><br /></p>

<p><br /><br>

<br /></p>

<p><strong><em>But how do you trigger the PW and the flash on camera</em></strong></p>

<p>I don't use PW's but I assume this will work like cybersyncs:</p>

<p>1.) mount the flash in your camera shoe like normal,<br>

2.) mount your PW on the flash with velcro,<br>

3.) run a short sync cable from your PW to the sync port on your camera.</p>

<p>Your camera's shoe will handle the on board flash (even in eTTL) and at the same time, the PW will be fired by the synch port which in turn will fire the remote flash.</p>

<p>Is this what you're asking?</p>

<p><strong><em>A DVD blank would be a lot cheaper and should last longer.</em></strong></p>

<p>You know, 5 years ago using DVD media was a no-brainer but with all the work involved to custom design and print the artwork in-house it's just something I'd rather not fool with any more. Not to mention, this is usually the final step right before delivery and I'm pretty much zapped by then. Then there's always the client with the "fickle" DVD reader that can't seem to get it to work properly. (This is probably a hang up from my video days though).</p>

<p>I suppose I could just order a spindle with the same custom label on all of them and just settle for that but I would think most of us wouldn't quibble about $20 these days. It's not that hard to bury it in your fees. (Assuming this is the future of media delivery of course).<br>

<br /><br>

As far as lasting longer, you're going to get some debate on that but I don't really care. Like I said, anything I give them should be copied for backup purposes and it isn't meant to last a lifetime. A lot of my clients shove their disks through those DVD slots on printing kiosks and that kind of wear and tear can't be good. No friction with a USB drive and they have much faster read/write times.</p>

<p><strong><em>When you say that you have them personallised for $20, it is for how many of them?</em></strong></p>

<p>Just one I believe as per this site:<br>

http://www.pexagontech.com/products/flash-drives/personalized-swivel-drives.php</p>

<p>Includes 2 lines of custom text or a logo.</p>

<p>I haven't registered with them to see if there are any bulk discounts.</p>

<p>My goal is merely a quick and presentable delivery method. Regardless of media, I expect the clients to copy their images liberally (Indeed I instruct them to do so.) I don't expect anything I give them to be thrown in a cedar chest to be passed along as a family heirloom.</p>

<p><strong><em>Colleen - I haven't done this yet, as I don't sell my files</em></strong></p>

<p>As it is, the ability to forego a copy of the digital negatives isn't not an option for my market. It's quite expected.</p>

<p>As a 2nd shooter I normally don't do that many solo weddings but I'm starting to get quite a few thrown my way from the main shooters. In the past, delivering on flash drives required ordering these things in bulk to keep the cost down but now one can get them personalized for about $20 along with a gift box and no minimum order. (4gb)</p>

<p>Those of you that have been doing this, how is this perceived by your clients vs. your old method (which I assume was a decorative DVD?)</p>

<p>What is the shelf life for these things? Do you warranty your delivery media in writing for xx days?</p>

 

 

<p>Disk delivery is still cheaper but it's too time consuming for me. (Or I'm lazy, take your pick)</p>

<p><strong><em>and I've taped the tips of my stand legs a bright, safety cone orange.</em></strong></p>

<p>Every once in awhile I run across an, "Ah-ha". Simple, effective and quite a useful tip.<br>

Now, how do you keep the photographer from tripping over his own stand?</p>

<p><br /></p>

<p>As a poorly paid 2nd shooter sometimes I think I make more money than you guys do :)</p>

<p><strong><em>Do you think trading my 135 and 70-200 f 4 IS for a 70-200 f 2.8 IS is a good idea ?</em></strong></p>

<p>There are only 2 segments I will use the 70-200 f/2.8 IS at just about every wedding:</p>

<p>1.) The ceremony when the "flash" part is over. <br>

2.) Candids during the social hour when the lighting is good. Again, flashless.</p>

<p>#1 is pretty important and I can't picture myself roaming the aisles back and forth even with a 135mm. I tend to position myself in one spot down the center aisle either in a pew with a monopod or towards the back with a tripod.</p>

<p>#2 can be done with any zoom but the 70-200 sure keeps one discreet. I know it's a beast but as soon as people get done gawking you're pretty much on your own.</p>

<p>If I left one of my lenses at home it would be on ebay the next day because I don't need it.</p>

 

<blockquote>

<p>If you are going to take pictures of a wedding</p>

</blockquote>

<p>I think this is what most of us do here.<br>

<br /></p>

<p>A sensible list John but I'd argue that shooting RAW+jpeg just might put more of a "write" load on the card and could potentially cause problems as well. Who knows? I suppose erasing in camera might also be added to this... again, simply to keep from accessing the card needlessly.</p>