paul_k1664875007

April 11, 2010

Use Auto Iso and keep the camera in Manual mode

You will be able to adjust speed and aperture while the Auto Iso will keep the exposure correct

And with the high Iso abilities of the D300 (although not in the same class as the D3) you don't have to worry for noise under normal circumstances

March 25, 2010

NPC made a polaroid back for the F2, as mentioned elsewhere it would produce two 24x36mm pictures on Polaroid 100 film, but despite the small image size they were very helpfull in the pre-digital era for judging light set up, picture and composition, hence the huge popularity of them in those days.

The major 'disadvantage' was that you needed an extra body as swapping backs when using only one body was no real life option

I personally have a Swiss variation for the F2 made by Poladapt, virtually the same but for the nylon strap the NPC back had for the controlled pulling out of the Polaroid, and an original NPC one for the F90X

Of course they gather dust nowadays, but just like my other film bodies I'm not eager to dump them

As far as the Polachrome is concerned, there were three types, one black and white, one color and one graphic one for making things like text slides.

The black and white one was very popular for a while in fashion for making scratchy damaged images (a bit like the 'Silly Girl' video by the 80's band Garbage) the color one was very magenta and all three were easily damaged and hard to get out of the processor ( I have the manual one somewhere) without residue on the sides, and very expensive as well

March 13, 2010

IMHO the only real limitation the D70S has for sportsphotography is the small buffer when shooting RAW

I agree with other posters it's a great little camera with very decent AF and IQ, despite the small viewfinder and noise at high ISO

I use one along with a D3 and D300, and as I want a D700 I'm going to sell one body

And it's the D300 that is the one for sale ....

February 23, 2010

As it is your first time ever and you haven't the slightest idea what to do or how to do it (if I read your message correctly) I would not even think of money (funny anybody would actually mention that seriously)

Studying portraits the night before won't make life any easier as you wouldn't know how to reproduce those results and probably end up blocking up completely while strugling to get any results

Unfortunately you don't mention your equipment (apart from the camera type) but to start with you will need longish lenses, something around 100mm. A longish zoom lens will do also when used at the longer end. reason is that with a short lens (i.e. approx 70mm) you will risk optical distortion (body parts closest to the lens may appear bigger, so no good for close up portraits)

Light is the next problem, using the built in flash or camera mounted flash risk the light to get too harsh, while using house hold lamps might no be strong enough and force too high ISO (and consequently noise)

Then last but not least, idea's. Your friends may want good photo's, but what do they want ( and can you make it?)

Given you have no experience it would be tricky to say the least if they expect you to pull the cart.

So my recommendation to have them come with idea's and suggestions in advance (pages ripped from magazines or downloaded from the net) so you can pick the one's you like, then see or try and find out how they're made and finally make the final choice of the one you will make.

Thus you can find out the technical (im)possibilities, maybe rent or borrow an extra lens, choose the location and prepare your friends on what to or not to do (no heavy clubbing the night before, be on time, have a sunny mood and don't expect too much from a debutant)

I would go for a daylight shoot, outside obviously, (OK, it's february and you may not live in Hawai of on the West coast, so that might be a problem) later in the afternoon when the light is softer

Anyway, just go simple the first time, stick to what you can, and thus allow yourself to do what you do best (you probably shoot nice pics, otherwise your friends wouldn't ask) and don't bury yourself in an insurmountable pile of unknown techniques and tricks

LOL

February 14, 2010

I have the 2.8/80-200 AF D model (the one that came after the first version, but not the two-ring version) and the difference with the 2.0/200 is huge, if any comparison would be fair.

AF speed, ability to focus under bad light, and IQ at fully open aperture are superior. That the 2.0/200 is only one stop faster then the 2.8 is only a theoretical remark and not based on actual use, the 2.0/200 is in a whole different class of its own

I have no experience with the 1.4/85, but agree that a lens that is one stop faster gets allow more light into the camera and the AF system to work with, based on working with e.g. a 4/600 and 2.8/80-200 with or without TC,

You will sacrifice flexibilty, depending on your style that may or may not be crucial

February 14, 2010

Although the SB900 seems the obvious choice I would do some research prior the making the buy

Is has the higher guide number and recycle time, but also the well reported heat problems which due to the built in safety causes the flash to shut down on not always the best of times

When shooting at large venues it will, especially when shooting fast, press the flash to give higher discharges and you might run into the before-mentioned problems

Some reports say that getting the extra battery package will help avoid this, especially when using slow recharging batteries like Eneloops

The high temperature safety can be turned of but you might then risk a melt down ( as has reportedly happened with many SB800 in the past)

I use both the SB600 (even got a second one recently) and SB800's and I like the weight, and size (used Metz 60CT4 in the past) and excellent (exposure and recycle) performance

January 31, 2010

From a shooters perpective I would start getting a flash, shooting by availible light only is IMHO no a realistic option.

I have shot a wedding with a D3 (also a high ISO monster) but had a D300 with flash for the reception and indoor shots as well

Upgrading to a D90 and 17-50 is great but I would consider a D300/D300S for the better AF and ruggedness (from what I heard the high ISO of the D90 is on par). The D700 is a great camera ( I'm waiting for the D700X/S and then pick up an 'old' one from the upgraders) love the smaller package.

Also, why not use the kitlenses? I use the 18-55 a lot and results are pretty much great. I would get a longer zoom though, the 2.8/80-200 still is my main lens in that regard, obviously the 70-200 will be even better (especially on DX)

my two cents

January 31, 2010

Hi

your equipment set up for the carwalk part basically is OK, although the AF speed of the 5D may be a bit slow. I'm a Nikon user myself, but from what I've read and heard if you stick to the center AF field it will most likely be up to the job.

My settings are usually manual with shutterspeed around 1/160 to 1/250 (with a 80-200), aperture around f2.8 to f4 and ISO as low as is possible wth the aformentioned settings. That wil under stage lights usually end up around ISO 1000 to 1600 but that should not be a problem, the 5D has excellent high ISO performance.

The pics you show seem yellowish, did you set the white balance on artificial light?

Try to be early, to get a better position to shoot from, you have now shot too much from the side, try get a spot straight in front of the catwalk (most likely you will have yo fight for it, as it is the most popular spot.

For the backstage pics, try get hold of a wide angle, it will be pretty crowded, and a 80mm and even 50mm will be too,long and leave you with people standing in front of you (uless you ant to shoot close ups). Given the probably worse light (compare to the catwalk) shooting fully open and as slow as handheld will allows probably will be the only option, maybe with fixed shutterspeed and variable aperture (sorry don't know the Canon term for that, with Nikon it is called Shutterspeed priority)

have fun

Paul

http://www.pbase.com/paul_k/aifw_20090124

January 23, 2010

I shoot a D3, so basically have the same 12megapix FX and 5,5 megapixel DX options.

But I stay away from the DX mode, as IMHO the difference in IQ between the FX and DX is too big.

Admitted, it will stand the comparison with the D70S ( which I also have), and of course the D700 AF and high ISO are far superior.

But I think when you have shot in FX mode for a while, you will agree the DX mode with the D3 and therefor also the D700 is really just for emergencies.

The loss in IQ of DX mode vs FX mode is too big to be comfortable with (not that it is bad, but in FX it's not just better, it simply is superior)

my two cents

October 31, 2009

If memory serves me well ( I have a SB600 but usually use it on camera or as remote but with a SU-800) the SB600 has a SU-4 setting so you would not have to buy a separate SU-4

Try the menu

October 31, 2009

If memory serves me well ( I have a SB600 but usually use it on camera or as remote but with a SU-800) the SB600 has a SU-4 setting so you would not have to buy a separate SU-4

Try the menu

October 21, 2009

Sorry, but IMHO you are completely starting from the wrong direction. I'm not seeing any input on the creative, and technical and last but not least practical side of the whole project.

No offense meant, but just walking around and asking who will help you create your dream project will only end up getting you stuck with the '5ft3 model' variety of stylist, make artist and model agency, and seems a bit of a '5ft3 model' approach of the whole thing.

When reading the reactions (including those of the OP) it appears that if you get the clothes, models and make-up artist, the pictures will happen just like that; a bit like asking what camera you should buy the make the pictures like this or that top photographer.

I must admit that at the same time I recognise in your questions a lot of the situation I was in myself when I started into fashion photography some twenty years ago. Like you I then had a clear idea of the pictures I wanted to end up with but no idea how to get/shoot them. It then too seemed a practical idea to get in touch with the creative people to have them help you realise your dream pictures.

But from experience (and although based in the Netherlands I did do some international shoots/publications in Paris, Milan and London, before dropping out of professional fashion photography due to eye problems) I cannot recommend the approach you know sketch. After all, for real and capable professionals to help you, there should be something in it for them as well, just a 'thank you' or even some money at end of the day will really not motivate them to do their utmost, and that is what you must want them to do.

I think you should first get for yourself an exact idea of the pictures you want to shoot, not 'just like Coco Chanel or Nina Ricci' but an actual storybook with sketches of the pictures in your head, or examples of the picture(s) you want to shoot.

Then make a list of what this mean on the technical side, like cameras' lenses, lights, technique, location etc. (don't underestimate the practical side and obstacles of organising a 'more then just one girl with her own clothes and make up' shoot)

Then look at your own photographic skills compared those with the ones required for the pictures you want to shoot. My advise would be to stick with pictures which you can shoot with what you know, rather then wanting to shoot pictures on the day itself while at the same time trying to sort out the technical side.

Then based with that clear idea of what you are going to do, and the confidence that you will actually be able to do it, approach possible top or maybe no so top stylists, make-up artists and eventually model agencies etc.. While talking to them you then can convince them with the homework you've done that you will be able to perform, rather then appear to be just another (rich?) amateur with wild ideas of pictures he thinks he can make or buy himself into.

And from experience I can tell you that when you can convince them of your skills and of the near certain possibility that something interesting will come out of it, money isn't really a factor to get them to work with you.

In short try not only to find someone who says they are wiling to help you, but who really wants to and actually can do the job required, just like they will want to be convinced that you will be able to do yours.

Oh, and I wouldn't start approaching people saying that you're not really interested in fashion and probably will get bored photographing it, not really a good sales pitch when wanting to ask people who are pros in that area, and probably highly motivated and dedicated to it, to help you.

Good luck, and looking forward to see the pictures

Paul K

September 3, 2009

Looking at the description of the light in your last posting, and the fact that you are considering renting a D700, I would dump the idea of shooting the show with flash and go for ambient/stage light.

The exposure for the kind of light you describe in my experience is usually around f4 at 1/250th at 800-1600 ISO. The D700 has from what I have read the same high ISO characteristics (and nearly as good AF !!) as the D3 (which I own) and will easily give high quality pics at ISO 1600-3200, so will easily handle the conditions you describe, and have enough reserves in case it turn out worse.

Get a 70-200 zoom or better a 2/200mm (the bokeh of that lens is astonishing when shot nearly wide open, also longer lenses give a more flattering perspective then shorter lens, while the catwalk seems nice and long from what I you describe), dial in a setting (my suggestion would be a high speed and nearly open aperture, AF-C with Dynamic AF and one selected AF spot, in the middle even when shooting vertically) and select Auto Iso (the best thing since sliced bread) and you are set for some amazing pics.

The SB-600 will be underpowered for the size of the venue, and as it has no batterypack will soon after the first shots develop a major flash recycle problem. It will be excellent though for shooting with a wide angle for backstage pics.

In the below gallery you will find (read the EXIF details) a number of pics shot under mixed daylight/tungsten with the D3/200VR combination

http://www.pbase.com/paul_k/20080913_modetent_rdam

In the next gallery (a.o bathing gear and underwear) the same camera and lens combination in an outside catwalk show where the VR200 lens show it exceptional qualities at near fully open aperture

http://www.pbase.com/paul_k/nwkoop_archief

while this link shows what the pictures (best start looking from picture 15 and higher) of other (OK, not pro) photographers looked like

http://www.slide.com/r/GIeHsWzOxT_zuqA7TES9j71CB6p_EEVE?previous_view=TICKER&previous_action=TICKER_ITEM_CLICK&ciid=1801439851346982727

If possible get a MB-10 battery pack for better handling and a monopod in case you decide for the 2/200mm

Have fun and succes

Paul

August 15, 2009

Actually, I found it a pretty silly, though funny, movie. Photography and styling were obviously inspired by the likes of Guy Bourdin and Helmut Newton, and the Charles Jourdin ads, but with the usual Hollywood flair turned into caricatures of the 'make love to the camera' type, the same kind that believes that every French photographer is a star in Paris and sleeping with the models before the shoot is a must ' to get a better connection' . I started in fashion photography myself back then, and in those days encountered several fashion students and wannabe models and fashion photographers who drew ' inspiration' for their style and behaviour from that movies. Fortunately things change, and looking back at this film makes a good laugh (' when we were young and silly' ) ... BTW epoch isn't really such a 'strange' word in my (non native English) language area, maybe a bit old style and rustic, but I suppose that last description falls in the same category : - )

August 15, 2009

Sorry, double post

August 15, 2009

In my filmdays I usually had a two body set-up, one with a short zoom e.g. 2.8/35-70, and one with a 2.8/80-200, with Metz 60CT4 flashes. Heavy, but reliable, and the TTL flash was unparalled. Biggest limitation was the by nowadays standards limited high ISO reach of film, beyond 400 ISO grain was unavoidable.

Nowadays I still use the same lenses, but if possible shoot availible light, which with the D3/D300 is much better to handle thanks to the high modern ISO capacities and colour temperature management ( in the filmdays tungsten film usually was one stop less sensitive then daylight film)

Flash is still an option, although flashes like the SB800 don't match the old Metz hammmerheads on guide number and recycle times, but as mentioned modern digital high ISO capacities will do excellently most of the time . I myself use a.o. a D3 with 2/200VR and D300 with grip and a 2.8/80-200D (yes the old slide-zoom version, still does the job)

The pictures on the site you linked are shot availible light with long lenses probably 2.8/300 or 2.8/400 (judging from the background separation). Please note that the stage light on such occassions is high quality and not what is usually to be found at local (sopping mall) shows

July 29, 2009

D2X or D2H, or D1H if you really don't have much budget

D300 is a nice camera (bought one myself in adition to a D3 to compensate the loss of the cropfactor) but AF is slower then the D1/2/3 models, shutter response definitely is slower, high ISO noise isn't as good as it's reputed to be (OK, I'm spoiled by the D3)

January 18, 2009

I tape my camera's for two reasons

- Not having to engage in silly discussions over equipment.

I shoot a of lot of sport with long lenses, and that does seem to ignite a lot of p.n.s envy, resulting in e.g. discussions over why my high end Nikons are inferior to even the lowliest Canon cameras, or triumphant exclamations when people think I missed the shot despite my flashy equipment while they have it nailed with their entry level DSLR and lens

- Keeping my camera's in reasonable shape

I.e. getting them not too scratched and too busted up in case I would want to sell it in future. I must admit that during a shoot I'm not always too carefull where and how I put down my stuff when switching bodies or lenses.

I'm not much in the 'being proud of my equipment', it's gear I use to get the job done, and I will buy what I need if costs don't get absurd.

That's why during my near 30 years of semi-professional I stuck to Nikon. The costs of switching system (multiple bodies and main use lenses) don't justify the temporary advantage the two main professional (D) SLR camera makers at times have over each other. That doesn't prevent me though from buying third party lenses ( for occasional or recreational use), flashes (GN and recycle time) or filters (cost) etc. when need arises.

January 15, 2009

Don't even consider the D1, get the D1H

Better IQ ( D1: banding, magenta colour cast), better menu ( an actual menu rather then cryptic codes you then have to try and remember what they stand for), better high ISO, better buffer, better write speed

Yes, it's only the second generation of the professional D series, but the built, AF and above mentioned qualities still make it a quite desirable camera.

Despite having a D3, D2X and D70S I still intend to have mine repaired (freak problem with the card reading unit in the body) after I recover from my recent buying of a number of SB800's and SB600's (I love CLS)

Had a D1X too, but the slow fps (I shoot much sports) and disappointing high ISO (worse then the D2X) made the decision to sell it easy when I bought a D2X

Dont believe scare stories about bad battery life, get the Battery Barn units and you will easily get 500+ shots per battery

December 28, 2008

When I started surf photography I used a 2/200mm with TC 20 and a D2X in HSC, giving me a virtual 800mm.

I then upgraded to a D3 with a 200-400 with a TC 14, giving me a 280-560mm in FX mode (don't like the DX mode on the D3, probably got spoiled by the IQ in FX) But somehow I feel I now lack reach, and am looking at a 600mm as an option.

But how about using a 600mm for surf photography? I's great for isolating actions (with a TC would give a 840mm and with a D300 and/or D2X well over 1000mm), and there are plenty of shots around made that way. But doesn't a surf picture get more exiting when showing the waves on which the action is made in the picture as well?

Looking forward to your opinions

Paul

http://www.pbase.com/paul_k

October 21, 2008

Started shooting with Nikon in 1979, still have the F2AS and FE I bought then, no failures other then due to abuse (the aperture ring on

the FE body doesn't run smoothly because of a bent prism house, not really a problem because I usually don't close down the aperture

too much)

No problems with the other F2, nor the F801/801S/F90/F90X (two)/F100/D1/D1X/D70s/D2X/D3 bodies used since then, nor with the vast

majority of manual and AF lenses used (only had one issue with greasy aperture blades on a 2.8/55 Macro lens)

Lately ran into two issues: VR on the 200-400 seems not to work well, and D1H doesn't work with a CF card inserted

Not really urgent problems as the 200-400 is used for sports and with the high shutter speeds used the VR is not essential, and the D1H

has already been a back up for several years, so repairs are planned maybe early next year

All in all not a bad score for 29 years of not always gentle professional use under not always exactly ideal conditions

[url removed per photo.net policy: <a href="http://www.photo.net/site-help-forum/00R1uZ" >Photo.net policy on 'signature' lines/links</a>]

August 31, 2008

As the D3 and D300 use the same AF module I suppose the settings I use might be of some help

I've shot a lot of surf lately and coming from a D1H/D2X I started with the settings used on those camera's and adjusting

them to the options availible on the D3. The lens I use is usually a 200-400 VR with a 1.4 TC, occasionally a 2/200VR (with or without 1.4

TC) or a 2.8/80-200 AF D

My AF basis settings for sports are AF-C, no lock-on, Dynamic AF with 51 AF points, 21 AF points activated with the

central AF point as starting point (although when shooting actions where I know the movement will start on a specific side, I start with the

AF point on that side, thus making better use of the full image afterwards when cropping in the digital darkroom).

From my F100 days I learned the hard way never to let the camera decide to select what to start focussing on, both for accuracy and

speed. Other settings are auto WB, manual exposure with auto ISO and matrix metering.

When I take a picture I aim the central point on the action and start taking pictures ( I shoot in Ch mode at 9 fps), letting

the AF traction take care of the AF when the action leaves the central AF point. I don't shoot till I empty the buffer, but

shoot short bursts (usually four of five shots, although I will be sending my camera in for the buffer upgrade shortly),

recomposing and refocussing between bursts, and crop afterwards

HTH

Paul

http://www.pbase.com/paul_k

August 16, 2008

I agree with Joseph, did the same

Bought the TC20 to get a longer lens (in combination with a D2X in HSC mode it became a 4/800mm) for shooting surf.

But when I later compared the IQ of pictures shot with the TC20 and the TC14 I bought later, I was quite surprised of the

loss of IQ with the TC20, and pleasantly surprised of the excellent IQ with the TC14

So the TC20 was sold

June 8, 2007

Frankly, I wouldn't buy photoequipment in Italy, or France for that

matter

Compared to eg Germany or Switserland, not to speak of the US,

prices are much higher

Milan is about 50 km from Switserland, so I would rather

consider to daytrip to there

June 2, 2007

Even if you don't change your lenses when you are on location (something I

don't do either when I'm on the beach shooting surfers), don't forget to clean

the outside of the camera when you at home and prior to switching lenses

then.

I have a soft brush with which I clean the camera first before taking off the

lens, and also use to brush of any dirt or sand from the back of the lens and

lensmount as well.

In the four years and five DSLR's I have used and am using, I've only took

away a body twice for cleaning the sensor, and after buying an Artic Butterfly

only cleaned a sensor two times, and doing it myself found it was a piece of

cake.

But that said, I think the whole 'dust on my sensor' hype is a bit over the top. If

you use common sense and don't take silly risks (which in the film days would

have resulted in dirt inside the body, or even worse the film pressure plate,

and believe me scratches on the negs is the last thing you would want) there's

little chance of getting dirt on the lens, and when it does happen, getting rid of

it is not a real challenge .

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Posts posted by paul_k1664875007