melandkeifspics

<p>I just learnt that in ETTL mode shutter speed no longer controls the ambient light and aperture no longer controls flash out put because no matter what, the flash will always try to compensate for whatever your settings are.</p>

<p>Now my questions is, how does using ETTL help or not help me freeze action at receptions? And when in ETTL mode what does shutter speed and aperture control?</p>

<p>Can I use ETTL in conjunction with highspeed sync to freeze motion? Will the resulting image have a black background?</p>

<p>Hmmmm.... I think perhaps the flash did not, in fact, fire. My complete apologies if it didn't. I guess it goes to show how much I need to learn and how far I need to go. Nonetheless I am greatful for all the help and have taken notes from every single comment.</p>

<p>I bounced the flash off the ceiling and it's a pretty high ceiling and large room for that matter. I also stand on a three step stepladder. That said, I will check my gear to ensure there is nothing faulty, although I'm lead to believe it is working because I did turn off the flash and definitely noticed a completely under exposed shot after shooting one. I have another Jewish wedding next week and will change my shooting based on all your comments.</p>

<p>It was underexposing the ambient light that I wanted to prevent, but now it seems like I can't have it all unless I use more lights triggered wirelessly. <br>

Flash will freeze the motion, but in an attempt to properly expose the background walls, I am overexposing my subject, therefore opening the door to motion blur and ghosting. The only true way to have subject and background exposed correctly and motion captured properly, I will need more than just the on camera flash. I have no choice but to get more lights. <br>

Is that the conclusion to all this? There's no other way? Is not shooting at the highest possible ISO (and not using flash) not somewhat of a solution?</p>

 

<p>And another question... Along with your lighting setups, do you use on camera flash for anything, say fill light? Is it not best to have a on camera flash regardless of your lighting setup just so you can be completely mobile and ready for any situation no mater where you are, een on your way to the bathroom (which, by the way, has happened to me)?</p>

<p>No flash was fired for pic 4 and 5 btw.</p>

<p>All awesome advise from the forum once again. I have posted some photos to give you an idea of what I'm encountering and with what gear and settings. Images are completely uneditted to show you first hand my issues. So don't mind anything like exact exposure or WB please.</p>

<p>1. EF 24-105mm, f4.0, 1/80sec. ISO1600, flash fired on ETTL +2/3, subject 12 feet away. </p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/17496805-lg.jpg" alt="" width="467" height="700" /></p>

<p>2. EF 24-105mm, f4.0, 1/80sec. ISO1600, flash fired on ETTL +2/3, subject 6 feet away.</p>

<p> <img src="http://d6d2h4gfvy8t8.cloudfront.net/17496806-md.jpg" alt="" width="680" height="453" /></p>

<p>3. EF 24-105mm, f4.0, 1/80sec. ISO1600, flash fired at 1/8 power, subject 3 feet away.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/17496807-md.jpg" alt="" width="680" height="453" /></p>

<p>4. EF 70-200mm f/2.8 USMII, f2.8, 1/200sec, ISO4000, subject 18 feet away.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/17496811-lg.jpg" alt="" width="467" height="700" /></p>

<p>5. EF 70-200mm f/2.8 USMII, f3.5, 1/250sec, ISO6400, subject 18 feet away.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/17496810-lg.jpg" alt="" width="467" height="700" /></p>

<p>Thanks in advance for any feedback.</p>

<p>Yeah, thoughts on photo as well never hurt... I'm not even looking for any sort of praise. I want to hear anout what I could have done better. I'll never learn otherwise. And what do you mean by "late" Nadine? Did I miss something?</p>

<p>So I shoot a lot of Jewish weddings as a second photographer and I usually shoot the men's side. Yes, I shoot weddings in which the men are separate from the women. I will say this much, moshing was invented by the Jews. Or at least the roots of moshing come from Hora dancing.</p>

<p>Anyways, I shot at a synagogue that had a 25 foot white ceiling with an on camera flash bouncing off of it. I only have one flash and this is all I can do for the moment. I also have a lighsphere collapsable attached to said flash. My camera settings are 5DMIII, ISO 1600-2000, f4.0, at 1/80-1/100 sec using a 24-105mm lens (the Canon kit lens). I use a Canon 600exrt set at 1/8 power. The room is pretty well lit with the room lights on (as in I can easily read a book or see the food I'm eating without any struggle).</p>

<p>The issues...</p>

<ol>

<li>It's pretty difficult to focus on the groom when he is constantly running in circles. I shoot with one shot and continuous focus, but even in one shot and AF assist, I have a hard time focussing. Any suggestions?</li>

<li>With my camera settings, and even my flash set to rear curtain sync, I get a lot of ghosting. What am I doing wrong?</li>

<li>I'm having a hard time getting my images tack sharp. Blur, but I wouldn't say it's all camera shake. Is it focus? Is the subject just moving too fast?</li>

<li>I noticed when I threw my 70-200mm and shot at f2.8, shutter speed at 1/200, ISO 4000, my images came out much nicer, sharper, and captured the moment better. Is the fact that I had to pull away from the crowd playing a factor? Even though it is only the reception portion of the evening should I not be worried about noise from using such a high ISO?</li>

</ol>

<p>Guys, I need your help!!!!</p>

 

<p>Great feedback from everyone. I love how helpful people are on this forum. Will look into getting at least two Canon 600exrt Speedlites to help me bring my recetion photos to the next level. For now I will have to rely on my GF lightsphere. Here's an example of what I can accomplish with that setup. What do you think? Thanks again!</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/17495245-lg.jpg" alt="" width="467" height="700" /></p>

<p>Can anyone help shed some light on on the following questions...</p>

<p>In trying to freeze motion, say at a wedding reception, with the use of flash (on camera specfically), what would one do in the event that a video light suddenly hits your subject? I've been told that when this happens to simply increase the shutter speed, but then what of the ambient light? Wouldn't the increase completely change everything?</p>

<p>How would you freeze motion if there was constantly a video light hitting the dance floor?</p>

<p>What's the theory behind shutter speed only affecting the ambient light and not your aperture setting?</p>

<p>Awesome, guys. Totally appreciated. I guess I need to start saving some money...</p>

<p>What do you prefer, speedlites or portable strobes like Allen Bees?</p>

<p>What's a reliable lighting and trigger system that won't break the bank?</p>

<p>More details? Sure, no problem... I have my camera and flash both set to manual mode. No custom functions on either devices. </p>

<p>Basically, I chose a subject, like a table, to shoot and simply had my flash on camera and pointed the head directly towards the table. I took a shot at 1/1 flash power at 1/125, f4, iso 800 and the shot came out completed blasted. All white. I then took the same shot, but at 1/128 power and got the exact same result.</p>

<p>This all happened during a wedding and the only thing I could do to actually properly expose the image was to decrease ISO and increase my f-stop to, say f16.</p>

<p>I also figured something was wrong when my flash was taking too long to recycle at 1/128 power and my batteries got super hot really fast.</p>

<p>The images I take with ETTL all have the same exposure, but merely look like I changed the white balance setting on my camera when changing the exposure compensation from -3 to +3.</p>

<p>A look at various forums on the web said it could be a pin contact issue or an issue with the bulb. I just wanted to know if anyone else has heard of such an issue. I also didn't want to send the flash to Canon who would charge me 99$ just to look at it and perhaps another arm and a leg to repair it. Many say that replacing/repairing the head is just as much to buy a new unit.</p>

<p> </p>

<p>Was wondering if anybody knew what might be going on with my flash unit. I have a Canon 580EXII that always fires at full power in manual mode no matter what setting I choose. Furthermore, when in ETTL mode, the only thing that changes when going from -3 to +3 (exposure compensation) is that there is a different color cast with my photos. The exposure doesn't even change at all when in ETTL, just the color cast of the image. What's going on? Is it worth repairing or time for a new unit? My unit is only two years old and I've shot maybe 40 weddings with it.</p>

<p>I wanted to know what other wedding photographers are doing for wedding reception lighting. For almost a year, I have been shooting weddings with the use of only one flash that I have to keep on camera. I bounce it off the ceiling using a Gary Fong collapseable dome. I don't unnecessarily hate the results I get, especially when I sometimes get help from the constant lights setup by videographers who point the light towards the dance floor, but I think it's time to upgrade...</p>

<p>I wanted to get into using more lights to illuminate the reception and wanted to know what I should be looking to purchase in order to get things done right.</p>

<p>I've been toying with the idea of buying speedlites, more specifically, I wanted to place a speedlite in a softbox next to the dj, stage, or in a corner of the room, then use an on camera flash for fill light. </p>

<p>I know some people use just the bounce card for fill light, but what do they do if they want to shoot a vertical shot? How would you avoid blasting the person trying to dance next to you with a blinding burst of light?</p>

<p>What techniques are you guys using to light up a reception? And what do you do to also get shots that make it obvious that there is a party going on with ambient/party lights (purple, green, blue dj spotlights) while keeping subjects properly exposed?</p>

 

<p>@Alan, I do sometimes apply my presets prior to editing in PS, however nowadays I want to keep my options more open so that I can offer clients a variety of different versions of the same photo. So for example, I want to be able to retouch a portrait (retouch blemishes or remove unwanted objects from the background) in PS and then offer my client six different versions renderred in LR. So yes, I can apply LR presets prior to editing in PS, but what can be done to do what I want instead?</p>

<p>English lessons aside, what are my options to accomplish what I want? Am I the only person who works in this fashon? DOes no one else want to be able to make edits in PS and apply presets in LR afterwards?</p>

<p>Yeah, I agree with what everyone has said. No doubt, the data is different, but what's the solution? I'd like to be able to edit in Photoshop while occasionaly checking what it would look like in LR with my preset before finally exporting for print.<br>

Does CS6 really address this issue?<br>

</p>

<p>Yes, I know I have a different file, but to the eye they appear the same. That is, my edits do not change the color of the image in any shape or form so in LR the RAW and TIFF file appear the same, yet the presets react differently.</p>

<p>This becomes an issue when I decide that certain images from the same photo session don't require any PS editing. So while in PP I end up having a set of RAW and TIFF images that I want to have the same preset applied to so that they all have the same feel, but can't because the preset acts so differently on TIFF images.</p>

<p>Currently I have to resort to changing all my RAW files to TIFF to ensure consistency. Further, my process goes as follows: I create a virtual copy of the RAW file. I then apply the preset and adjustments to the virtual copy until I am satisfied. I then send the original RAW file to PS for retouching. I then save the file back into LR where I apply the same preset as above to the TIFF file. I then A/B between that and the virtual copy to further adjust it until they look the same.</p>

<p>Yeah, I'm a newbie. That's why I'm asking the question...<br>

</p>

<p>I am currently using Lightroom 4 with Photoshop CS5. I shoot all images in RAW format, but when I want to edit photos in Photoshop, the images are converted to TIFF. I can then edit as I see fit and save the file which reappears as a TIFF in LR. My issue is that when doing so the presets that I set to the TIFF version acts very differently than to the original RAW version.</p>

<p>I've tried using PS as a "sandwich filler" by creating a virtual copy of the RAW image, applying a preset, then selecting to edit the original RAW file in PS (gets converted to TIFF), I then sync the virtual copy and the TIFF file, but the TIFF file and virtual copy still look different from each other with my preset applied.</p>

<p>Is there a way to work around to all this?</p>

<p>I know that the focal length rule is merely a guideline and that the rule varies depending on the camera's sensor, but what, if any, are the effects of this rule when combined with flash lighting (rear sync to be specific)? Seeing how the flash pops just before the 2nd curtain moves, would you not be able to shoot at 1/50 sec @ 200mm without any worry of camera shake effects?</p>

<p>This thread almost makes me scared to ask if I can be a second shooter to any wedding photographer. I've tried on a few occasions to offer my help, but stopped because I realized how competitive the industry really is. My wife keeps pushing me to ask, but I'm not too sure she fully understands how many would be unwilling to help me gain more experience. Surely, they must see me as a potential threat. I guess it depends on how much business there is to go around.</p>

<p>This leads me to my next question. How do you feel about the subject of taking on an apprentice? Would you be so kind as to share your most value secrets? How would you answer such an offer?</p>

<p>That said, I do feel for Paul. You got robbed of an opportunity to get published. That in itself would have been so cool. But at the end of the day, you got paid the money, not uncle Bob. At least you're laughing to the bank.</p>

<p>Today I had the opportunity to photograph a "dry run" of a runway fashion shoot I plan to to do in a few days. I experienced an issue using my 580EXii and 5D Markii with the following settings:<br /><br /></p>

<ul>

<li>Evaluative metering mode</li>

<li>Auto focus point selection</li>

<li>Continuous AF Mode</li>

<li>Custom function IV: Shutter button/AF-ON button set to 2: Metering start/Meter+AF start</li>

<li>Flash ON camera set to E-TTL, rear curtain sync, with a GF lightsphere w/o dome, pointing to the ceiling<br /><br /></li>

</ul>

<p>The venue is a nightclub with spotlighting and varying lighting along the runway.<br /><br /><strong>ISSUE</strong>:<br /><br />After focusing on the subject and hitting the shutter all the way down to take the shot, my images were under exposed compared to when I would focus, hit FEL to lock in the exposure, then take the shot. This occurs even when nothing in the scene changes. I am taking the exact same shot, but it seems that the image will only be properly exposed if I hit FEL prior to taking the shot. <br /><br />Hitting the FEL and having a preflash go off is highly impractical when shooting models coming down the runway because by the time I've hit FEL the model has moved out of focus. What am I doing wrong? What can be done to properly expose the model?<br /><br />I've thought of prefocusing and setting the flash manually, but I don't want to be locked to shooting the models in the same place.<br>

<br />Is it not possible to be continuously focusing on a model as she walks down the runway, take a shot, and have it properly exposed by the flash? I thought the pre-flash in E-TTL mode would be sufficient enough to get a good reading?<br /><br />I must note that his is less of an issue when the model is within 5 feet of me, but does occur from time to time. It's really hit and miss.</p>

 

<p>What are your thoughts on cheaper alternatives to brand name products. For example, <a href="http://www.cowboystudio.com">www.cowboystudio.com</a> offers a wide range of imitation products like the <a href="http://www.cowboystudio.com/product_p/bk-476.htm">Beike</a> tripod over a Manfrotto, a <a href="http://www.cowboystudio.com/product_p/rapidneckstrapdual.htm">Quick Double Shoulder belt</a> over the Black Rapid strap.</p>

<p>Other examples include products found at <a href="http://www.prophotographygear.com/">www.prophotographygear.com</a> where you'll find a lot of chines made alternatives like a <a href="http://www.prophotographygear.com/yongnuo-yn565ex-flash-speedlite-fr-canon-5dii-7d-60d-t3i-t2i-p-371.html">Yongnuo Speedlite</a> over the Canon 580EXii or <a href="http://www.prophotographygear.com/yongnuo-rf603-flash-shutter-trigger-for-canon-1d-7d-5d-50d-40d-p-342.html">Yongnuo flash triggers</a> over Pocket Wizards</p>

<p>What are your thoughts towards these products? Are there really ways to save a lot of money by using these products? Is there a site that dares to compare?</p>

<p>Any thoughts regarding this article on how to bring gear into Mexico?<br>

<a href="http://traveltips.usatoday.com/professional-camera-mexico-22999.html">http://traveltips.usatoday.com/professional-camera-mexico-22999.html</a></p>

 

<p>Hello everyone,<br>

<br />I know there have been a few threads regarding shooting weddings abroad, but I was hoping to get some clarification regarding my situation.<br /><br />I was invited to attend a wedding in Playa Del Carmen, Mexico. Initially I was going to go as a wedding guest, but because I'm a hobbyist with semi-pro and pro gear (5DMii and various L lenses), I was asked to photograph the wedding. <br /><br />Although, technically, not hired to shoot this event, I would be taking work away from the locals, but regardless of all this will I need to get a work permit?</p>

<p>Any other travel tips would also be appreciated. For example, I know nothing of how to declare my gear and whether this is something done prior to getting on the plane from Canada (where I am from) or when getting off the plane in Mexico (where I am going).</p>

<p>What other precautions should I take when handling my gear given the weather conditions over there?</p>

<p>Thanks in advance.</p>

<p> </p>