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Messages - agierke

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151
Canon General / Re: Thrown in deep waters... throw me buoys pls..
« on: July 29, 2013, 09:58:15 AM »
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Nikon COOLPIX S3500!!!!!!!

Now I am totally confused about my trip!!

Lol...yeah, I used to deal with alot of that too. Hopefully the attendants will be better equipped. It's a good illustration of how confused the general public is about what it takes to get good photography.

I had a gig once where I was asked to teach a workshop to a bunch of interior designers (they were from Ethan Allen so I use the term lightly). I was informed that the group of about 15 designers would be sharing one point and shoot camera. When I advised the store manager that that would be insufficient and she should at least acquire a tripod and some editing software she refused. The session was pathetic. I showed them how I approached interior photography and informed them that all a point and shoot camera can do is point...and shoot.

Don't fret too much about that. They made an uniformed mistake when they should have at least inquired to you about gear purchases before hand. Lol, their lesson begins early!

152
Canon General / Re: Thrown in deep waters... throw me buoys pls..
« on: July 28, 2013, 11:33:53 AM »
a good photographer does not make a good teacher. quite often they make terrible teachers because they cannot impart what they know in an effective manner to a student who knows much less.

the first class i was asked to teach was a digital class at a local college for continuing education. i didnt even own a digital camera at the time and i swore up and down that i was not fully qualified to teach the class. didnt matter to them...the woman who hired me asked me a simple question, "can you learn the material the week before you teach it?". i decided that i could and off i went. spent the next 10 years teaching at a couple different colleges including digital, color darkroom, B&W darkroom, and studio classes.

first off, you do not necessarily need to be in expert. a teacher is simply a facilitator who relays the information to the students in a clear way. you need to be good at that or you will have a tough time. you can be a bad photographer and still be a great photography teacher. i was honest when i didnt know the answer to a question but what i would do is jump on the internet in the classroom and look up the info on the spot. if i couldnt do that, i would find the answer by the next class. be honest about what you know and dont know but be prepared to find the information and deliver it the next day.

find out what they know on day one. do a 30 minute "get to know you" session where they introduce themselves, everyone describes what their prior experience in photography is, and what they hope to learn or accomplish on this particular trip. i would give a 15 question "quiz" covering the basics in photography (shutterspeed, aperture, iso, metering, etc) on the first day as well so i could see exactly who was at what level. expect the responses to vary greatly, but it will provide a framework for you of what subjects need to be covered. don't assume to go in their with advanced techniques as losing your students to stuff that is beyond their current skill level is awkward and uncomfortable.

cover the basics regardless....even if i knew i had advanced students i would go over shutterspeed, aperture, ISO, metering modes, and my philosophy towards proper exposure. review is healthy practice for students so even if someone thinks they know it, the students who dont still need to hear it. plus i found that seeing a different approach was beneficial to students who may have already been familiar with the subject matter.

plan each days lesson but expect to deviate often. come up with a list of topics to cover over a day but order them in a way that stuff at the end can be cut or bumped to the next day. get the essentials covered first. each group of students is unique and they will dictate how fast you get through the material. covering less more thoroughly is far better than jamming a ton of material down their throat of which they will forget most of it. the beauty of a creative class is that if you run short on planned material you can always fill up time with more shooting and more critique.

your primary focus should be the students. its very difficult if not impossible to seriously shoot your own stuff during classtime. your students will need/want your attention virtually the whole time. if you do dedicate time for yourself to shoot then it should be for the purpose of illustrating points you made during the lecture or be relative to the next days lesson.

if your primary purpose for going is to teach then you should have a great experience. if you primarily want to get a safari trip in then you may find the experience less rewarding and maybe a bit frustrating. either way it will be a learning experience. good luck!

 

 

153
EOS Bodies - For Stills / Re: My dead 5D Mark III Story
« on: July 28, 2013, 12:17:51 AM »
you are right! watching a movie while typing late at night and i start to not make sense! lol...reverse what i said...but i see it alot.

154
EOS Bodies - For Stills / Re: My dead 5D Mark III Story
« on: July 27, 2013, 11:50:12 PM »
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One thing, though, is if you bring the camera quickly from a hot/humid area to a cold (e.g. aircon'ed) area. That would make the humidy condense quickly, and possibly creating shorts.

this sounds like a much more likely scenario. it is quite common for this to happen on weddings moving from hot exterior conditions to air conditioned interiors. i've seen it several times though i have never personally seen a camera die from it.

the "sweat" scenario seems far fetched. i have been dripping wet while shooting weddings (quite a disgusting condition i might add) and have never had a problem on any of my 5D cameras.

sorry for your troubles though.

155
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so...any chance you could enlighten us all?

don't hold your breath.  seems like a tall order to me.

RLP...you got any popcorn popping?

156
Lenses / Re: Dxo tests canon/nikon/sony 500mm's
« on: July 15, 2013, 08:52:39 AM »
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   DxO should come out a standard testing camera for testing lens... a mirrorless camera should be idea since it'll have the shortest flange focal distance and can use adapter for different vendor lens... then the only variables will be the lens and the result can be valid to compare between different lens.

that wouldnt really be more valid as you still have to mount those lenses on their brand camera for real world purposes. why would i care what the test results of a lens would be mounted to a camera i would never shoot. i would rather see test results from a lens/body combo that i could actually use.

not that i really care about DxO that is....

157
Canon General / Re: fair compensation?
« on: July 11, 2013, 06:52:56 AM »
This is a usage fee situation and it varies greatly depending on market, region, and print run.

I would personally do no lower than 150.00

158
Landscape / Re: My photo on the Bing home page today!
« on: July 06, 2013, 12:08:35 PM »
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Did they pay you? Or are they profiting off of you at no cost?

this was my first thought. did they ask before using your image or did you submit it to them?

if not....having an image stolen is cause for excitement and congratulations? can you please clarify how this came about.

159
i can say that i highly recommend the 600 EX-Rt. i picked one up recently and put it through its paces on a wedding. didn't falter even once. i find that they are much more responsive and reliable than my 580's ever were. plus they offer alot more functionality over the 580's.

160
Technical Support / Re: Help me save this photo!
« on: July 02, 2013, 11:05:29 AM »
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Scanning with a scanner or enlarging with an enlarger is the same thing: make a positive from a negative.

Um...if you are trying to deal with removing scratches then scanning versus enlarger prints is two entirely different problems.

I'm guessing something is being lost in translation here so I'm gonna let it go.

As for the OP, scratched negatives suck but be glad you do have the digital option to correct them. The healing brush is probably the best tool to deal with it but if you want to try a potentially easier solution, check out the content aware fill features in PS. I think they started getting pretty good in CS5. If your version is earlier then you are stuck with healing brush.

161
Technical Support / Re: Help me save this photo!
« on: July 02, 2013, 08:40:32 AM »
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Lines are black!! Scratches in the negative are always white

Scratches in the negative are white true...but they turn black when a positive is made. Like a scan.

As others have clearly noted...this is such a minor issue especially since you were gonna need to use the healing brush like crazy to clean up all that dust.

Now if you wanted to have an enlarger print done...that's a different story.

162
as a wedding photographer i would have to recommend the 5D3 as your highest priority. it was built for doing weddings.

the focusing system is so good in that camera compared to the 5D2. it will add functionality to all of your current lenses and change the way you are able to shoot in a very good way.

163
EOS Bodies - For Stills / Re: Wedding Bloopers; Grab Your Popcorn!
« on: June 30, 2013, 01:14:09 AM »
i got two off the top of my head....

the first i came across was actually when i was working at a commercial lab. i ran all the E6 and C41 film so i saw ALOT of photography from many sources. one memorable roll came through with a 3 shot series that just dropped my jaw. 1st shot was bride and groom coming out of the church with arms raised about to walk down the steps (see where this is going?). 2nd shot everyone starts throwing rice, grooms arms still in the air and smiling....bride has started to stumble and is going down. 3rd shot everyone faces show realization of what disaster is about to happen, grooms face has an "oh @#%&" look and his arm is being pulled down as he starts to stumble while the bride has both arms completely outstretched and her face about an inch off the ground about to eat some serios pavement. there was no 4th shot.

the second instance i was a 2nd shooter on. we were at the brides place with her getting ready. the flowers arrive and are placed on the coffee table. the main shooter starts shooting the bouquet and arranges some small candles that were lit on the table around the flowers (mind you they were already there and lit...we didnt initiate that). she finishes up and goes back to shooting the bride. a couple minutes later someone comments on smelling something burning...we all start looking around and then suddenly POOF! brides bouquet bursts into flames. we scrambled to put it out and with some creative trimming and rearrangement the bride still had a bouquet.

164
Lighting / Re: photographing paintings that have thick paint
« on: June 29, 2013, 08:57:51 PM »
For large artwork an H-frame easle is indespensable. Got mine for just over 100.00 but you can certainly spend up to 1000.00 or more for a heavy duty one. Sandbags to secure the bottom and a level to square artwork up and you can fly through large pieces.

Shooting raw will allow you to take advantage of ACRs lens correction features to eliminate vignetting and barrel distortion so that you can really square it up. Use the crop feature with perspective on so that if the artwork was off axis you can correct that as well.

As boring as copy work may seem it does present a bunch of interesting photographic challenges to overcome

165
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This is a forum where I can express my opinion

can anyone else express their opinion here as well without being put down by you? or should we change this forum to CarlTNRumors....

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