« on: October 23, 2012, 11:35:36 AM »
A large scrim and post-processing can achieve a similar look. I tend to use flash for drama and Under-exposing the ambient light.
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Hi everyone, thanks for previous helpful replies to questions I've had
My next one is this: In my recently set-up photography studio, should I take on a friend as a business partner?
Here's the background: we're both relatively new to being paid for our photography, and the potential partner is roughly my age, has roughly the same photographic skills and experience (but is probably more experienced in some areas), and is very extroverted (in a good way). Costs are not an issue at the moment (due to low rent), and each of us would probably only be able to work part-time (due to other commitments). We both have similar photographic goals (i.e. portraiture).
Feel free to ask more specific questions about the situation and I'll try to answer them
Thanks in advance for your ideas.
My first post in this forum is a question you may have heard before...but I´ll try it out anyway.
I´ve been using the 7D since it was released and today my main lenses are a 100-400 L IS and a Tokina 11-16 2,8. I mainly shoot wildlife (birds), roadracing and recently I started to fiddle a bit with landscapes as well... (examles at www.subevent.se)
Now...firstly I wanted to look for a new lens which would be faster and give me a better "reach"...and I got stuck on the Sigma 120-300 2,8 OS EX...because I thought it would be nice with a 2x converter.
But on the way I´ve started to wonder if it wasn´t time for a new camera instead...
What I ultimately want is still speed for birds and roadracing...but also an improvement in image quality for my landscape shots. (well...to be honest I want a IQ-improvement across the board)
I talked to my local cameradealer who also happened to have a used Sigma-lens available - and asked him if I should go for a camera or the lens. (I almost always get the answer to go for the lens - but not this time)
His adwise was to get a used 1D Mark IV or the new 5D Mark III instead...and I could tell he was lobbying toward the 1D Mark IV.
So...what is the feel about this? If I am to change the camera - I want to see a real difference in IQ which is the main reason for me to let go of the 7D.
The cameradealer sat neatly on a used Mark IV as well - which looked really fine and would cost me less than the 5D...
Give me a 135L f/1.8 IS.
I think I'd prefer f/2, just add IS. The extra 1/3 stop of an f/1.8 model would probably increase the front element size up to 77 or 82mm (just a guesstimate) & increase the weight by 20-30% (in addition to the weight increase from the IS system). That would probably be a ~$2000 lens, if not more.
The beauty of the 135L is amazing IQ, very nice reach for a lot of situations, and an already-awesome f/2 max aperture, all in a very portable & affordable package.
At a function last night in a very dimly lit venue I struggled yet again with low-light AF. The 5D3 with 580EXII & 24-105 f/4is was OK except for the black AF points, which made it unprofessionally slow to always be sure of correct AF, but the 1D4 with 580EXII & 70-200 f/2.8isII was absolutely hopeless with a very large number of missed shots. Both bodies were on one-shot AF mode, keeping as often as practical on the cross-type AF points.
I'm actually considering picking up a couple of pre-owned 5D2 bodies just for these type of events. They have the handy red AF points and from memory are better than than the 5D3 for very low-light AF.
Any thoughts on this? What's the red-hot very low-light hero DSLR hardware?
I'm shooting handheld indoors without flash with my 5D3 all the time these days, it seems. Shame on me, I know, but these are often social / performance events where the flash would not be welcomed.
In these situations, I leave the zooms at home and shoot either my trusty 50/1.4 or the surprisingly good new 28/2.8 IS. To avoid wide open softness, I am pushing ISO into 3200-6400 levels to allow either lens to be stopped down a bit. I won't lie that I push ISO even beyond 6400 periodically.
I am shooting RAW in these situations with the High ISO NR turned off as it seems to do nothing to RAW files (I presume it's a JPG-only feature?).
I generally prefer capturing sharpness + detail with noise than softening up the image by cranking up the noise reduction. That said, if I can chase the noise intelligently without much detail being sacrificed, I'd love to hear how.
Can folks on this fine forum please give advice on:
1) Best RAW processing parameters to managing noise in Camera RAW. I get lost on the five noise reduction sliders (Luminance, L Detail, L Contrast, Color and Color Detail) -- so pointers on which to use and when would be terrific.
2) Are there other settings in camera that are recommended for shooting in these indoor/handheld/low-light situations?
3) Is Camera RAW is the best tool for noise reduction work? Should I use another RAW handler? Does saving noise work for Photoshop to manage a better path to take? Advice appreciated!
Thanks for your help!
Hey i'm finnally making the move from sony to canon what i've been using is:
I'm upgrading to:
16gb Cf card
My predicament is weather to buy a 430ex ii with a couple triggers or a Tameron 28-75 2.8
I mostly shoot longboarding, landscapes a little bit of portraiture low-light events, day time events and quite a lot of video, but I really want to experiment with flash but not sure I want to lose the focal range capability for video or lowlight shooting, recommendations?
Hi, I'm after some insights from Pro Band photographers on how are you making money?
Not because I want to follow in your footsteps, been there, had my fun. [I always got too drunk at gigs and it became hazardous to my gear]
I ask because I have recently become aware of artists such as Coldplay, LadyGaga and the Stone Roses, are asking for full ownership of merchandising and editorial rights. As I understand, you are allowed to sell your photos to one publication just once. AND you can't even use them in your portfolio.
Now I can understand the merchandising rights because they obviously don't want their band/faces printed on condoms or something inappropriate, but can you get a percentage for the photos they actually use for marketing?
As to the editorial rights, thats just plain greed.
It seems like they are getting photographers to turn up for free, work for free and then take all ownership of the work and use it to make money. Please tell me if I am missing anything, do you get a one off fee for turning up?
From an industry that is advocating artists copyrights and cracking down on pirated music, I find it highly hypocritical and upsetting that they would start trampling other artists rights just to earn more money.
Hopefully it's just a few artists with these demands.
With the EOS 1Dx, Canon has the best AF (after the f/8 focusing and black focus point fix), best frame rates, best low light ever, and of course the best pro sensor according to the rumored DxO leaks.
And it sucks for those using lower tiered Canon products with older sensor tech, but Canon's flagship has certainly been crowned the undisputed king of pro bodies. Hopefully now the lower tiered products get the same superior sensor in the future. May be 6D is that breed of new superior sensors coming out. Watch out sonikon, Canon is back with a vengeance!