Ben Cochran
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Truthfully Will? I actually love this exposure and prefer it, imho it looks great! I don’t see that as dead space as it really adds a tremendous amount to the overall composition.
To answer your question: The AD’s don’t really tell an enormous amount of detail, in most cases. More information normally comes from the GA’s, as far as technical desires. The one thing that I have always been asked is, shoot it wide enough that we can decide where to place the text and always shoot larger than what you consider to be a finished crop. As they say “We need the space for our decisions”.
I agree with the reply that Carter made at 10:30 a.m. I would also add that far to much emphasis is put on the body and lens, yes, I said lens as well. Bottom line, museums, galleries, private collections and so on are full of collectable photographs, including Pulitzer prize photographs, that were taken with what we would consider to be inferior to today’s equipment. Don’t get me wrong, good glass is very important but it is not the one thing that makes an average photograph great, it is 100% the user/photographer, good glass just makes it more consistent and easier in a lot of different conditions. I have seen, in other places on the Internet, where the photograph was judged completely on how sharp the image was. In a lot of those cases, it was not the camera or lens as much as it was the fact that the photographer got a good capture and simply slid the clarity way up in post edit and hit it with and unsharpen mask layer, the final images are sharper than what the naked eye could see at the shoot but for some reason, many consider that the defining quality of an image.
If I went out and purchased a pair of “Air Jordan shoes”, I know that the NBA would still turn me down. Goes to prove that the skill is much more important than the equipment. Everything has an application and has a more practical use, dependent upon the needs and demands from the equipment. If you want to force yourself into learning how to become a good photographer and learn how to use a camera properly, get the D40x. If you want to increase your learning curve about the technical end of photography get the D40x. If your goal is to have some of your photographs published, get the D40x. If you want to capture some amazing shots, get the D40x but study more about lighting and how to control it. If you want the bells and whistles, upgrade to another body. The bells and whistles are great and for professional assignments, they save the photographer a great deal of time and increase the potential of getting the shot when timing is imperative. By going straight to the most convenient and automated type of equipment, a great amount of skill and knowledge may not be acquired, the same tolls that allows one to maximize the potential of great photographs. Main thing, don’t let the bells and whistles force the photographer to become lazy in setting up the shot or in taking a shot.
I can promise you this: If you go for the D40 with decent glass, then learn more about photography than just how a camera is made. The images from that camera would blow many from the upper end cameras away. Again, it is the photographers acquired skill and knowledge of more than just their equipment, the equipment has no soul.
You may want to upgrade later but it is not something that you would have to do.
Neal, I have been thinking about this a bit more and if I was in your position, I would go for the versatility of a SB800, 1 SB600 and the SC28 cord. This will give you a great amount of versatility and be more practical for everything that you have described to me.
Zach has an excellent setup for macro photography and his Softbox/scrim invention is beyond cool! I would use his macro studio over one of the photo box kits everyday and any day, I hate those studio kits. One thing that I would add though (I won’t recommend this as it is UNSAFE), brucenorikane remind me of this, sometimes I will use one of those arm desktop lamps and place a 4000 Kelvin bulb in it. I sometimes use this to light up the background, as it is close to the same Kelvin of the strobe flashes. BE VERY CAREFUL WITH THIS BULB!! It will get very hot, very fast so, I only turn it on just before I take the shot and then turn it back of immediately!
Using those cool inventions, that Zach keeps coming up with, and his same style of macro studio… I know that you and your wife will be much happier with the versatility of your new lighting system. By using the SC28, you can take that SB800 off camera and use the strobe as well as set it up as the master. Kind of kills me that people turn the strobe off and use the SB800, on camera, as a master because it also means that they had to purchase one extra strobe to use off camera in its place…
For the indoor real-estate shots: You can just use white foam board to bounce the slaved strobe for fill light into the darker areas. It works OK for a better control over the amount of flash shadowing from just an on camera flash.
I am with you there pal. [ch9786] My ex used to tell me that I had a problem separating my wants from my needs, now I have a rather profound and unique way of finding and defending a way of needing what I want LOL.
I want to help you out here but had to think about this for a bit. I decided to approach it as if I was hired to shoot for you guys and this is how I would approach it. I would “not” show up with just the R1C1 as I would not be able to get all of the shots that I would want. I could get some dynamic shots but still I would want to at least have 1 SB600 but probably more. It will fit on the 18-200 but for what you are talking about you need more than just the 2 SB200’s
The thing about photography and professional images as well as professional quality images is in the lighting. You have a great camera and as has been said before, it isn’t the camera as much as it is the photographer. This is true but the separation of photographers is through their use and study of lighting. One can learn every single detail about a camera and still have only average images. Take the same intensity of study and apply it to lighting and climb the ranks of paid assignments, the camera is secondary. I know of several published professional photographers that used the D50 on published images, the only difference is in their use of lighting.
Granted it is great to get the latest bells and whistles, in our camera equipment, but it does not make a photographer better. To really maximize the potential of your camera, get and study lights as well as lighting. After this, your wife will have some of the most amazing real estate photographs on her site [ch9786].
The only reason that I upgrade my equipment is due to some added features that help me do certain things easier and the demands of larger files from my publishers and now agencies are moving to larger minimums. Other than this, a jpg from my cameras would look just as good as if they were shot from your camera; shown on the computer. Again, this caveat, with the same type of lighting/strobe effects: The lighting and shadow to light ratio makes the shot. So, adding flash to your equipment will help maximize your skills and potential of your camera.
Hope my rambling helped some 🙂
Just an added note for you Neal, you don’t loose all practicality with the R1C1. Here is a bit more about the R1C1 setup, of which I strongly recommend over the R1. You can always upgrade your camera later but you will not need to with this. It will give you the professional lighting that you need and is very light, portable and versatile. The other things that I would suggest getting are some of the table top point and shoot adjustable tripods $5.00-$15.00 each (you can screw the provided R200 stands onto them and adjust the angle of flash). The entire kit also comes with separate pouches for all of the kit so that you can also fit it into a camera bag, if you chose to do that but the provided case is very strong and sturdy, also has a top compartment where you can add several of the table top tripods.
Think of it more as a miniaturized studio lighting system as you can set the lights in the same manor as one might use them for professional portrait shoots, for macro photography. The R200’s even have built in modeling lights, with automatic shutoff, so that you can focus in extreme to no ambient light. This feature really allows for some extreme dynamic lighting shots.
I read the reviews to better address any issues for you. Someone mentioned the rings and how one would have to purchase them separately… The R1C1 has all of the rings so, I don’t know what this person is talking about as I have used this on my 105VR, one that the reviewer said no rings were provided for yet, I used the provided ring for it and it is the same one that fits on your 60mm. The rings for all of the Nikon Lenses are provided with this system.
The applications, of this system, are truly endless and are one of my favorite investments in lighting. On a humorous note: It is the same flash system that they use, attached to the lens, in crime scenes on the show; “CSI NY” lol
Even if you decide to get an SB600 later, you still get far more bang for the dollar this way, IMHO only. 🙂
Yes you can, Neal. It would work perfectly and is really one of the features that it was designed for. It will work fine on macro but I would still recommend the R1C1 system for the type of shooting that you defined earlier.
To expand on your last question more. You can attach the SC28 to the SB800 and not only use its strobe, you can also set that SB800 to be the wireless master for many additional SB600’s or 800’s.
You may also want to consider the Nikon R1 or Nikon R1C1 Speedlight flash system. I have the R1C1 (with the SU800) and added a few more SB200’s which allows me to also use it as an amazing ringflash, I used it on a shoot just a couple of days ago. The SB200’s also have settings for 3 groups and 4 channels which make it great to control the lighting when using the SB900, SB800 and SB600’s. I was shooting with 4 SB200’s on the R1 as a ringflash, 4 SB800’s (1 through half gradient umbrella, 2 through soft box with half solid, 1 reflected off silver umbrella and then 2 CTO SB600’s as back light. I only write this as the SU800 allowed me to adjust the intensity of the different groups from the camera, this saved me a tremendous amount of time from making all of the manual adjustments. It is not radio so, around corners is a different beast [ch9786].
The lighting from the R1 and R2 is amazing and they also come with stands so that you can remove them from the ring. The other great feature is that if you decide to mount them on the ring, they are at the very end of your lens and are adjustable. One more thing that I love about these lights and love to do, you can take the ring off of the lens and have a remotely triggered “off camera” ringlight as well.
If you opt for the R1C1 “with the SU800” remember that the receiver need to be pointed towards the SU800. If you need to have lights fired from behind or directly next to you, the SC28 alows you to take the SU800 off of the camera and reaches out to 9’, also maintains support of TTL.
Finally; for macro photography, IMHO, the R1 and R1C1 with the SB200’s will perform better than the SB600, 800 or 900’s for this application. Here is the R1C1 at B@H http://www.bhphotovideo.com/c/product/410481-USA/Nikon_4803_R1C1_Wireless_Close_Up_Commander.html I know the it may seem coastly but look at what you get with it, in the items included.
Aaron, Great choice on equipment and lenses! You really do need to put that 24-70, as David Anderson mentioned, on your list and in your bag, before going to the 400 or 500mm. It is a great lens and I think that you will use it far more than you think. In the mean time, get a 1.4 or 1.7 teleconverter to use on that 70-200 VR (Another great lens!) for the times that you may need the additional reach.
Also keep this in mind: You have a great portrait lens in your bag, don’t let the title profile fool you because that 105VR is also an excellent portrait lens! Don’t limit this lens to just close up shots as it truly delivers amazing shots. Joe McNally, one of the best and most globally recognized living photographer’s, uses the 105VR on a lot of his commercial portrait assignments. I don’t think that you will find a better example of how great and versatile the lens really is.
To be perfectly honest with you, I would keep that D40 and use it. It would be a perfect scout body and be the wiser choice for test shots. Culminate the shutter releases on the D40, with the nonessential shutter counts, to help prolong the life of the shutter on the D700. The Lexar UDMA 300x are a good match for the speed of the D700 and 4 to 8Gb are the better choice, anything smaller will become a nuisance for you.
If you start looking at hot shoe strobes, go for the SB800 as the SB900 really is not worth the extra $200.00. If you find any used SB800’s, don’t purchase them, just send me the info so that I can get them LOL.
That is great John! I hope you don’t mind that I borrow that as you described it in a way that completely mirrors my own thoughts! Thanks!!
Thanks Corey, I greatly appreciate your words and I am glad that you got their true purpose.
Thanks John, but I don’t get the “But for the grace of god there go I”. Guess I am getting slow with in old age [ch9786].
Thanks Tim. I know what you mean about taking advantage of those less fortunate and please know that it is not my intent. My purpose is more to get people to recognize life is life and we are all linked in common through our emotions. I just chose to go more to the despair side as I think it has a much deeper root.
Carter, sometimes I do and sometimes I don’t. These are my own private works and not anything that I have been commissioned to do or had an assignment to do. All of these images are in public places and are not intended for commercial use so, I do stay on the proper side of international law.
Thanks Lee Church, yes, I always have at least one SB800 and gels, so that I can balance the flash with ambient light sources. Sometimes it is needed to help balance the feel but I try to set them low enough to remain natural appearing. If I plan on using flash, I do 2 things. Have a friend carry the remotely set up flash (with the gels, snoots, diffusers, barndoors or what ever) and have them aim the flash for the desired lighting. The next thing that I always do, I always give the subject what they would consider to be a large amount of money to help put them back into the mindset that they were before I disrupted their life. Pay first and you get an overdone smiley picture.
Thanks Richard, that really means a lot to me, coming from you. I need to try and find the rest as I do have a lot of emotion with both these people and their pictures.
Thanks Kevin, I had thoughts of writing short bits about my thoughts, with each image but I wanted to stay away form that and hope that the viewers would have their own thoughts and words. Like your shots there too, my friend [ch9786].
Thanks Scott, it was and is my intent to try and get people to see how we all are connected and share many of the same types of emotions, no matter where in the world each person may live.
Thanks Chad, I really appreciate the time and thought that you put into your post. I was hoping to see something written as you did. I do have an intent and purpose behind both what the composition is and the order in which they are set. Here is my logic and desire. In our lives, we have all seen these people or people like them. We normally see them as we pass by them on the street and automatically start to categorize them as possession less or what ever. My intent is to capture or convey emotions that go far beyond the content of ones chattels and try to demonstrate that a passing glance on the street is a real person with an equal amount of life. Not life as it has become commonly described, through ones accomplishments or material wealth, but more that life is just the simpler matter of breathing the same air and feeling a common emotion, in this rawest form we are all equal and have balanced merit. I set the order in personal hope. I hope to remind the viewer of a moment when they too were walking down any street in the world and remember that one passing glance they too once had. It is the purpose of my order to then have the viewer come upon a similar image that links them directly into the eyes of the other brief glances, a moment where the viewer and subject connect. I only hope that it puts life into the subject and unexpectedly triggers raw emotion in the viewer.
The intent of the entire portfolio, if I ever finish it, is to have the viewer go back and reexamine the previously viewed pictures and remember the common people that they have seen in places that look familiar to them. It is more of a respect to everyone in this world as having the same emotional characters and getting away from the stereotype belief that ones life is measured upon the weight of their chattels, it is the reason that I refer to it as blurred assumptions.
I do wish that I had the time to get into these people lives and document it as you had explained, I love that sort of art. While on assignments, I do my best to get out and see the non-tourist areas of the city or country that I may be in. These pictures are far from what I am contracted to shoot but have more emotional value to me than what I may have with an assignment but due to the fact that I do need to shoot the paid work, I don’t get much time to get to know the people in these images.
These pictures were all taken in either Eastern Europe or Western Europe. Another part of my intent is to show how much in common many people around the world are. I like to hope and think that a viewer may look at the second picture and think that it looks like it was taken of a person in their own city but this was shot on one of the streets in Paris. I would hope that the forth picture may seem like it could have been shot in Griffith Park or along one of the streets there in Hollywood, it was actually shot in a dark ally in Vilnius, Lithuania; and so on with the rest. I don’t really want to tell their story as much as I just hope people stop to think for a bit of how valuable life is and how others too, are very real in their lives but do not have to hold our share in beliefs of how life should be measured, just respect the fact that others we deem to be less fortunate are just as alive as we are and in many cases, their chattels are empty because that is the way that they want it to be. Still, life happens and others are no less important than ours. No matter their choices– Each moment matters–.
Again, thanks for your post and thoughts, I value your depth of thought!
Will Milne, thanks! I can’t say that I purposely tried to get a Lazio look as much as I just let each composition talk to me. Some of these shots, I will set at a far distance and study the subject and lighting before thinking about lifting the camera. I do my best to get documentary images mapped out and dialed in, in the camera and with the type of lighting that I want and/or need. The second picture can be duplicated by one of several methods. One is to put a very light coating of Vaseline around the perimeter of the glass on your lens. Keep it very thin and leave the intended focal point clean and clear. You can also, lightly wipe some of the Vaseline off of the lens, from the most inner part to the outer, and get some very dramatic effects. I carry chapstick for this reason as well [ch9786]. Another thing that fails more often than works is; a slow shutter speed but while the shutter is triggered, carefully zoom in on the subject but leave the longest exposure to capture the zoomed in composition, Takes a very steady hand and patience as there truly is more failure than success. Of course PS will do the trick as well, in most cases.
Aaron Otto, thank you very much for your very kind words.
Love the shot and post edit Chad. it certainly deserves to be published and I have a feeling that I will get to say this to you many more times in the future. “Congratulations on getting published”
Fantastic shots Will!!! I love the dark backgrounds as well, it adds all kinds of dimension to the image and makes it so much easier to view the focal point.
Can you get me a snip of the Marmot ?
I love the stuff for nymph tails.. 😀LOL… David, Isn’t it funny how our thoughts have changed? Not like the old days when we used to sneak our parents National Geographic, just because we had a special interest in the native cultures of the South American Indian tribes ;D ;D. I sure hope that you didn’t plant a seed in my mind as I don’t think anyone would get that I am thinking, “I sure would like to tie a Nymph out of that”. ;D ;D
Dusty, I too am sorry about missing that and not answering the TTL question. Yes, it stands for ‘Through The Lens”. To give a simple answer to a complex set up. A long series of mathematical formulas, (considering distance to subject, ISO an aperture), must be conducted in order to obtain the proper flash exposures. The TTL system allows for a more automated format that calculates the formulas for strobe exposure but the software will then shut the strobe off when the algorithm has determined the proper amount of light has hit the sensor. It is a much faster and safer method of controlling strobe exposures but is not an “all cases use”. That is why the other settings are also available. You may notice a short beam of light, which comes through the TTL strobe, prior to firing. This is not to assist in auto focus as it is the TTL system measuring the distance to your subject and formulating the mathematical calculations prior to firing. It is pretty complicated but that is the basic function of TTL.
Oh yes, I almost missed the other part of your question: In a case where the photographer is using TTL, they most often will start out with the camera zero settings. What this means is; the exposure value of the TTL units will be set to their default setting or zero setting. For special lighting effect, the photographer can full or part step the values up or down (not to make it more confusing, this is also known as the f stop of the flash). This is where the strobe and camera communications tell the flash to either strobe longer or shorter, which increases or decreases that amount of flash. It is great to now be able to have command units that control several strobes at once and independent of each other. Hope this helps some…
I am not an attorney, nor do I play one on TV but… It seems to me that just the act of an employer trying to force you into breaking a law, is breaking a law on its own. Disciplining you for not breaking a law is a new can of worms and probably breaks another law. Make an anonymous call to your District Attorney office and get the actual truth.
Seems to be that your Boss would be grateful to you as you saved them ,yourself and the client a potential law suit. I am sure that the image in question has probably been registered too and if that is the case, you saved everyone a boat load of money from this potential law suit. Protect yourself my friend and protect your job, seek legal advise on what your rights are and how you can best protect yourself. You don’t have to seek legal remedy but at least know what your recourses are.
If it counts: I am very proud of you but at the same time, I hate that you were put in that position.
Cool… I love high-speed sync [ch9786] Now that the hotshoe strobes are made with this possibility, all kinds of new location shooting potential is available.
I can feel your pain mate but honestly, how can you possibly call that ugly. You and I both know that PS inmates will line up and even offer to pay you, for letting them touch that shadow up. Lucky Bastards 😉
If you grow tired of the bikini shoots, I’ll be glad to trade you one of my: “Daughter of a Mongolian Nomad in a Marmot coat running through the Gobi Desert” assignments and give you a break from all of that beach stuff. ;D ;D
Love the very first image, that you posted in this thread, a lot of technical attributes that I really like in it.
Love that first image David. Haven’t seen you around, for a while, and was getting concerned about you, glad to see you posting again:)
Yea, post the images of what you call ugly people, always fun to watch the interaction that comes from the people in these classified images
GGreat question and concerns, truth of the matter; these same questions have been asked far before digital came along. With the proliferation of digital, the questions have just become more common and the concerns far greater.
My take on it may not be a popular one but it is one of reality. As a new photographer, in respect to publishing, your first concerns are for you and what your goals are. If you plan on going full time pro, your concerns have to be focused on achieving these goals. If you are a family person, your focus has to be on your family and how your photography will support your family while allowing you to advance in your profession. No matter what profession, we are talking about, a professional is the same in nature. Professional athletes are the same in principal and we must consider that their amateur comparative pay, college career, is peanuts compared to what they receive as a pro. It is just a part of the growing cure to becoming a full time pro. In my old business intelligence days, we referred to this as the “loss leader”.
For the sake of my argument, I refer to a professional as one who shoots full time, as their primary source of income. I have learned that I have a difficult time writing what I mean and that my words may come across as demeaning so, please know that I do not mean this in a way that is meant to insult anyone at all! In essence I meant that there are many amateur/semi pro photographers that should be shooting full time but they just haven’t made the contacts that would allow them to do this. It is hard to get published but even harder to keep getting published. In order to do this, we all have taken a lower fee to facilitate this. Again, your first obligation is to yourself and your goals but don’t give stuff away. Sometimes, just a credit and print of your name may be all that you can get but don’t give the copyright away, someone has already said this. When proper, (this is not an always proposition for new photographers), offer warrants of licensed use with restrictions on it, you have to do this as you truly owe it to yourself! If you have plans on using your image as commercial use, don’t extend unlimited use to a publisher that intends to use it more as a documentary piece, they could then also resell it for commercial use and it would be in your best interest to be able to renegotiate.
Know the true category of your image. It is so easy to fall in love with our own work but we have to separate ourselves from the images and force reality into it. If it is a documentary piece, it will serve only as a documentary piece and retaining the copyright is good enough, as the magazine will, most likely, only use it for documentary pieces. The main objective here is to get published and paid, according to their pay scales; you always reserve the right to just say no. For smaller magazines, you can protect yourself into a “forget about it” from the publisher and end up holding a bunch of images that you should have had published. How does this effect your future plans? The odds of you ever being able to do a larger assignment or even finding your way into the door of another publisher goes down drastically to impossible. The first thing that a larger magazine or client wants is to see your book, “published images”. So, here is where you must answer your own questions of how much is it worth.
90% of my published work would fall into the category of fashion, street fashion, fine art and two product labeling (as a paid favor to get a larger assignment, the company needed a fast turn around on this so, I took a smaller fee to help them out of a bind) so, I am not an authority in the realm of the outdoor magazine/commercial sector. As a matter of fact, I have no hesitation in saying that many of you are far better at this than I am. What is similar is the fact that a commercial shoot is still a commercial shoot. Not all clients needs require expensive equipment and complicated shots; it depends on the size and circulation assessments of the company. Some of those low budget images could have easily been done with a point and shoot and I have even seen some great images that were shot with a cell phone camera, they all served the needs and do look great. If it is a small company and a small circulation, the fees are going to be small and no effort of price fixing is going to change that. Trust me, as a full time freelance photographer, I do not get hired because of my equipment or knowledge of cameras and the fees are never based on that as anyone can learn how to use a camera or purchase expensive equipment.
If I were still starting out, yes, I would of probably been very upset to find out that someone was giving free images to one of my potential clients. Like in Zach’s case, of building a relationship and then getting paid: One would have to consider the source of anger. I would have to say that the anger would have to be because he had a much better business plan, which worked great! It does not have a damaging effect of hurting the fee structure of the larger industries.
Professional photography is a business first and once we loose site of talent facts, we are only protecting something that many others could do and can do for less. There are many professionals here that really have nothing to worry about. David King is a full time staff photographer and what someone excepts from a very small company would not effect him as it is not in his value to take that assignment, that and an amateur would not be able to get the shots the same way that he does. David Anderson has nothing to fear as even if we all had his same equipment, we would not be able to get the same shots that he does. I always have something to fear but it is not from competition as it is much more of a fear of myself loosing creative thought and not continuing to my goal, macro stock prices has nothing to do with my fear nor does a photographer taking small assignments for low fees. If we were so afraid of what a documentary image may bring in fees, a lot of news paper photographers would fear for their lives. Some of the best professional photographers got their starts with very low paying newspaper fees but are now making the big bucks with much larger clients.
It is all stepping stones and each person must do what they have to do to grow their own business, none of the other professional photographers will pay you for passing on a potential low paying job that gets you published. In closing, just remember to keep your copyrights and register your important images as the proposed Orphan Act may hurt you, if passed. I do not and will not post my best images on the net as I have seen first hand the pirating that goes on. I have seen one of my images published in Eastern Europe, without my knowledge. Again though, sometimes you have to take risks for exposure but for now, I am ok on that front. In today’s world, photography is about taking risks and knowing that they are there. One can protect themselves into never getting published but if that is your goal, to get published, just know that the risks are great and that you have to take them and work yourself to the point that you can limit the risks, with future work.
This is really a cool thread! Some great shots and great trout images in it, some really nice Browns. All though I live 10 minutes from a great wild Brown Trout River, they only average 7-9″ with a nice one being around 11″, doesn’t make for great trout shots but they sure are pretty, nonetheless.
Nature photography has always been my weakness but you all have been inspiring me to get out and work on it more. Big question is, how does one make a 7″ trout look good next to all of the 20″+ Browns, I don’t have an answer. I decided to do the same thing that John was talking about and included more shade, just an attempt to try and give the illusion of taking away the shortness of the trout and with out cheating in photoshop. Decided to shoot in the shade of a tree and use a narrow beam of sunlight coming through the leaves. Thought was that the shadows would take away from the fact that this is a very small trout. Don’t know if I like it or not yet.
Just got my computer and new logic board back so, hope I am not embarrassing myself again 🙂 John, as always, LOVE your work!!!
I really like that last shot John. Macro and Nature shots are my week points but I don’t get paid for doing this type of work. I have some ideas of how to add a small amount of additional lighting, to your bugs, in a nature setting but they are just ideas and not something proven to work. You inspired me though, I think that I will go out and try a few things and if any of them work, I’ll post the images and the setup but I have a feeling that your images are going to blow mine away 😉 I’ll be working without a net too as my image software is only on my macbook and it is still in the shop 🙂
