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Any advice for taking pictures at a pretty standard friends coming together for some food and drinks at someone's house party event get-together thing? It'll be my first time using my new fancy DSLR out in the "real world". Not trying for high art or anything, but I'd like something better than generic Facebook poo poo. I have a Canon T2i and I was thinking of using the 50mm F/1.8 for this, unless the 18-55mm IS kit lens would be better? I might be able to borrow an external flash from my roommate too. INTJ Mastermind fucked around with this message at 08:56 on Apr 20, 2011 |
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Apr 20, 2011 08:50
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| # ¿ Apr 24, 2024 09:54 |
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Oh god! Thanks for all the advice, pretty funny how no one seems to agree here. Since I don't want to carry two lenses and look like some humongous dork (like the big SLR with a flash on top doesn't count already), I think I'm going to stick to the 50mm f/1.8 if I cannot borrow a flash (for the low-light performance), and use the kit lens if I can. Does that sound like a reasonable plan? Edit: We're not talking dance club dark here. Just someone's living room at night, with lights on. Will I need the f/1.8 performance there? INTJ Mastermind fucked around with this message at 18:46 on Apr 20, 2011 |
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Apr 20, 2011 18:40
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So um, why is the 50mm f/1.8 so highly recommended? I thought the idea was that the big aperture makes it good for indoor no-flash use? Also, do SDHC cards ever go bad? I already have a 16 GB one that never comes close to being full, and they're so cheap now, so is it worth $15 bucks to have a backup card just in case?
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Apr 21, 2011 07:09
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I'm going on an Alaska cruise in June, and I was wondering what equipment I should bring along. Here's what I have: Canon T2i with Battery Grip Canon Speedlite 430EX II Tamron 17-50 f2.8 Canon EF 50mm f1.8 Sigma 70-300mm f4-5.6 All the gear fits in a Canon 2400 bag. I'll probably take the bag with everything onto the ship with me, but I might not want to haul all that gear around when I'm on a shore excursion. I was thinking of several ideas, and wondering if anyone else who travels with their equipment frequently has any input. 1) Light weight: Camera w/o grip, and Tamron 17-50 lens. An extra battery in my pocket. Pro: Light, portable. Probably be a nice setup for scenery and most shots. Con: Not having a Speedlite worries me a bit, but the pop-up flash should be sufficient for fill lighting for the standard vacation photos of people standing in front of poo poo. Con: The 70-300 would be nice to have for birds / wildlife photography. Con: Alaska rains 250 days out of the year. I was thinking of making do with a zip-lock bag attached to a cheap UV filter in case it rains. 2) Medium weight: Camera w/ grip and Tamron 17-50 lens. 70-300 and Speedlite in individual carrying pouches attached to my belt. Pro: More equipment == Better than! Still don't require a bulky camera bag. Con: Looking like a humongous dork with all the pouches on my belt. Con: Still need something for rain-proofing the camera (zip-lock and UV filter), no shock / drop protection. 3) Bring everything! Take everything and the camera bag. Pro: All of the above plus drop / shock protection. Rain-proof. Con: Bulky. Running around with a camera and a bag over my shoulder doesn't sound like a fun day.
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May 2, 2011 17:32
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It's a 7-day Inside Passage cruise. The ports of call are Vancouver, Skagway, Juneau, Glacier Bay, Ketchikan. About a day in port at each of the cities. Glacier Bay is from the ship. Good point on the long summer daytime. Almost forgot about that!
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May 2, 2011 17:49
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I liked Understanding Exposure, but the author really didn't talk about flash photography. Is there another book (or a free online tutorial?) written in a similar style that goes into flash? I'm not looking for a book about setting up studio lighting or 4 different flashes. I just have one camera, one hotshoe ETTL-II flash, and I want to learn to use it well in all sorts of different environments. Edit: If it matters, I have a 430EX II and I just got a Stofen diffuser (the white plastic cap kind)
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May 3, 2011 02:07
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What if you're going on a trip and planning to take 1-2000 shots. gently caress importing and sorting through all that. 
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May 4, 2011 05:08
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Can you roll down the window?
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May 5, 2011 04:48
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A Jetranger is fairly roomy inside. About the cabin size of a 4 door car. If you're just by yourself you should be able to fit your bag
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May 5, 2011 15:43
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When people speak of fast or slow lenses, they usually talk about f-number, which is the ratio between focal length and diameter. But will two lenses with the same focal length and f-number be as equally fast? If one of them has more glass elements, fewer layers of anti-reflective coating, or more dust on the lens, then that one will transmit less light through, and require a longer shutter speed right? So won't a prime lens be faster than a zoom lens when both are set to the same focal length and aperture because the prime has less glass inside to absorb / reflect light? Also, does "aperture" refer to the projected diameter of a beam of light coming out the exit hole, or simply the physical size of the exit hole? Because poor design can mean that the light beam might be partially blocked within the lens and not all of the exit aperture will be used. INTJ Mastermind fucked around with this message at 03:28 on May 10, 2011 |
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May 10, 2011 03:26
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Beerios posted:comparing T-stops is just another form of dickwaving. I thought photography gear was all about dickwaving...  Thanks for that explanation, makes a lot of sense. I had some experience with astronomy and birding optics, and the level of sperging they went into was amazing. Brand A can resolve 2.3 arc seconds at 75% of the way out to the edge, with Brand B I counted 94 stars in cluster M31, etc.
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May 10, 2011 05:00
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I have Understanding Exposure, and The Speedliter's Handbook. Both are good for explaining the technical aspects of photography. What do you recommend for a book on composition?
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May 12, 2011 21:10
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TheAngryDrunk posted:The 50 is pretty drat small from what I remember. You could put it in a pocket. But where is he going to put the 24-105 when he has the 50 on?
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May 14, 2011 02:37
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torgeaux posted:Ding ding ding. Take the 50 only, no grip or flash. You're going to Disney World! Have fun with your family. Don't be "that Dad". INTJ Mastermind fucked around with this message at 02:48 on May 14, 2011 |
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May 14, 2011 02:46
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Business is business. The police will not care what they see on your site, unless it's something outrageous like child porn. They don't have the time or effort to investigate every photo to make sure it was legit.
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May 16, 2011 17:46
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What you want is something called a solar filter. It's used to take pictures of sunspots and such without setting your eyeballs on fire. A good solar filter has something like 1/1000th of 1% transmission, that's something like 17 stops. Quick math tells me that's equivalent to a 2 hr 15 min exposure from your ISO 50 camera. INTJ Mastermind fucked around with this message at 04:46 on May 25, 2011 |
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May 25, 2011 04:38
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This is going to sound retarded, but how big is a 11x14" print? Would it be a good size to display framed on a wall?
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May 25, 2011 20:18
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I'm going to be taking some pictures for a friend tomorrow (indoors), and I just had some quick questions about lighting. I have a Canon Speedlite 430EX II with a Stofen diffuser, a 24 ft E-TTL cord, and a regular tripod to mount it on. It seems the Stofen works best when angled at 45 degrees so it bounces off the ceiling. Is there any point to bouncing an off-camera flash? Do I have any options in terms of diffusing the light without bouncing? For people who've used the Sto-fen more than me, does it make sense to point it straight at the subject? I realize a flash stand and an umbrella would be ideal in this case, but I'm thinking of ways to make pictures using what I have (ghetto-poor )rather than what I wish I had (a 5D Mk2, 24-70L lens, 6x 580EXII Speedlites with pocket wizards, a trunk full of stands and umbrellas, and a crew of hot long legged women to assist me. )Edit: Is this any good? http://www.amazon.com/CowboyStudio-Speedlite-Photography-Studio-Umbrellas/dp/B002DE3RYM/ref=sr_1_1?ie=UTF8&qid=1306368938&sr=8-1 INTJ Mastermind fucked around with this message at 01:16 on May 26, 2011 |
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May 26, 2011 01:11
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I have no advice to offer you about that question, but is it just me or is one of her eyes a lot bigger than the other? Edit: I would still use it in your portfolio since you did 99% of the work.
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May 26, 2011 22:08
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If I'm doing macro photography, would shooting in live mode be the same as using mirror lockup?
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May 28, 2011 00:35
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My personal workflow... First pass - Anything that's not complete trash (subject off frame, focus off, exposure majorly off, exposure test shots) gets 1 star. Usually about 25% of the pictures are gone here. - Filter for 1 star or higher - Second pass - Focus on multiple shots from the same angle. The best 1-2 shots from each set gets 2 stars. The two star ones are all solid shots. We're down to about <50% of the original shots now. If you're shooting for someone, you deliver these on a disc. - Filter for 2 stars or higher - Third pass - Shots that have artistic potential - good lighting, exposure, composition, subtle changes in model face / posture, get three stars. These will be the ones you retouch. We're down to about 10-20% now. - Filter for 3 stars or higher - Now you start post-processing work. When you're done with each picture, it gets 4 stars. The 4 star shots will be the finished pieces delivered to your client. - Filter for 4 stars or higher - Now from the 4 star shots, you pick about a half dozen of your best shots, these get 5 stars, and would go onto your personal portfolio. So something like... 1. Start with 200 shots. 2. Filter out 50 for terrible pictures. 3. Filter out another 50-100 as not-as-good pictures 4. Pick 20-30 of the best that you want to retouch 5. Finally pick about 4-5 of the best as 5-star shots. INTJ Mastermind fucked around with this message at 20:41 on May 31, 2011 |
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May 31, 2011 20:39
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I don't bother. Sounds like something you can just do yourself in lightroom
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Jun 1, 2011 08:34
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So my good laptop died and I'm using my Netbook. It's ok for general stuff but editing RAW is painfully slow in LR. Are there any tweaks to make the process faster? Or should I just shoot JPEG for now?
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Jun 2, 2011 08:42
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TheAngryDrunk posted:Here's a random question. Shouldn't. The shutter blades move at the same speed no matter what your shutter speed is. All you're doing is determining the time interval between blade 1 and blade 2.
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Jun 2, 2011 21:40
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Would storing rechargeable batteries (Eneloop NiMHs) in the battery charger (unplugged of course) cause them to self-drain or do any funny business?
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Jun 6, 2011 20:25
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LargeHadron posted:Is there any advantage or disadvantage to changing the contrast/saturation/sharpening settings on my camera, or is this something I should only worry about in post, if necessary? IIRC those settings only apply if you're shooting JPEG. RAWs aren't affected by any in-camera processing. The in-camera settings are for people who don't want to mess with 100 hours of post production and just want to take their camera card to CVS for prints after their vacation.
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Jun 8, 2011 04:09
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My laptop died and my netbook just isn't cutting it for Lightroom. I haven't bought a computer in years, so is there anything spec wise I should be looking for if i want to process lots of RAWs fast?
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Jun 27, 2011 22:29
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a foolish pianist posted:If you use your 50, you'll have to get really far away from the group to get everybody in. I'd go with the zoom. Seconded. Also I think f/5.6 is the sharpest aperture for the Tamron 17-50. Depending on how the group is arranged (deep vs. shallow), you'd want a smaller aperture like f/11 to get everyone in focus.
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Jul 7, 2011 06:31
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On that note, any tricks to keeping your eyes open when you're being shot facing the sun? Seems everyone else can do it fine, but I'm always stuck in the miserable half-squinting face.
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Jul 27, 2011 15:14
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Why do you care? Is there a prize involved for you? Otherwise just email the jpgs
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Aug 6, 2011 15:52
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5436 posted:Where is a good place to get large prints of pictures? Large as in poster size or slightly smaller. Also anyone have a site that does the rundown of the different printing options/papers? I also live in NYC if that makes a difference, I figured online would be cheaper but maybe local is here since there's no shipping cost. I'd also want some opinions on this. Also would 16x20 be a good size for a print from a DSLR or would it be too much enlargement?
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Aug 7, 2011 23:03
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Did you mess with the import photo settings?
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Oct 27, 2011 01:49
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the posted:loving shallow depth of field in my prime lens You can only make that excuse when there is something in the picture is in focus. Nothing in that picture is in focus. Did you switch the lens to MF accidentally? Edit: Why are you manually focusing the lens? You paid the big dolla dolla bills for a DSLR for a reason. Set the auto-focus to AI-servo for moving subjects and snap away.
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Oct 30, 2011 06:00
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the posted:No, I was shooting on MF because AF takes too long on that camera, and half the time it can't get it. Was this the 50mm f/1.8 or something? You can't expect to be able to manually focus on a moving subject in the dark at f/1.8. Hell you could be aiming at a brightly lit stationary eye exam chart and you'll probably still miss the focus at f/1.8 manually. Just use AI-Servo and snap away. Yes you'll miss some percentage of shots, but better than missing all of them trying to do it manually.
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Oct 30, 2011 06:04
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I don't understand this at all. When I was in school, we'd have lots of pictures of our teams at events and stuff published in the school newspaper. And they'd be pretty large pictures, showing faces, and captioned something like "Anna Smith, City Name Middle School 8th Grader competes at County Tennis Championship" Edit: Try talking to the school newspaper people and getting signed on as a volunteer newspaper photographer or something. Edit2: They make camo covers for the Canon L lenses for hunting / wildlife photographers. Go bring your giant L lens in a bitching camo pattern. 
INTJ Mastermind fucked around with this message at 15:28 on Oct 31, 2011 |
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Oct 31, 2011 15:25
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Japan goon: what about going to a t-shirt shop and getting a black shirt with "PRESS PHOTOGRAPHER" in big white Japanese letters? That should get most people to gently caress off. Although I am in full support of the "hide in a tree in full camo" backup plan. INTJ Mastermind fucked around with this message at 03:01 on Nov 1, 2011 |
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Nov 1, 2011 02:59
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Probably not at all well. There's tons of moving parts inside that might stick in the cold. Even the mighty 1D Mk4 has a specified operating temperature of 32 to 113 °F (0 to 45 °C).
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Dec 11, 2011 22:43
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Sevn posted:Anything I should know about taking pictures in the airport? DFW security is insanely rude and terrible, I would prefer to not get harassed about taking a picture or 2 along the way. The only rule is you can't be taking pictures of the security screening area. But everything else is fair game. Snap away!
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Jan 21, 2012 22:41
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Assuming you have uniform lighting. Use a tripod, mark off a line parallel with the artwork and take a panorama by moving the tripod down the line, keeping the lens perpendicular to the piece.
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Feb 20, 2012 10:24
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| # ¿ Apr 24, 2024 09:54 |
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I would just take the 18-75 and the flash. 50mm is too tight for indoors. Bounce the flash off the ceiling. A diffuser / bounce card might help if you have it. Gelling to match ambient light temp will make more professional results if you have access to that.
INTJ Mastermind fucked around with this message at 02:05 on Feb 21, 2012 |
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Feb 21, 2012 02:00
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