Snow Bride - Page 3
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Old 03-11-2009   #21
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Default Re: Snow Bride

Kellymiester, these are super nice! I really love the 3rd shot! I love capturing unscripted moments, you done good on this one.
Here's somthing that I do. I actually write "CHECK ISO" on my Right thumb. So that every time I bring the camera up to my eye I see my message. Try it! Sometimes, I still forget to read my thumb......
Chris
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Old 03-11-2009   #22
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Default Re: Snow Bride

Kelly,

How on earth do you work out the exposure on a picture with that much blinding snow? I mean, it almost seems like one would need to shoot a High Dynamic Range picture. And great pictures, by the way.

NJ
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Old 03-11-2009   #23
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Quote:
Originally Posted by KellyL View Post
Arved....this is why I hate WB. It is so unpredictable. And I keep saying, I am going to shoot my WhiBal card in all the situations so I don't have to mess with it, and faithfully, I forget to do it.
It's tough to walk around with a whibal all day, and harder to use it. In a wedding, there are usually enough neutral whites (wedding dress, shirt collar), it's almost overkill. Getting the camera out of AWB and into an appropriate manual white ballance, and jelling the flash to match ambient light goes a long way.

Quote:
Originally Posted by KellyL View Post
The one of the couple at the reception was inspired by one of my heroes....Joe Buissink. I saw it unfolding and tried to capture it. But his shot is better...better expression on the bride and adoring look of the groom. Portfolio of Beverly Hills Wedding Photographer Joe Buissink. Award-winning celebrity and destination wedding photography serving Beverly Hills, Los Angeles, and the World. Third gallery, fifth picture. Love that one.
Ah, now I see what you were trying to do. First time I saw your shot, I wanted to switch the point of focus. Have the groom's eyes in focus, and let the bride go to a dreamy blur. Now that I see what you were trying to accomplish, it makes a lot more sense.

I've got basic sepia toning down, I think, but there are times I want the blacks toned leaving the whites white (we used to use "warm tone" paper when printing to get that look), and there are times I want the whites toned keeping the blacks black (we used to use cream toned paper). I'm still trying to figure these out. I think some sort of duo-tone process might work.

I need to spend more time in Photoshop, and less time here, on my blog, and in Facebook.
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Old 03-12-2009   #24
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Originally Posted by Brewyet View Post
Kellymiester, these are super nice! I really love the 3rd shot! I love capturing unscripted moments, you done good on this one.
Here's somthing that I do. I actually write "CHECK ISO" on my Right thumb. So that every time I bring the camera up to my eye I see my message. Try it! Sometimes, I still forget to read my thumb......
Chris
Now you're talking! And I am so glad I am not the only one who has been afflicted!
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Old 03-12-2009   #25
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Default Re: Snow Bride

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Originally Posted by nikonjedi View Post
Kelly,

How on earth do you work out the exposure on a picture with that much blinding snow? I mean, it almost seems like one would need to shoot a High Dynamic Range picture. And great pictures, by the way.

NJ
This is what I was afraid of, blowing everything out. When we went outside, I immediately thought....I have one of two options. Either shoot them where all the light would be equal with a bright background...they would be squinting into the sun, or find someplace where the light was subdued. I chose the latter. I have a few pictures of them with the sun shining on them as well, but they are a little squinty.
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Old 03-12-2009   #26
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Originally Posted by Arved View Post
It's tough to walk around with a whibal all day, and harder to use it. In a wedding, there are usually enough neutral whites (wedding dress, shirt collar), it's almost overkill. Getting the camera out of AWB and into an appropriate manual white ballance, and jelling the flash to match ambient light goes a long way.



Ah, now I see what you were trying to do. First time I saw your shot, I wanted to switch the point of focus. Have the groom's eyes in focus, and let the bride go to a dreamy blur. Now that I see what you were trying to accomplish, it makes a lot more sense.

I've got basic sepia toning down, I think, but there are times I want the blacks toned leaving the whites white (we used to use "warm tone" paper when printing to get that look), and there are times I want the whites toned keeping the blacks black (we used to use cream toned paper). I'm still trying to figure these out. I think some sort of duo-tone process might work.

I need to spend more time in Photoshop, and less time here, on my blog, and in Facebook.
Well, I am really happy to have you here to discuss things with, so don't go too far. I don't know about printing actual prints...only did that in junior high as part of the photo club...but that was BASIC develop and print. Fun, but only had a brief moment in time when I got to enjoy it.

Thanks for the ideas. I bet JB's printer uses some of those techniques. I really like his work and he is an inspiration to me. I would love to jump off a cliff and do something original too...
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Old 03-12-2009   #27
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Default Re: Snow Bride

And I need to do the gel. I need to do the gel. I need to do the gel.
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Old 03-12-2009   #28
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Well, I am really happy to have you here to discuss things with, so don't go too far.
Well, if you insist. I'm glad some of my rambling is making sense to at least one of us.


Quote:
Originally Posted by KellyL View Post
I don't know about printing actual prints...only did that in junior high as part of the photo club...but that was BASIC develop and print. Fun, but only had a brief moment in time when I got to enjoy it.
I only had a one semester photography course in HS. The rest was a correspondence course taught through The School of Hard Knocks. Well, I did have a mentor when I got into the wedding biz, and I've taken a few seminars through my local guild. And I've read - a lot.

I finally came to terms with printing when, after 10 years of study, I finally figured out what Ansel Adams was talking about with the Zone system, and especially how it applied to printing. About the time I got to the point feeling comfortable printing B&W, and felt ready to take on color, the digital revolution started, and I knew it was only a matter of time. 2001, I bought an Olympus C2100UZ, and the Mamiya RB-67 went into moth balls.

But before I start rambling like a senile old man, I'll cut it short.
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Old 03-13-2009   #29
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Default Re: Snow Bride

But you had, and operated, a Mamiya.
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Old 03-13-2009   #30
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But you had, and operated, a Mamiya.
So? Did the same sort of stuff with 35mm, too. Just change the negative carrier, swap out the enlarging lens (80mm to 50mm), and press on.

There was a lot of talk about the advantages of Medium Format cameras when I got into the wedding business (about 10 years ago). And if you're going to be producing 40x50 wall portraits, I'd still agree. Going to modern dSLRs has convinced me that it was completely overkill for the 30-40 8x10s that used to included in a wedding album.

It did, however, command respect from aunt Milley with her little Pentax P&S, and Uncle George with his Canon AE-1. They'd "part the sea" to make sure I could get the money shots. Not true anymore.

What I did get with the Mamiya was B&W negatives with no perceptible grain. I was taught to use a grain magnifier to focus an enlarger. My negs had no grain to focus on. Absolutely silky smooth yet tack sharp images.

But, 10 years ago, a wedding album was merely a collection of matted 8x10 or smaller images bound in a book, and these cameras were complete overkill for that.

Don't get me wrong - I like the change.

Remember, the camera is just a tool. The photographer has to know what he's doing. The Mamiya had no electronics, and everything was set manually, including the focus, so it really slowed you down and made you think about what was going on. The waist level finder rendered an image that was L-R reversed, which took a lot of getting used to. I used to shoot weddings in 150-175 frames, which included bracketing some of those critical exposures, which helped. You're always changing film backs (10 or 20 exposures each) and reloading them. And the light meter hung from your neck, and thank God for Automatic exposure Thyristor flash units.


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