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#12
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(hba1c) wrote in message . com...
Two of my friends are getting married. They don't have the funds to hire a photographer so they were just going to put disposable cameras around and use those photos. They asked me to take a few shots. By chance I have studio equipment (Photogenic PowerLights®, Photogenic PhotoMaster). I was planning to take some posed shots with my studio lights before the ceremony. The want a shot coming down the aisle and just two or three during the ceremony. I can use flash when the are coming down the aisle but not during the ceremony. I don't know what the lighting situation is in the church. I was planning on taking Portra 100NC for the posed shots, coming down the aisle, and some candid shots at the reception. I was thinking Portra 400NC or Porta 800 for during the ceremony. I was also thinking a roll of Reala. They know to take what the get since I am not a professional. Without me, they will not have much of anything so... I will be traveling 250 miles the day before and I may not have access to refrigeration. Any thoughts? Thanks everyone for the advice. I guess what I should have made clear is that I am not a professional photographer at all. In the past I was helping a professional photographer start a business and I ended up with studio equipment. I have a Canon SLR. I did shoot a wedding under similar circumstances once before. It actually turned out well from my amateur point of view. The pressure is that these people are friends so I want them to have the best results I can produce. I will not be in town until the night before but I am trying to get access to the church then so I can see what the lighting will be like. As I said they want to do the "posed" shots before the ceremony because they will not have time between the ceremony and reception. I found a "pro pack" of Porta 160NC 135-8 (10 rolls). Since they are not looking for the numerous shots a real wedding photographer would take, I was thinking I would use a couple of those rolls for the posed shots with studio lights before the ceremony and for the shots coming down the aisle with my flash. Then I could load a roll of ISO 400 or 800 for the ceremony. I could use another roll of 135-8 for when they start out of the church. Then I would use a roll of 160NC or Reala (I have had good luck with Reala) for the reception. When I last talked with the bride, she only told me about a handful of shots she actually wanted so I think this will more than cover it without spending a huge amount of money on film. It also means that I can still be a "guest" for some of the time! The processing will be done by a professional lab http://www.profilmet.com/. Does this sound like a workable plan? |
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#15
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"hba1c" wrote in message om... As I said they want to do the "posed" shots before the ceremony because they will not have time between the ceremony and reception. If you lack experience and proper equipment, it will probably show up more on the posed shots than on the candids. People are going to have a certain level of expectation on those formal shots, which they would not have on candids. If your photos are intended for enlargement, I would try to do as much work as possible using a tripod. That may be a bit clumsy, but you have to work to closer tolerances in 35mm. Any camera shake will show up when the photos are blown up, and the lab can't help you because it cannot be corrected. I haven't shot a wedding in 30 years, so I can't give you current film recommendations. I used Vericolor back then, because it was a low contrast film, with excellent flesh tones. You want to use a low contrast emulsion so that the detail in the bride's dress and the groom's tux is visible. If you were to use a typical consumer emulsion, you run the risk that the dress is displayed as one big blob of "white," and the tux is all black--and there is nothing worse than blown-out highlights in wedding photos. I found a "pro pack" of Porta 160NC 135-8 (10 rolls). Since they are not looking for the numerous shots a real wedding photographer would take, I was thinking I would use a couple of those rolls for the posed shots with studio lights before the ceremony and for the shots coming down the aisle with my flash. Then I could load a roll of ISO 400 or 800 for the ceremony. I could use another roll of 135-8 for when they start out of the church. Then I would use a roll of 160NC or Reala (I have had good luck with Reala) for the reception. When I last talked with the bride, she only told me about a handful of shots she actually wanted so I think this will more than cover it without spending a huge amount of money on film. It also means that I can still be a "guest" for some of the time! The processing will be done by a professional lab http://www.profilmet.com/. Does this sound like a workable plan? |
#16
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"hba1c" wrote in message om... Two of my friends are getting married. They don't have the funds to hire a photographer so they were just going to put disposable cameras around and use those photos. They asked me to take a few shots. By chance I have studio equipment (Photogenic PowerLights®, Photogenic PhotoMaster). I was planning to take some posed shots with my studio lights before the ceremony. The want a shot coming down the aisle and just two or three during the ceremony. I can use flash when the are coming down the aisle but not during the ceremony. I don't know what the lighting situation is in the church. I was planning on taking Portra 100NC for the posed shots, coming down the aisle, and some candid shots at the reception. I was thinking Portra 400NC or Porta 800 for during the ceremony. I was also thinking a roll of Reala. They know to take what the get since I am not a professional. Without me, they will not have much of anything so... I will be traveling 250 miles the day before and I may not have access to refrigeration. Any thoughts? Portra or NPS, either one, but all from the same batch and w/ the same flash. No lab is going to correct each frame. You could wind up w/ a lot of good shots rejected "cause of the color cast on a few. Bob Hickey |
#17
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I appreciate your advice! As I said I don't do this very often. The
church is 250 miles from my home so I will not see it until the day of the event or maybe the night before. I am just going to have to use the ISO 400 or 800 whichever will work. Actually I am not working. I believe I am the only one that will be attending the wedding that will have anything but a point and shoot or less. I am doing this as a favor to them. I have told them several times that I am not a professional and that it could work out okay or not so okay. I really think I could satisfy them by taking a few shots with my camera on automatic with my flash and flash bracket. Since I am doing this as a favor, I can't really afford to shoot rolls of film before the event. I have used Kodak VPS and similar many times with acceptable results. I doubt using Portra will be a problem. I am an amateur and guest at the wedding with some professional equipment and a little knowledge doing a favor for two friends. I would never agree to do a wedding for money. The Wogster wrote in message . .. On 30 Sep 2004 10:57:35 -0700, (hba1c) wrote: Two of my friends are getting married. They don't have the funds to hire a photographer so they were just going to put disposable cameras around and use those photos. They asked me to take a few shots. By chance I have studio equipment (Photogenic PowerLights®, Photogenic PhotoMaster). I was planning to take some posed shots with my studio lights before the ceremony. The want a shot coming down the aisle and just two or three during the ceremony. I can use flash when the are coming down the aisle but not during the ceremony. I don't know what the lighting situation is in the church. I was planning on taking Portra 100NC for the posed shots, coming down the aisle, and some candid shots at the reception. I was thinking Portra 400NC or Porta 800 for during the ceremony. I was also thinking a roll of Reala. They know to take what the get since I am not a professional. Without me, they will not have much of anything so... I will be traveling 250 miles the day before and I may not have access to refrigeration. Any thoughts? One issue, make sure you have at shot at least one roll of each film you are planning on using, get these processed, and examine the results BEFORE you go. Never try a new piece of equipment, film or lab at a shoot where you can't reshoot. Wanna lose a friend, screw up the wedding photos. I would try to get a look at the church as well. At least talk to the Minister (pastor, priest, rabbi, immam etc), some groups have certain areas that are off limits to non-practioners. I was once at a Greek Orthadox wedding and the priest had a fit, because the Videographer stepped on the stairs leading to the "stage" at the front of the church, this was during the rehersal! Not to say there was anything wrong with this, it's part of their religion that the stage is extra holy, that's their right. Don't forget that the minister has probably done enough weddings to know what works, and what doesn't in that church. Ask about lighting conditions, and what kind of lights are in the church, a building from the 1950's (and earlier) might have incandescent lights, one from the 60's might have incansdescent spot lamps, one from the 1970's and 1980's might have florescent, and one from the 90's and newer could have sodium or mercury vapour, carbon-arc or halogen lighting. There might also be a mix or different lighting. Ask about Windows, tiny, small, most of the west wall, or half the sanctuary? It's not uncommon for an older building, to have replaced high energy use fixtures with low energy use ones at some point in history. Ask about when it was built, and try and find a local church in the same style, with similar lighting, and take some photos. Weddings can be fun to shoot, I did my cousins back around 1980, the wedding was fun, the marriage didn't last...... Just remember your "working", so stick the the "virgin" drinks. W |
#18
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I believe Kodak Portra is the latest version of the film you are
describing. It comes in different versions. The one I will be using should be "reduced contrast". I hope that will solve the white and black issue. I am planning to use ISO 400 or 800 so I can hand hold the camera and us a fast enough shutter speed to eliminate camera shake. The posed shots will be done with studio lights; two 600ws Powerlights and an 1200 power pack with 2 heads. Again that should take care of camera shake. I might even take my boom arm to use for highlights. I have used this same equipment with 35mm. I had a couple poster size enlargements made that the recipient loved. A photographer might not have loved them but the subject did. Hanging on a wall in a large room they were fine. I also tend to use a soft focus filter. That seems to help. I am an amateur and guest at the wedding with some professional equipment and a little knowledge doing a favor for two friends. I would never agree to do a wedding for money. "Jeremy" wrote in message nk.net... "hba1c" wrote in message om... As I said they want to do the "posed" shots before the ceremony because they will not have time between the ceremony and reception. If you lack experience and proper equipment, it will probably show up more on the posed shots than on the candids. People are going to have a certain level of expectation on those formal shots, which they would not have on candids. If your photos are intended for enlargement, I would try to do as much work as possible using a tripod. That may be a bit clumsy, but you have to work to closer tolerances in 35mm. Any camera shake will show up when the photos are blown up, and the lab can't help you because it cannot be corrected. I haven't shot a wedding in 30 years, so I can't give you current film recommendations. I used Vericolor back then, because it was a low contrast film, with excellent flesh tones. You want to use a low contrast emulsion so that the detail in the bride's dress and the groom's tux is visible. If you were to use a typical consumer emulsion, you run the risk that the dress is displayed as one big blob of "white," and the tux is all black--and there is nothing worse than blown-out highlights in wedding photos. I found a "pro pack" of Porta 160NC 135-8 (10 rolls). Since they are not looking for the numerous shots a real wedding photographer would take, I was thinking I would use a couple of those rolls for the posed shots with studio lights before the ceremony and for the shots coming down the aisle with my flash. Then I could load a roll of ISO 400 or 800 for the ceremony. I could use another roll of 135-8 for when they start out of the church. Then I would use a roll of 160NC or Reala (I have had good luck with Reala) for the reception. When I last talked with the bride, she only told me about a handful of shots she actually wanted so I think this will more than cover it without spending a huge amount of money on film. It also means that I can still be a "guest" for some of the time! The processing will be done by a professional lab http://www.profilmet.com/. Does this sound like a workable plan? |
#19
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hba1c, à écrit :
They know to take what the get since I am not a professional. Without me, they will not have much of anything so... You'r choice is good ! I have very liked the Reala for portrait photography. You can also try the NPH 400, it's a very good film. You do not want to try b&w ?! http://www.monochromatique.com/portrait/ Regards -- Daniel Rocha - Photographie http://www.monochromatique.com |
#20
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hba1c, à écrit :
They know to take what the get since I am not a professional. Without me, they will not have much of anything so... You'r choice is good ! I have very liked the Reala for portrait photography. You can also try the NPH 400, it's a very good film. You do not want to try b&w ?! http://www.monochromatique.com/portrait/ Regards -- Daniel Rocha - Photographie http://www.monochromatique.com |
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