No bounce cards, no diffusers, just flash towards the non existent
ceiling; I have been a working newspaper photographer. I know the
techniques and what's effective and what's just stupid. Maybe a 45°
tilt would have done some good with out a bounce card or diffuser, but
not one of them had their flash at less than 60°, (one in fact had his
flash pointed straight up), and did I mention no bounce cards or
diffusers, I guess I forgot to mention /no diffusers/.
On 10/10/2010 2:07 PM, paul stenquist wrote:
On Oct 10, 2010, at 1:49 PM, P. J. Alling wrote:
I find even "Pros" in most cases clueless on the use of flash. I should have taken a picture
at the outdoor venue where the three "Pro" photographers were shooting a stage show with
bounce flash, no ceiling, no bounce cards, just bouncing flash off of the night sky... Kind of like
all those flashing P&S, and disposable camera flashes from the nosebleed seats at a stadium
concert. I didn't know if I should to laugh or cry.
Frequently, when using flash for fill, it's good to tilt it up to avoid burning
out the foreground -- even outdoors. The technique works well with a diffuser
attached.
Paul
On 10/8/2010 9:20 AM, David Parsons wrote:
It is very rare to catch someone else's flash during a shot, even in a
pit situation.
On Fri, Oct 8, 2010 at 7:51 AM, paul stenquist<pnstenqu...@comcast.net> wrote:
On Oct 8, 2010, at 7:21 AM, paul stenquist wrote:
On Oct 8, 2010, at 4:18 AM, Walter Gilbert wrote:
Of the almost 5000 shutter actuations I've put on my K-x since I got it, I'd
venture to guess that less than 100 have fired the flash. Admittedly, some of
that has to do with battery life paranoia -- the same reason I've used the live
view on it less than a total of 30 seconds. I just don't find it helpful
enough to warrant the power usage. And I love the way the K-x uses available
light. Focusing problems and occasional lens-build issues be damned. It'll be
tough for Nikon or Canon to lure me away when Pentax has such great low light
performance for so much less dough.
Let 'em chuckle. In the meantime, I'll be taking pictures of them fumbling to
replace batteries in the dark.
Any pro photographers will be using cameras with multiple lithium batteries
that provide well over 1000 exposures. No one will be fumbling with batteires.
And no one will be using a pop up flash. Probably all will have the dedicated
Nikon or Canon flash with a dome style diffuser attached. But they will shoot
their long lens stuff with available light if it's reasonably bright. The full
frame Nikon has at least as good low light performance as the Kx, with a lot
more resolution and superb autofocus.
Excuse my replying to myself, but I should point out that flashes aren't used
by PJs just to compensate for a lack of light. They're a lighting tool. If you
have to shoot an outdoor speaker, chances are he or she will be backlit or
perhaps even crosslit. That's done so the speaker doesn't squint. In that case,
flash is used for fill. When those PJs shoot interview subjects in close, they
use flash, in part, because others are using flash. Each wants to make sure
that for their shot, the lion's share of the light will be coming from close to
camera, rather than from 150 degrees to the rear. If you're shooting at ISO
3200 with no flash and ten other photogs are shooting at ISO 400 with flash,
many of your shots will be grossly overexposed with light from odd angles. But
you should be able to sneak in a few frames between flashes.
Paul
On 10/7/2010 6:45 PM, Jeffery Smith wrote:
That's a very good point. I (personally) think that flashes turn just about
everything into a snapshot. So while all of others are blasting away with
flashes, I'm more likely to be shooting at f/2 without a flash. I only own two
flashes (a Pentax ringflash, and a Leica flash for a Leica rangefinder) and
don't use either.
Jeffery
On Oct 7, 2010, at 5:16 PM, Walter Gilbert wrote:
If they give me too much grief, I'll just look at their gear and ask them, "So ...
what's with the flash? I've never had to use one of those with my K-x. What's it
like?"
-- Walt
On 10/7/2010 4:38 PM, David J Brooks wrote:
One suggestion is not to get all bent out of shape when the Nikon and
Canon shooters giggle at your Pentax.
They will, i've been there.
However i can still get photos from my Pentax gear published so i just
smile at them.;-)
Dave
On Thu, Oct 7, 2010 at 5:22 PM, Walter Gilbert<ldott...@gmail.com> wrote:
Thanks, Jeffery.
I shouldn't have too much trouble blending in, as I don't plan on packing a
giant piece of glass with me. Most likely, I'll take my 70-300 f/4-5.6, my
18-55 f/3.5-5.6 and my 2X TC as a "just in case" for anything else that
might be going on that I don't have the reach for.
-- Walt
On 10/7/2010 11:38 AM, Jeffery Smith wrote:
My opinion is to make sure photos don't look like they were posed (as you
see on the society page), and to be unobtrusive when possible. Blend in
without drawing attention to yourself when possible.
Jeffery
On Oct 7, 2010, at 11:19 AM, Walter Gilbert wrote:
Hi all,
I've just received my first press pass -- as a freelance photographer for
a couple of upcoming campaign events in a US Senate election. Having never
done this sort of shooting before, I assume I'll get a pretty decent vantage
point for the stump speeches and maybe some access behind the scenes. Given
the collective years of experience on the list, I thought I'd ask if anyone
has any tips on the best way to capture dramatic, compelling images at
events of this nature -- what to look for, technical and compositional
advice, etc.
Also, any advice on the best mental approach to take in shooting events
of this nature in terms of establishing oneself as a credible photographer
would be greatly appreciated. As a matter of background, I was granted this
press pass by a person who had seen my work on Facebook and Flickr and
really enjoyed it -- or at least she told me as much.
So, I have a bit of a dilemma. Should I approach this as an ostensibly
hard-nosed photojournalist trying to capture the "reality" of the campaign
trail in a consequential election? Or, given the very early stage of my
development as a photographer, should I approach it as a potential
connection for future job opportunities by taking shots geared toward making
the subject look as good as I can?
As a matter of pure, career-minded practicality with an eye toward
getting the proverbial foot in the door to future work as a photographer,
I'd appreciate any guidance anyone can offer me.
-- Walt
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