Archive for the ‘For Photographers’ Category

The Drobo and the Working Photographer

Wednesday, January 25th, 2012

4 Bay Drobo with front panel removed. Status lights showing 4 drives are running OK and the blue lights show 40% capacity used

I am writing this article as a major revision of a review I wrote on Amazon several years ago as it was looking dated.

I have been using Drobos for more than 4 years. One of my units is the now discontinued 4 bay USB model. The other is the 4 bay Fire Wire 800 model.  As a user who has lost replaceable data on these units I believe my insights are going to be a bit more “real world” than most reviewers who encourage you into these systems while not really using them for lengthy periods.

Firstly why RAID storage?

If you are storing anything on a hard drive you stand a chance to lose all data on that hard drive when that drive fails. Briefly a hard drive is made of a magnetic platter spinning around about 100x per second. Data is read by a hard and sharp head that skims less than a hairs width above the platter. A sudden jolt, as little as toppling a hard drive resting on its side edge onto a table, can be enough to force contact between the platter and head. The furrow the head will cut into the platter will destroy all data at point of contact. At 100 revolutions per second this can mean a lot of data. The metal filings scratched from the platter then become “dust” skipping all over the hard drive whenever it is on, thereby causing abrassive damage to the rest of the drive over time. These turn up as bad sectors and again, any data underneath these areas is lost for good. Last of all, the heat from the computer, and the electric moter inside the drive create heat. Highschool physics teaches us that heat and magnetism don’t mix. To cut to the chase. Your hard drive WILL fail eventually.

To avoid losing data several solutions exist. These include backing up data, and setting up a cluster of discs set up in RAID array. A RAID array is usually configured to perform one of two things. Speed up data transfer (there are some very risky ways of doing this) or the more normal redundent array, which means that if a hard drive fails your data is already safe on another disc. As multiple hard drives ARE heavy, people like their bulk storage to be in its own dedicated enclosure otherwise their desktop or Notebook gets a bit heavy and certainly cumbersome to lug around.

There are a few solutions around. I have until recently been using DROBOS and Freenas 8 with ZFS. I may write a more extensive review of my experiences with FreeNas and the superior ZFS file system, however my ZFS systems recent failure has made me look at the entire way I utilise storage for my photography business.

I should state from the out set that no important data was lost. I have backups and I was “lucky”, however the hidden achilles heal with all systems is hardware failure. My ZFS system died as a 2TB drive was failing for weeks without giving any indication and it slowly but surely destroyed the file system beyond recovery as there were no errors until a day before its terminal failure. It was a great low powered system running off a 1GB USB drive. Next time I will likely use BSD Unix but that is for another post.

I will likely refer to ZFS off and on in the rest of this post.

DROBO REVIEW

Ease of Setup: Dead simple. Attach via USB or firewire cable and turn on. Install the Drobo software and format for your OS. Mac and PC both supported.

Expansion: Expandable to 16TB As simple as inserting additional drives, or replacing with larger ones as prompted.

Ease of Sharing: You can plug into a switch with USB connector builtin for this, or from your OS you can share. However there are NO permission levels so everyone has access to everything, and can delete and overwrite as they please.

Front panel: Simple. Most info such as Drive status and storage used is easy to see. However you cannot tell if data is actually being written or read while the front panel is on. The light showing this is easy to view once the panel is removed. This is very simple and takes a second. Yup very fast tool-less access.

On/Off Switch: Noticably absent. How do you turn it off? With the older software you had a software standby button. With the newer dashboard software it is noticably absent. The online help says you just pull out the cable(!) and it will turn off. It does but this is just a bit odd.

Noise: Both of my Drobos have fans that are noticeable when on if you are in a quiet environment. I don’t mind this as because I live in the tropics I have a table fan running next to me most of the time I am sitting at the computer which effectively drowns them out.

Speed: Whether you use the the Firewire or USB versions of the Drobo you are stuck with a bit of a slug. It is NOT suited to for real time loading of large Lightroom or Bridge catalogues. Then again, running a catalogue from a server on 1GB ethernet from the ZFS server doesn’t really work that well for me either. Its best to do your editing on your primary machine.

Concatenation of Drives: The Drobo will alow you to join several smaller drives into what looks like one larger drive to your OS. We all have lots of older smaller drives around, so this is an excellent method of using them. e.g. say you have a old 250GB drive, a 300GB drive, and two 500GB drives. Using them all in a Drobo 4 bay unit will give you a consolidated drive that looks like a single 1.4TB drive. When one of those drives fails from old age, let’s say the oldest 250GB does,  you replace it without losing data with another 5ooGB one you may have pulled from another old computer. Your capacity of “protected” data is now 1.63TB. I use “protected” in inverted commas as if the OS or the actual hardware fails you may well lose everything on the unit.

Rebuilding Drives: The easy to follow lights on the front of the unit let you know when you need to add another drive. Orange means add another drive and it is best to do so. The light will indicate the smallest drive which is the one to replace. A red light means the unit is nearly full. When the red light is on add new files at your PERIL as you are at real risk of locking the unit up and losing everything. A blinking red means one of the drives has failed. Your data is still safe but replacing the drive is pretty much a top priority as if another dies it is sayonara to EVERYTHING on the unit. Removing a drive is simple. Flick a lever and hopefully the drive will spring out. My units are old so leveraging with a chopstick is sometimes necessary. Like all RAIDs rebuilds can go for DAYS. Your Drobo Dashboard software widget will give you an idea on how long it will take. The bigger your drives the longer it takes. AFAIK the amount of data doesn’t matter as it is replicating and moving blocks over the full drive. It is best practice NOT to turn off your Drobos power however I found that turning off the connected computer or pulling out the USB or Firewire connector does not turn the Drobo off if in rebuild mode. Oh yes…your data is accessable during the rebuild but slower to access. If you use this method to save on your power bills you should be fine. The unit will go to sleep once the rebuild has finished. My longest rebuild so far has been over 90 hours.

Accidental power loss during rebuilds: Due to a couple of power outages and a cleaning lady, I have had power loss to the actual Drobo unit during rebuilds. Pretty scary however the unit has come back up and continued the rebuild once power was restored. I have UPS units connected now, however when I got my first Drobo these were still pretty clunky and  very expensive. Fortunately they have become a lot more mainstream these days.

Drobo FAILURE: Yes, it has happened to me. Bad news when it does.

  1. The first time was when I selected slightly too many files to copy to the unit and went to bed. Remember copying a lot of data takes a long time. I woke up the next morning realising my calculations were off as the copy had stalled with about 5MB to go, however the Drobo was completely full and locked up. Rebooting did not fix the issue and neither did adding a larger drive. I had hosed the OS. Lesson: ALWAYS replace a drive when the lights show orange, which is when you have about 10% storage left. You can press on a little further but if you get the red light stop copying files onto it IMMEDIATELY. You are standing next to the cliff of chaos. Data chaos and corruption that is.
  2. The second time was during a firmware upgrade that went wrong. Everything gone. For good.
  3. There are no disc tools other than fdisk available for the Drobo. Fdisk is useful ONLY on NTFS and FAT32 formated drives but is pretty basic and totally useless for recovery.

Comparing the DROBO to FreeNas with ZFS:

  1. Freenas’ ZFS file system is very superior to hfs, NTFS, and Fat32 but if you have a hardware failure you run a risk of losing everything in your array. This is also true of the Drobo and one of the reasons I bought 2 of them as support from the USA to here is pretty limited.
  2. Setup with ZFS requires a fair amount of planning and some tinkering to get the shares working with different file systems. DROBO’s set up is insanely simple. 
  3. Expansion wise the DROBO is extremely simple to expand up to 16GB. No thinking is required. ZFS requires a lot more forethought and planning when replacing, rebuilding and expanding drive pools. It also requires using the linux terminal prompt. Intimidating for most people.
  4.  Speed: The Gigabit Ethernet with Freenas is NOTICEABLY faster than the Drobo on FW 800 or USB. I did not run file tests. No need to do this as it is obvious in real world scenarios. However it is still best to access files on your local computer than across a network.
  5. Recovery: Neither system is great. Drobo has no other tools other than fdisk which you can only run on NTFS and Fat32 volumes. No other tools are available. (Do not run fdisk on an HFS volume!) ZFS requires a working knowlege of Unix/Linux. In some situations like  hardware failure you are in trouble no matter what.

Best use of your Drobo: Drobos are PERFECT replacements for older backup storage media like TAPE drives. If you use  Apples Time Machine you will be very happy with the unit. If you are using Windows you can use Drobos own (limited) back up software built into the latest Drobo Dashboard, or SyncBack from 2brightsparks.com. I have used Microsofts Synctoy before but it can take a very long time and is not so good with reporting failures in synchronising, or on how to resolve issues.

As a photographer a second option is to use it to deposit your RAW files. My work flow is such that I copy directly from camera to a hard drive, and then copy from there to my working drive. Please note, it is a separate drive, NOT a partition on the same drive. This way I always have a back up in case of hard drive failure. The Drobo is quite useful for this.

Last of all, if you have ripped your Digital media then it is excellent for attaching to your Media Centre Storage. Just make sure you have your files somewhere else for when it has problems.

Dangerous For: Frontline storage. Keeping only one copy of anything important on a Drobo is irresponsible. Don’t do it.  Once it goes down you are likely going to lose everything with no chance of recovery. It is NOT a frontline storage system. I cannot stress this enough. When it works it will lull you into complacency. When it eventually lets you down and fails the pain will be mighty.

Interview with FHM

Friday, December 30th, 2011
Grant Corban Wedding Photographer featured in FHM

Click on the image to view large enough to read

FHM did an interview with me recently. A lot of fans bought the magazine but if you missed it then please enjoy reading it here. Please click on the thumbnail to open up the image large enough to read.

What’s in my camera bag?

Wednesday, November 16th, 2011

We photographers are always interested in what others find useful so I thought I would touch on what I normally bring to a shoot.

CAMERA’s: After using Canon for 20 years I made the switch to Nikon about 4 years ago. I had been dabbling with Nikon because my fellow photographers were Nikon shooters and after having both systems for 2 years I had to decide on which to commit to. Coming from a film back ground I had always used full frame pro cameras, so Canons persistence in not making one that was affordable (1Ds prices were insane) meant I went to Nikon as soon as the D3 was announced. The introduction of the D700, the “D3 lite” complete with nearly identical controls and shared batteries when using the vertical grip, helped me realise it was a wise move. I still see my friends with their 1D/5D/7D/60D combos face niggling issues with differing battery, card, and crop factors. The new 1Dx solves a lot of my issues with canons pro camera’s however its too late. Do I ever look back with regret? Early on YES! Nikon have been (and still are) slow to update their prime lenses. There is a gaping hole for a new 135mm F2, but that will surely come if I am patient.

So what do I use?

The D3 is my work horse. I love the 2x CF card slots. I shoot RAW to one and simultaneously backup small jpegs to the other card. If you have ever had a card corrupt on you then you KNOW this is FANTASTIC! Someone at Nikon was thinking straight! This camera is usually set to manual mode and used with flash for much of the shoot.

My second body is the D700. Nearly identical to the D3 inside and out. Attached using the R-strap for easy access this camera is used in aperture priority mode with auto ISO set at 200-6,400. High ISO performance is phenomenal. Noise shows up like a monochromatic film grain. On most other manufacturers cameras noise shows up as ugly pink and cyan artifacts!

ZOOM LENSES: I have a lot of lenses so will list them in importance. NONE are variable aperture as variable aperture lenses make shooting adjustments a lot more difficult if you are shooting in manual mode or trying to control all of the variables making up a photo. In a fast flowing event this makes for one more thing I do not need to be calculating in my head. Currently all my lenses are Nikkors. This is not to say that there are not good Sigma, Tamrons, Tokina and Carl Zeiss lenses, just that I live less than 15 minutes away from Nikon Malaysia so servicing is much faster for me than with any other manufacturer, and as an NPS member I need to wave the flag :-p

70-200 F2.8 VR: A MUST HAVE. Most of the photos I take and like are shot with this lens. Sharp at 2.8 I rarely go to F5.6. Has good reach and if I need a bit more then cropping a RAW file in post production saves me the RM20k for the 300 2.8! Weather sealed as well. I prefer it over the Canon one because it is black, making it very stealthy when raising it to your eye in comparison to Canon’s white paint job that screams “Look here!” At weddings when I shot Canon I got a lot more attention than I do now, possibly a negative as far as “marketing” and getting noticed, however I prefer not to be noticed and get more candid photos. Your choice.  ALWAYS with me.

24-70 F2.8: Another MUST HAVE. SHARP! Fast focus. This lens is weather sealed and very important for my work. Beaches are NOTORIOUS for wind driven salt spray and sand. Sealed lenses are therefore important to have. I find it useful as a general purpose lens until things get tight..more on that when I get to the ultra wides. Shooting tip for groups. Go to the long end to avoid distorting people! ALWAYS with me.

24-120 F4: A newcomer with lots of reach and I find it to be nearly as sharp as the 24-70. No weather sealing but has VR, important as it has been MANY years since I even considered shooting an F4 lens. I shoot it WIDE open. At F4 it is sharp enough. I would probably not carry it to a beach wedding. Likely to be with me more regularly.

17-35 F2.8: The holy hand grenade. Once considered THE ultra wide legend. Needs to be stopped down to F5.6 to really shine in the corners but it is a rugged chunk of lens and useful in tight spots eg groom bargaining in a narrow hall way. Anyone caught near the edges of the frame WILL be distorted. ALWAYS with me.

200-400 F4: I am in love. Sometimes a 70-200 is not long enough. For shooting the length of a church or for events with VIPs or seating arrangements that make it impossible to get close to your subject, this is a must have. Requires a monopod to use effectively as it is heavy. Brought as needed.

PRIME LENSES:

85mm F1.4G: WOW. I have owned TWO Canon 85mm F1.2 lenses. Both were stunning but getting a photo at 1.2 sharp takes time. Auto focus is slow meaning usage at events can be hit and miss, and price is stratospheric. The new Nikkor 85 1.4 is a half stop slower, cheaper, lighter, focuses much faster, and gives more keepers. Is there an IQ difference between the Canon and Nikon? Yes and sometimes I wistfully think about getting another 1.2…call it fatal attraction, but in real world results it is only apparent when the same subject is shot side by side, and the photos are flicked through and you are looking for differences. The Canon when it comes together really pops, but I get a lot more keepers with the Nikkor. It stays glued to the D700 for most of every shoot. Well…it did until i bought another two lenses. ALWAYS with me.

50mm F1.4G: And this is one of those lenses. I used to have the Canon 50 1.4 and missed it when I moved to Nikon until the new G lens was released. Maybe my Canon was a dog, but someone else told me theirs has the same issue…SOFT at F1.4. In comparison the new Nikkor 50mm F1.4G is STUNNINGLY sharp wide open and has made me a believer in 50mm lenses once more. This lens is getting a lot of usage now. ALWAYS with me.

24mm F1.4G: Another lens I missed when I switched to Nikon. I used it a lot in Boston and also for clubs in KL. It is stunningly sharp at F1.4. 24mm is hard to shoot with as composition requires more thought so it is not always with me at a wedding unless I know I will be using it.

16mm F2.8 Fisheye: I take it with me to every shoot even though I take about 1% of my photos with it. Nice for a change but over using can get old really fast. ALWAYS with me.

OTHER EQUIPMENT: I usually also bring the following to weddings:

  • 5x Speedlights
  • 5x pocket Wizard Multimax Transceivers
  • 4x Lightstand
  • Backup radios (Quantums or a cheaper set)
  • Roller bag
  • Reflector
  • 2x Umbrellas
  • Monopod
  • 2x light weight lighting clips to attach strobes to frames in awkward places
  • A whole bunch of synch cables.

I hope this helps you out.

RAW verses JPEG

Friday, July 29th, 2011

The following is written specifically with wedding photographers and high end printing in mind. Sports photographers and those planning on printing on newsprint shoot jpegs because of the medium used, and the fact that no politician or soccer player ever looked at a photo and complained their wedding gown is the wrong colour or their make up doesn’t look right :-)

One of my former brides approached me recently and mentioned that a friend who is getting married was told by several newer photographers that it doesn’t matter if they shoot jpegs for her wedding as they are just as good as RAW photos. This encapsulates the lack of understanding by newer photographers who do not know what they are talking about. The only person advantaged by not shooting RAW for your wedding is the photographer.  To me, anyone who shoots weddings in jpeg format is telling you that they do not care about your wedding and do not understand the science behind RAW verses jpeg, which gives RAW a distinct advantage especially for weddings.  I hope this article helps photographers understand the science, advantages and ease of editing that makes RAW the only choice for wedding photographers.

Advantages of RAW.

Bit Depth. Jpegs are 8 bit files. The number of bits affects colour and tonal depth. With an 8 bit file each pixel has 256 levels per channel. 12 Bit RAW files have 4,096 levels per channel.  Some cameras (like mine) shoot in 14 bit which gives 16,384 levels in each colour channel. Yes you read that correctly 256 levels verses 16,384. Now remember, jpeg shooters say shooting in jpeg is as good as shooting in RAW. 256 levels per colour channel is as good as 16,384? Not in this universe.  :-)

At the time of shooting a camera shooting RAW saves all of the information to the cameras memory card. A jpeg photographer lets his camera to arbitrarily throw away 3840 levels (or 16,128 if compared to 14bit RAW) before they have ever seen the image. If the camera gets the metering or white balance wrong their ability to fix an image is severely curtailed. Where this really shows itself is in subtleties in colour or in variations of fabric textures and skin colours. If a photographer starts editing photos in Photoshop everything they do while adjusting the image LOSES information. With a jpeg you have a lot less information to lose, or put another way, each adjustment loses a greater percentage of information than editing a RAW file does. In fact you NEVER lose information from a RAW file. More on that in another point. What can happen all too quickly, is that graduated tones quickly posterize. This means smooth tonal transitions get lost very quickly for jpeg shooters. Bad idea!

WHITE BALANCE: Ever taken a photo and the white balance is out. Your white wedding gown is yellowish or your friends faces look greenish? This is a white balance issue. If you have shot in jpeg you are really stuck. Any adjustment in photoshop LOSES information FOREVER and due to your tiny tonal depth you want to lose as little information as you can. When you shoot RAW it does not matter what your white balance is set at as it only affects the preview jpeg embedded in the file, not the actual file. This is important as most cameras don’t get white balance dead on most of the time. I am much better doing this than my camera so I do it after the shoot for every image

Non-Destructive Editing: Here is a secret many people do not know. Photo editing programs NEVER change a RAW file on your computer. They keep the adjustments in a separate file (sometimes called “sidecar files”) so that what ever you do to the RAW image, the actual image is never adjusted! With a jpeg, everytime you save a file you lose information! Do this too many times and you end up with a degraded image super fast.

Future Proof Photos: Jpeg images are cooked in the camera. Future editing degrades the photo. Because RAW files are NEVER altered on your computer, they can be edited 10 years from now with ALL of the advantages of that future technology. So right now a photo may be edited in Photoshop 5 and look good. Ten years from now when we are using Photoshop 17 or whatever we are up to, it will render even better photos from the same RAW due to the advantages of new technology.

Colour Space: Jpeg shooters need to decide whether to shoot in the AdobeRGB or the inferior sRGB colour spaces.  With RAW it doesn’t matter. The in camera colour space is only applied to jpegs. This means bringing a RAW file into Photoshop you can use the ProPhoto colour space. Prophoto offers a phenomenally large gamut for editing, meaning it is MUCH harder to clip colours, shadow and highlight areas.

Exposure latitude: RAW files offer an enormous advantage of exposure latitude over jpegs. This goes back to 8 bit jpegs verses 12 or 14 bit RAW files. Skies need not be washed out, or if someones flash is fired at the precise moment you are shooting available light, thereby blowing your photo out so it looks white, or if your own flash fails to fire and you have a very dark file, you need not worry too much as with RAW the file is probably recoverable.

What are the Disadvantages of RAW?

  • It takes the photographer more time to edit. That’s why you are paying them though, so no problem. Also todays computers crunch RAWs nearly as quickly as jpegs so this argument is pretty much dead.
  • RAW files are about 10x bigger than jpegs so you need more storage. Hard drives and storage cards are cheap so not a problem.

That’s it!

My own thoughts are that there are no excuses for a photographer to shoot jpeg for anyone’s wedding. it is likely more reflective on their inexperience than anything else.

If you are a photographer and would like to have tuition on RAW editing let me know. I do offer training. Life is too short to offer mediocre work and remember to have fun.

Recover Lost Photos from Dead Card

Wednesday, February 9th, 2011

Dead CF card? Lost your photos? One day your SD or CF card is going to corrupt or you will accidentally format it. Do NOT panic. Immediately remove your card and place it in a safe place, then contact me. It happens for various reasons. The card may be at the end of its life, corrupted by a static charge, or disconnected due to a bad connection. If you are a wedding photographer and this happens you can be in the situation where you wish you had never been born. Do not despair. I will do my best to help you out, not only in recovering your precious images, but also in advising you how to avoid the situation again.

How can I do that? Formerly I was the director of IT services for a company serving all of the big guns in the IT industry (Intel, HP, Microsoft, Dell, SGI, yadda yadda….), IT consultant, systems integrator and network designer. My many years of experience yielded many tools, some Unix based, that have enabled me to recover data when others just shrug their shoulders.

Keep shooting and I hope you never face a corrupted card, but the odds will eventually catch you out. That’s the time to call me.

The Truth about Successful Available Light Photography

Sunday, October 10th, 2010
wedding photographer boston photography grant corban

Canon EF 85mm F1.8

Ever hear a new photographer boast that he only uses available light? The first time anyone moves from a compact camera or a kit lens to any lens faster than F2.8 can be intoxicating. All of a sudden you can play with the depth of field to get interesting out of focus areas, and shooting without flash opens up options that were not available before.

These lenses are usually F2.0 or faster. Typical F stops for the faster lenses are 1.8, 1.4 and 1.2. On occasion there have been lenses released between F 0.75-F 1.0. Most are now discontinued, being superseded by more practical lenses by their respective manufacturers. While some of these lenses are not cheap (RM16,000+ for some of the longer F2.0 lenses) a 50mm f1.8 is a modest RM400 investment.

After the initial excitement, hopefully the low light neophyte will realise that their images are now a lot softer. This happens because lenses are seldom sharp wide open, and can be remedied by stopping down the lens. A general rule is that most lenses are much sharper stopped down 1-2 stops. The benefit of fast lenses is that they can be stopped down slightly to improve sharpness and still be pretty fast.

Another trap is to think available light is the only way to shoot. This is a common boast amongst those who are still new to photography. A trip to any studio will show that professional photographers believe in controlling and/or modifying light. The plethora of light modifiers used today is amazing and stands as testimony that professional photographers are generally lighting control nuts. The one exception may be press photographers who utilize another skill set altogether.

Being totally reliant on available light photography for a wedding usually means the photographer is inexperienced, or that they have given control of the light over to whatever lighting “gods” they pray to.

So does this mean that available light wedding photography is for the birds? Not at all and now we come to the secret of it. Ready?

Available light photography is all about the quality of light. Let me repeat. Available light photography is all about the quality of light.

Available light photography can be evenly lit, or dramatic, but the photographer has to determine very quickly which way they want to go. What are the strengths and weaknesses of the available light at the venue? In the example shown, the light was beautiful and even. There were several other locations at this venue which were not suitable at all.

As a photographer you must think through the pros and cons of the lighting. Modify it if necessary, but work with what you have. Never be at the mercy of the venues lighting.

BTW: If you like the posts let me know.

A word on white balance

Friday, October 8th, 2010

Pet peeve of the day….why do so few photographers understand white balance?

This came up as I opened my system this morning to carry on my editing…a beach wedding, a wedding in KL, a bridal fair and a 2 day commercial event, ALL SHOT IN RAW. That’s right, over 2,000 photos taken in RAW format. One of the compliments I receive regularly is that my photos have a consistent look. This is because I use a calibrated monitor and go through every photo making them look great. This is a lot of work, but you are paying me for quality…right?

So I opened Facebook and was greeted with photos from a professional photography workshop. The photographer seems to have forgotten that white is actually…white!?! and that magenta has never been a natural skin colour for Chinese.

With the explosion of consumers buying digital cameras, then putting up a sign to say they are “professionals” and open for business, I would expect the rudiments of colour correction to be at least understood. How I miss the days of film, when you needed to know what you were doing before even daring to charge money.

If you are looking for a photographer today for your wedding or corporate event it can be difficult to know who to hire. I get the “best price” query all the time.

HERE IS A VALUABLE TIP

Do NOT ask, “Whats your best price?” It tells the photographer you do not value their work. The question you really need to ask is this:

“DO YOU SHOOT RAW?”

Almost every wedding photographer of worth shoots RAW. It is the easiest to edit, gives you the best results and tells you the photographer cares.

But back to that peeve…if you are going to show event photos and they look crappy, it will erode your companies image and doubly so if it is for a photography conference.

Now, back to editing…

Canon or Nikon?

Tuesday, September 14th, 2010

Canon or Nikon…which is better?

Great question that I can’t answer as I shoot BOTH.  I am neither a fan boy, nor am I sponsored, by either brand. The camera and the lens mounted are the TOOLS of my trade. Not a religious experience or something lust worthy. When we shot film we shot in both Small (35mm)  and Medium (645, 6×6 and 6×7) format at the same wedding.  Just as then, we use different camera for different requirements. As one of my partners also has a Mamiya with a PhaseOne back, we actually  shoot 3 systems. For some people (lazy jpeg shooters) this causes huge problems with matching colour. Because we shoot in RAW to maximise quality, we face no colour variations between cameras.

With regard to the 2 “big brands”: My Nikons are much faster handling during an event and have a great flash system. OTOH my Canons while slower to use, have higher resolution, 1080p video mode, and some lenses I want to use not available from Nikon.

Hope this answers some questions.

Format your cards….or else!

Saturday, September 11th, 2010

Every now and again a photographer tells me their nightmare….shooting a wedding and the CF card fails.

In 10+ years I have never had one fail.

Here’s my secret.

Format the card IN the camera before the shoot. Never format on your computer. Not sure why this works but the camera formats the card exactly how it wants, so you have a brand new file system every time.

Some people like to delete the files and keep going without a format. This is a time bomb. One guy I know who practiced this had a card failure at a wedding. Just format them and avoid the worry.

Now, if you have lost your data, email me. I know a tool you can use to attempt to recover your data.

Getting experience in shooting actual weddings.

Thursday, September 9th, 2010

In light of the many questions I received from the students at Tailors college on Tuesday I decided to write something about  how to become a wedding photographer.

It’s really easy.

Apprentice with someone. Apprenticeship is a bit of a lost art these days. This is due to society switching  to an “instant on fast track” mentality.  The reality is that skills take time to  develop.

Obviously practicing at someones wedding isn’t a great option. It’s not a practice wedding and if there is a professional shooting you are likely to get in their way. Apprenticing means you come under the protective wing of  an experienced photographer and this really is the “fast track” method. You can draw from their experience and hopefully avoid making some of the same mistakes they made (yes…we do make mistakes…we are human too!) . You may not carry a camera when you start off. This is an advantage…yes really!!! as you learn the art of observing. Many times I have tried to get someone in with the purpose of developing them and they sink their chances fairly fast when all I see of them is a camera stuck to their face…coupled with a “Know it all attitude”.

As an observer you can watch and ask questions about why lighting is set up the way it is,  the proper use of light modifiers such as soft boxes, umbrellas and reflectors. This is  priceless.  Most people have to pay to learn this…as an apprentice you get it FOC :-)

So…Apprentice!