Archive for the ‘Work’ Category

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Sink or Swim

March 24, 2009

NanaWall-5620

Last week I got a call from someone at NanaWall.  I had never heard of the company before, but apparently they make glass partition-like doors that open and close to give a room more versatility.  They are really quite nifty, but that’s beside the point.  Long story short, they needed me to deliver some photos on Friday for a magazine article.

I got off the phone and thought, “Praise God!  I just got a new client, and I’ll get to shoot some real architectural photos, and it will be published in a magazine.  Not bad for a day’s work.”  …and then I saw their online photo gallery.  Page after page of excellent photographs, and here I am thinking, “Um… if that’s the quality they’re expecting, then I might be a letdown.”  Most of my experience consists of weddings and special events, and honestly I wasn’t sure if I could match the quality I saw on their website.

Determined to give it a shot, I knew I would need to rent some extra equipment for this, namely a Perspective Control Lens, a full frame D700, and a second SB-800.  Three hundred dollars later I was good to go.

Even though the location for the shoot was at the Gaylord National hotel, I had not yet been to the room where I would be shooting.  The day before the shoot I scoped out the location to see what I could learn.  Here’s what I found:

Timing is critical. Shooting during sunset was my only chance for success.  I simply did not have enough fire power (i.e. lights) to properly compensate for the vast difference in brightness between inside and outside light.  This means that I only had an hour or so to get all the shots I needed.

Light placement is tricky. Even though I was shooting at sunset, I still needed to add extra light inside.  It’s a tricky balancing act to position the light where it will be most effective, and where it will not create obtrusive reflections in the glass.  Glass is transparent and reflective, thus making it a tricky subject to photograph in it’s own right.

Colored gels can be useful/necessary to make sure your White Balance looks good across the image.

Attention to detail. It’s hard enough making sure you’ve got a good exposure, but don’t neglect the other details of the scene.  …it turns out they are very important.  Make sure the furniture and everything else in the room looks orderly.

Plan your shots carefully. After the test run, I reviewed the photos and printed a contact sheet with 11 different angles I wanted to capture.  I then prioritized them in order of importance, and made a few educated guesses about the order in which I could shoot them.  Having this plan helped save valuable time.

NanaWall-5648

The next day I had a host of thoughts running through my brain…

  • “I’ve never used this lens.”
  • “I’ve never done architectural photos.”  …good ones, anyway.
  • “I’ve never lit a room this big.”
  • “The photos have to be delivered tomorrow.”
  • “These photos have to be magazine quality.”
  • “I have to work around a large pool.”
  • “I have to race against the sun.”
  • “I have to make a good impression on a new client.”

For better or worse, I was more nervous about this than I am before shooting a wedding.  I did a few test shots with the new lens (more about that in a later post), packed my gear, and then went on location about three  hours before sunset.

As it turned out, all of my planning the day before really paid off.  The shoot went smoothly, and I came away feeling like I got some decent shots.  The only thing I didn’t expect was the mild case of dehydration.  As the sun was going down I was literally sprinting from the camera to the lights, to  the walls, and back to the camera.  The client needed a series of shots showing the wall open, closed, and partially open.  I didn’t have an assistant, so that meant I had to open and close the wall between photos.  By the end of the shoot I was flat out exhausted.

NanaWall-edit-5708

The next day I did some minor retouching and then sent the photos to the magazine editor.  As usual, I was still a bit nervous because I didn’t know how the photos would be received.  Only a few minutes later he responded; this would be the moment of truth:

Wow, these are really great. I think there are a few our art director might want to consider for the main feature, not just one for the product blurb/highlight that accompanies the main story.

Needless to say, I was stoked to hear that.  =)  I had put so much effort into this job, and I exceeded their expectations.  You can check out some of my favorites here.

All in all I did my best, I learned a lot, and my client is happy.  Not bad for a day’s work.

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Credits

March 1, 2009

  Photo by Stephen Elliot

So tonight was the official anniversary party for Mud Productions. I wanted to do something special for my family and a few close friends who have been so generous in their support of me and my business.

I “decorated” for the party by setting up some lighting and camera gear –basically I wanted to make it feel as if you just walked onto a film set. These two guys were greeting everybody at the front door.

Definitely a memorable evening! I can’t wait to see what the 10 year anniversary party will be like…

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Big News from Mud Productions

February 11, 2009

In February of 2004 mudproductions.com was launched, thus beginning a new chapter in my life.  It’s hard to believe that it has already been five years.  In spite of today’s troubled economy Mud Productions is doing better than ever, and I’m eagerly anticipating what the next five years will look like.

To celebrate this milestone Mud Productions is offering 10% off all events and photo shoots booked by February 28th.  Weddings, headshots, corporate events, kids, and even graphic design services –Everything is 10% off when you book it in the month of February!  Mud Productions has never offered a promotion like this, so now is the time to take advantage of it!

Also, M.P. is getting a new web presence.  Mudproductions.com is currently under construction.  A face-lift has been long overdue, so we’re working to create some new tools and resources to make the site better for everyone.  In the mean time, you can keep up with M.P. on the newly created Facebook Page.  Head over there and become a fan.

Lastly, THANK YOU for your interest, business, and excitement for Mud Productions!  It’s the word of mouth marketing that keeps customers flowing, and that wouldn’t happen without you!  Many, many thanks…

Soli Deo Gloria!

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Offline Archiving System

February 4, 2009

The two most on-going concerns for a photographer today are organization and storage. Thanks to digital photography we often shoot thousands of photos of anything just because we can.  After all, we’re not paying for film, much less developing, so who cares!  Give it a few months and you will likely notice that it’s not any easier to find a particular photo on your computer than it is to sort through photos in a shoebox.  To make matters worse, your hard drive may be running low on free space, and that might explain why it has gotten so slow all the sudden.

Been there.

Organizing and storing your digital files simply doesn’t happen by itself.  It requires persistence and a few hundred bucks to do it well.  There’s just no way around it.

Yesterday I installed my new archiving system, and I’m quite excited about it.  In a nutshell, it’s an eSATA hard drive enclosure with hot-swappable drives.  Admittedly I got the idea from the guys at Image Mechanics.  They wrote an excellent post about it here.  These guys are doing huge commercial gigs, so if the system can meet their needs, I’m certain it can meet mine with plenty of room to grow.

For my part I got the two-bay enclosure bundled with the eSATA card adapter.  I was a bit apprehensive because I’ve never heard of SeriTek, and their website gave me the impression that they might not be legit.  I decided to give it a whirl hoping that a nod from Image Mechanics was enough.  Fortunately the ordering process was painless, and everything seems good to go.

For now I’m sticking with the 500 GB hard drives from Western Digital.  I now have seven of those drives, and they’ve been good to me so far.  I think next time I will try a pair of terabyte drives; since I’m using them for archiving I’m not so concerned about seek times.  Other than that, my setup is identical to the one described in the link above.  Check it out if you’re looking for a long-term storage solution.

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DIY Business Cards [tutorial]

January 29, 2009

No doubt there are dozens of ways to make business cards. I choose to design and create them myself, and I know many other people who do as well. Recently I designed new cards for SE.com, and it occurred to me that I could considerably speed up the process by putting all the tedious parts into a Photoshop Action.

SE_BizCards02

After designing a single card, I then duplicate and arrange it on an 8.5 X 11 sheet of paper. I’ve found that if you arrange them all end-to-end you can maximize the space and get 12 cards from a single sheet as seen below.

SE_BizCards02Sheet

So, what I’ve done is compile all the boring, non-design stuff into an Action that anybody can use. It’s designed to save time and let one concentrate solely on the design. Here’s how to use it.*

Steps

  1. First of all, you will need to download the Action here. I suggest saving it in the program folder for Photoshop, but that’s up to you.
  2. From here, you need to import the Action into Photoshop. To do so, bring up the Actions palette (ALT + F9) and click on the triangle in the top right corner to open the pop-out menu. Then click on “Load Actions.”
  3. Navigate to the file you just downloaded; select it, and hit “Load.”
  4. ActionsPalette

  5. You should now have a new folder in your Actions palette called BusinessCards.atn Within that folder are two separate actions. One is titled “Biz Card Single” and the other “Biz Card Sheet.”
  6. Click the Action called “Biz Card Single” and then click the play button at the bottom of the Actions palette. This will create a new canvas and end with a message prompt. Simply follow the instructions, and then play the “Biz Card Sheet” action when you have finished and flattened your design.
  7. BizActionMsg

Notes:
If you desire to create a vertical business card, rather than a horizontal one, go ahead and rotate the single card (Image > Rotate Canvas) and design until your heart’s content. However, for the Action to work, you must rotate the card back to the horizontal position before playing the “Biz Card Sheet” Action.

This Action is designed to make standard-sized business cards (2″ X 3.5″).  Other dimensions will not work using this layout.

Don’t forget to save the single card as a .psd before you flatten it! You wouldn’t want to lose your layered version of the file.

Print the cards on heavyweight card stock. I prefer the look of matte card stock, but you might like glossy better. That’s up to you.

The cards are lined up end-to-end which means two things: 1.) There is no bleed boundary on the single card canvas.   2.) You will have to cut the cards yourself.  Depending on your design, you might have to be extremely accurate with your cuts.  I definitely recommend a paper cutter.

Personally, I save the sheet as a .pdf and then take it to Kinko’s to have them print it on matte card stock.  Save yourself a headache, and print a test copy on your own printer first.

You can also use this to print something on the backside as well.  If you follow the same steps above you can be certain that your sheets will have the exact same alignment.  Printer discrepancy is a different story altogether…

*Though the Action is intended to save time, it cannot design the card for you. This tutorial assumes moderate proficiency with Photoshop.

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Lightroom to Flickr plug-in

January 27, 2009

I use Lightroom daily, and I’ve been a Flickr member for years. Recently I found this nifty little plug-in to export photos directly from Lightroom onto your Flickr stream. Check it out here. Heck, poke around on that guy’s site; he’s got a lot of great stuff on there. Gotta love these little time savers!

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Following the Paper Trail

January 21, 2009

It seems to me that most photographers rarely see how and where their photos are used. Honestly it can be quite discouraging to think that your hard work is simply soaking up space on someone’s hard drive. There is, dare I say, a “need” for photographers and artists to see how people interpret and use their work. It’s not only encouraging, but it helps us realize what things impress other people.

Well thanks to my wonderful girlfriend and her adroit googling, here are a few articles that picked up my photos from Monday’s Inaugural Ball.

Obama Inauguration Blog
Dallas Observer
BizBash (thanks for the link!)

You can find several other photos here on Flickr if you’re feelin’ it.

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Wedding cake

January 16, 2009

  Photo by Stephen Elliot

Becky Merritt and John Purcell got married last weekend, and I had the privilege of being their photographer. This was one of the first 20 shots I took; I love it when the shoot gets off to a great start!

As usual I’ll be editing the photos for the next couple weeks, and you’ll be able to see the rest here on Pictage shortly thereafter.

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D700 at a Glance

January 15, 2009

I realize the D700 is not even considered “new” any more according to Nikon, but I rented one last weekend, and I want to blog my thoughts about it before they fade into a distant memory. So, this is my super quick, not entirely objective, bullet point review of Nikon’s second full frame camera.  For best results, gradually mix this review with this one about the D300.

  • The D700 feels exactly like the D300, but just a little bit sweeter. I’ve grown used to the feel and features of my D300 over the last 6 months, so it was nice to pick up the D700 for the first time and already know where all the buttons were. There are a handful of changes to the camera body itself –they’re subtle, but different.
  • The most notable change in the body is the large, round viewfinder. I can’t tell if it’s because of the full frame sensor or if it’s just my imagination, but I feel like it is much easier to see the entire frame when looking through the viewfinder. It’s not something that you consciously think about, but it goes a long way toward giving you that extra control over the image. Due to the increased size of the viewfinder the body is actually a smidge taller than the D300, however I did not have any trouble fitting it in the same, snug camera holster as my 300.
  • The memory card door is different, and I personally don’t prefer it. You slide the door out and then it swings open. I prefer the latch on the D300 myself. Although, it’s not much of a loss because the latch is replaced by a dedicated “info” button on the D700. Personal preference really, but to me the door doesn’t feel as sturdy as the rest of the camera.
  • This next point can most likely be chalked up to the fact that it was a rental, but the DoF Preview button stuck when it was pressed. I had to use an X-acto knife to dislodge it because the whole system froze while the button remained pressed. I don’t know if this is a common problem, or just poor use by another rental customer but it was cause for alarm when the camera seemed to stop working.

All in all, I love the feel of it a lot more than I thought I would. The differences are very subtle, but they all seem as though they were well thought out. I’m not entirely convinced it’s worth the price difference, but if you plan on getting some true wide angle shots you’ll be glad to have it.  As I said in my previous post the D700 and the D300 make a perfect match.

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Full frame or DX, that is the question

January 13, 2009

For about a year now I’ve thought that the perfect setup for shooting events would be two D300’s with three low-light lenses (14-24mm , 24-70, and 70-200  [all f/2.8]).  This means I could hit any focal length from 14-200 with an aperture of 2.8.  However, after viewing some images recently from a full frame sensor I have gained a true appreciation for them, most notably their wide angle aspect.

After crunching some numbers I discovered that I can get nearly the same broad focal range using two cameras and only two lenses, and it’s even a couple hundred dollars cheaper than my previous “ideal setup.”

The diagram below shows what I’m trying to explain, but the important thing to keep in mind is that the small, digital (DX) sensor magnifies the focal range by a factor of 1.5.  Basically, I use a wide to medium range lens on a D700 and a telephoto lens on my D300.  The full frame sensor gives me the true wide angle, and the DX sensor gives me more power on the telephoto end.

FX_DX_Diagram

The only disadvantage is that you lose the range between 70 and 105.  Technically, you can pick up 3mm on the wide end with the third lens (14-24), but those three millimeters are not worth the $1,600 price tag of the lens.  In rare cases when I need that extreme wide angle, I can always rent the lens.

This past weekend I had the opportunity to try the new setup.  I rented a D700 for a wedding on Saturday and then headshots on Sunday.  Not once did I feel as if I was limited by my equipment.  I was able to execute every idea I had, and everything worked flawlessly.

This won’t be the perfect setup for every job, but for the event photographer it can’t be beat.

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Tree of Light

December 8, 2008

   Photo by Stephen Elliot

It’s beginning to look a lot like Christmas around the Gaylord National Hotel. I had the privilege of shooting the tree lighting ceremony –man! what a show! I got goosebumps while I was clicking away.

After the fountain/fireworks extravaganza they turned on some snow machines, and I watched as the little kids tried catching “snowflakes” on their tongues. Much to their dismay, the “snow” was actually soap.

You can catch some of the photos here. If you’re in D.C., you should definitely head down to the National Harbor and check out the fountain show.

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Like Rain on Your Wedding Day

November 3, 2008

Two of my friends, who actually met in my living room, got married on August 9th and I was the lucky photographer. It was an outdoor wedding, and the bride was very photogenic so I was thrilled to shoot this one.

Laura and Micheal back

It started off as a gorgeous day with white puffy clouds, and it stayed that way all day until about 45 minutes before the ceremony was supposed to begin. Dark clouds rolled in and it began to pour right at 6:00 o’clock.

Fortunately it passed over in about 15 minutes and we were able to hold the ceremony outdoors. In fact, the rain and the cloud cover were the perfect ingredients to make the pictures lush and colorful. For me, it was a blessing in disguise.

I couldn’t be more impressed with Michael and Laura’s attitude. They took everything in stride and they seemed thrilled just to know they would be married when all was said and done.

Big thanks to my lovely assistant Amanda for getting some excellent shots!  I really wish I could claim her photos as my own.  =)

See all the photos here on Pictage.

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Photos at 60 frames per second

September 23, 2008

Recently I’ve been working with one of my neighbors on a presentation that she will deliver in November. She has been asked to speak at Oxford University’s Saïd Business School during one of their global Leadership Development conferences. Part of her presentation will include a 60 Minutes style interview with her asking questions to a Capitol Hill staffer.

Anyway, last night we filmed the interview, and I figured I’d share a bit of it here…

InterviewSetup-4323

It’s been a while since I’ve done much video stuff, so I was happy to be behind a video camera again. I guess I had forgotten how much more gear-intensive videography is than photography. Not only is the equipment itself bigger, but there is the entire audio component that you don’t even have to think about with photography.

We didn’t want the interview to feel too formal, so we opted to film it at a friend’s apartment. By the time I set up the camera and the two light stands it started to get a little crowded, but we still worked it out.

Here’s a better look at my setup:
InterviewSetup-4324
By the way, the above setup was re-positioned slightly for this photo.

As you can see I used a Canon XL2 as the main camera on a Bogen tripod with a video head. I also had a smaller one-chip camera that I used to film the interviewer, but it’s not visible in this shot. The lights are the Lowel OmniLight Kit. The light on the left was my back/rim light and the upper-right my key light. I used two microphones just to make sure I was getting some clean audio –one wireless lapel mic, plugged into the camera; and a second lapel mic plugged directly into a MiniDisc Recorder. There’s some noise on the wireless mic –I attribute that to my minimal experience with wireless– but I got a nice recording on the MiniDisc, so I’m happy.

Finally, here’s a freeze-frame from the footage:
InterviewShot

Setup and tear-down took longer than the interview itself, but that’s just part of the job sometimes. It felt good to be behind the video camera again, and I’m thankful for the opportunity. There is still some editing to do, but it’s been enjoyable so far so I’ve got no reason to complain =)

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On-Site Printing [tutorial]

September 13, 2008

As I mentioned in an earlier post I had two clients ask if I could print photos on-site so that the attendees would have something to take home, kinda like a party favor.  I did some research and found it to be more affordable than I initially thought.  So, I ordered a couple printers and decided to give it a shot.  So far I’ve had two opportunities to put this system to use, and I’ve had great success with it both times.  This tutorial describes my setup, workflow, and what I’ve learned along the way.

Background Info:
I needed a printer that could deliver photo-quality prints quickly and affordably.  My research immediately pointed me to dye sublimation printers.  They use an altogether different technology than inkjet or laser printers.  As far as I can tell, it’s the same technology they use in the self-service photo printers at CVS, Wal-Mart, Kinko’s etc.  Additionally, I needed something that could print straight from a memory card and from a computer.

Blasphemy!

I landed on the Selphy CP760 by Canon.  It’s a compact photo printer, it met my requirements, and it’s only a hundred bucks.  I knew I would have a pretty demanding output volume, certainly higher than the average consumer, so I ordered two of them.

So, with the addition of my printers here’s a look at the key components of my setup:

  • Two Cameras: Nikon D300 and Minolta Maxxum 7D
  • Two printers and enough ink and paper for over 500 prints
  • Five memory cards
  • One MacBook and memory card reader
  • Adobe Lightroom

Given that I had never used a printer like this before, I did a few test shots and test prints to see how everything flowed.  The printer is super simple to use.  Pop in a memory card, the images show up on the small playback screen, tell it how many copies you want of each, and then hit print.  The quality is exactly what I needed to.

PrinterAndPrints-4321

The Setup:
First of all, set your camera to shoot “RAW + Jpeg.”  Most printers cannot read RAW files.  Lightroom, on the other hand, works better with RAW files, so be sure that the option to “Treat jpeg files next to raw files as separate photos” is unchecked in the Import Preferences dialog box in Lightroom.

LR_prefs

Another invaluable asset is the DPOF option in most digital cameras. Digital Print Order Format allows you to setup a run sheet for the printer. Within the camera you make note of which pictures to print and how many. That information is then saved to the memory card and read by the printer. The printer then says, “Hey, I see that there is a print order file on here, do you want me to print these?” (paraphrased, mind you). Simply hit the print button and you’re in business.  Check your camera’s instruction manual for information about DPOF.

Next, you’ll want to install the printer on your computer so you can print directly from Lightroom. Fortunately I had no problems with this whatsoever. I installed it first on my PC at home, and then on a MacBook for the events. The printer ships with a CD-ROM that includes drivers for both operating systems, so you can be up and running in no time. The most important thing to keep in mind is that you will have to setup the printer preferences in Lightroom so that it will print properly on the 4×6 postcard size paper.

Printing from a computer provides some advantages that you can’t obtain by printing from the memory card, but it also contains some disadvantages. Here’s a look at them.

Pros:

  • You can print edited photos.
  • It’s easier to find a specific photo.
  • You can print your logo or website on photos,

Cons:

  • The photos must be imported and exported before printing starts (ie. it’s more time consuming).
  • You can only use one printer unless you have a second computer.

Whether you decide to print mainly from the computer or memory cards will largely be determined by your equipment setup. In either case I suggest you follow this principle: Use the DPOF for what it does best –printing pictures quickly.  Use the computer for what it does best –printing edited pictures and printing photos per request.

General Workflow: Set DPOF as you’re shooting and then print on the standalone printer first. After the photos have been printed, upload them to the computer. Review the photos and note any ones that need to be edited and re-printed, or any ones that will likely need extra copies. Add those photos to the Quick Collection in Lightroom. If you need to start another batch while the standalone printer is busy, then go ahead and print DPOF from the second printer. Try not to let the re-prints sit in Lightroom too long before they are printed.  Clear the DPOF info from the memory card next time you insert it in the camera, otherwise you’ll end up printing multiple copies of the same photos.

Lightroom Workflow: Import the RAW photos directly from the memory card. In other words, don’t copy them as DNG files; doing so will only slow down your pipeline. Remember, speed is paramount when printing on-site. Add to the Quick Collection* any photos that need to be edited or have extra copies made. The QC then serves as your printer queue. View the QC and edit the photos as necessary; create virtual copies for any photos that need additional prints. Then switch to the Print Module, select all the photos and click print.

*Simply select a photo and press “b” to add it to the QC.

Adapt your workflow to your setup and your delivery requirements. There is no “one size fits all” approach to printing on-site. Prior to the shoot, gather as much information about the event as you can, and then use that information to decide the best way to handle things.

The decision to hire an assistant is based largely on the nature of the event. As a general rule, if the client is okay with you devoting 1/3 of your time to making prints, and therefore only 2/3 of your time taking photographs, then you can handle the printing yourself. If the client requires that you are available to take photos the entire time, then you’ll need an assistant. You’ll need to charge more if you hire an assistant, so make sure you give the client an overt benefit for having one –more prints, faster, and more coverage.

Ideas for Newbies:
Test your ISO settings on the printer.  Shoot a series of photos in a darkish room and increase the ISO each time until it’s maxed out.  Next, print them and decide what is an acceptable level of noise for printing.

Test the Image Optimization settings in the printer. Print a photo with it turned on and a second with it turned off.  Which do you like better?

If you need to get your feet wet first, try printing some photos at a house party for your friends. It’s a fun way to get some experience under your belt without the pressure of having a job to do. For the hospitable folks out there, why not host a party for that very reason. Besides, once your friends see what you can do, they’re much more inclined to tell other people about you, and that’s how you land a job. As a bonus, anything you buy for the party is a business expense!

For an extra touch of class, print envelopes with the client logo on it. The envelopes will help protect the pictures, as well as serve as an advertising tool for you.

Lessons Learned:
While shooting, just be a photographer. Don’t get bogged down thinking about all the printing stuff. Stay creative and professional.

Distance yourself from the customer while printing; a separate room is ideal.  If you give them a chance to see you working they will invite themselves to look over your shoulder and become your artistic director.

Take extra care to make sure you’re getting good pictures of people.  If someone sees you take a picture of them, they will expect a print.  They will also expect the photo to be in focus, well lit, and a perfect expression on their face.  If any of those factors are missing, take another shot and print the best one.  The guests can lose confidence pretty quickly if they see other photos printed but not theirs.

Both the printer and the ink/paper are available at several local stores.  Try checking out Penn Camera, Staples, Best Buy, or Target and save yourself $50 on overnight shipping.  …yeah, that would’ve been nice to know.

Set DPOF information in the camera as you’re shooting, particularly for those times when you take multiple versions of the same thing.  Pick the best one and set the DPOF.

Don’t forget to pack: a screwdriver (or something comparable) for winding the cartridge/ribbon, power strip and extension cord, USB cable for computer-to-printer, and a memory card reader for the computer.

Create a sign to be displayed with the printed photographs that says:
1.) Prints will be available approximately __ minutes after it was taken.
2.) Please take an envelope to protect your photos.
3.) Re-prints and extra copies (no more than five) can be printed once the current batch is finished.
4.) Photos can be brightened, darkened, cropped, and color-corrected upon request.
5.) Photos can be viewed online at: Pictage.com/123456
6.) All photos have been paid for by: client name
4.) This service is provided by Mud Productions. Visit mudproductions.com
5.) Enjoy!

Assistant:
1.) Use a cell phone headset or 2-way radio to communicate with assistant.
2.) When dropping off a memory card to be printed, let the her know if there are any photos that need to be edited before printing. She will decide if those specific photos should be uploaded or printed first.
3.) Use this Printing Checklist to note which memory cards have been printed and uploaded, and at what time.

Notes:
It takes a little over one minute to print a photo, and if you do the math you should be able to print 100 photos per hour (using two printers).  Practically speaking, it will probably be substantially less than that.  Between the two events I shot, I averaged only 41 prints an hour.  I know there are some things I can do to streamline it further, but I don’t think you could reasonably get more than 65 prints an hour with this setup.

I was able to print DPOF straight from the memory card even while the computer was attached. The instruction manual says not to do this, but I did it on a MacBook and didn’t experience any problems.

Lifespan of printers has not been determined as of this writing. I’ve printed 468 photos between the two printers without a single mishap.

For much bigger jobs, a high-end printer would be preferred though it comes at a price.

Conclusion: On-site printing can be very demanding.  Without a good workflow it’s easy to get overwhelmed.  The guests/customers/attendees will test your patience if you let them.  Make sure you’ve done a few small tests before the shoot and do your best to take everything in stride.  It’s extremely rewarding to hear people comment that they like the photos, but it takes a lot of hard work to get there.

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New Service: On-site printing!

September 8, 2008

Recently a couple of corporate clients have asked if I can deliver prints on-site.  I have not been able to offer this in the past, but today I’m pleased to announce that Mud Productions can now deliver prints on-site for various corporate events!

This past weekend I had an opportunity to put the new system to use, and it was a huge success!  Everybody was excited to have a picture to take home right away, and I enjoyed getting to see their reactions first-hand. With the help of my wonderful assistant, Amanda, I was able to shoot for eight hours and deliver 354 prints.  As expected, we discovered a few things that would make the job easier next time, but all in all I’m thrilled with the results!

This Thursday I’ll have another chance to streamline my workflow as I shoot and deliver prints for a private event.  Stay tuned!  I plan to write a post describing my setup, how it worked, and what I’ve learned in the process.

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Sparks Fly

September 3, 2008

Here’s the finished product from Missy and Jon’s wedding in Ohio! Clicking on the image below will take you to view my personal favorites. Below that is the Day In Pictures photo montage.

MissyJon_BackCover

You can view all the photos and order prints from Pictage now!

Special thanks to Amanda for helping me capture this lovely wedding! =)

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D300 At a Glance

July 15, 2008

I’ve had the D300 for a couple weeks, and I’ve only spent a few days shooting with it; so this review will certainly not be exhaustive. Nevertheless, there are some things that stood out right away that have definitely caught my attention. Good or bad, here’s my first impression of the D300. (Note, this review assumes moderate familiarity with camera terminology –nothing overly technical, but well beyond what the dude at Best Buy would tell you.)

I’ve shot with a D200 several times before, so most things were familiar to me. One of the first things I noticed (and liked) about the D300 was that you can change the direction of the +- exposure scale. For reasons unknown to me, Nikon puts the positive values on the left and the negative values on the right. That just seems completely backwards to me, so I was thrilled to find an option to flip the scale the other way.

On that same note, I also liked being able to switch the rotation directions of the two dials. Because I naturally think “Left=negative, right=positive” I found myself constantly setting the Exposure Compensation the wrong way. A simple switcharoo and now it feels intuitive and natural to me. (The caveat about switching the dials is that I now have to turn them the opposite way to shrink/increase the aperture/shutter. That, however, doesn’t bother me much at all.)

With the D300 Nikon has made some strides at separating focus from exposure, but it’s still not quite perfect. If I had it my way I would get ride of the useless AF-On button and make it an AF-Lock button instead. As it is, they have AE-Lock and AF-Lock in the same button –sure it works fine most of the time, but there are plenty of times when I’d like the extra control of locking the exposure separately from the focus.

As I see it, the single most frustrating thing about most cameras is that “It won’t take the picture! … Yes, I’m pressing the button all the way down, but it won’t take!” The problem is that the shutter won’t release unless it can establish a focus. The AF-Lock is a convenient way to override the settings in the camera and let you take the picture. The D300 does have an AF-Lock, but it’s one and the same with the AE-Lock. Yes, you can adjust various setting in the menu to change this, but the AF-On button cannot be customized. I think that is the single biggest shortcoming of the D300.

For the record, you can set the shutter to Release Priority rather than Focus Priority. However, when that setting is chosen the camera won’t give you the audible “beep beep” to let you know when it’s found a focus.

Even though I wish there were more things that could be customized I’ve got to give Nikon credit for the options that they have made available. For better or worse, I’ve customized my camera to the point where someone who is used to shooting with the default settings would not feel comfortable at all with mine. The beautiful thing though is that you can save your settings directly to a memory card, and then load them into another D300 and instantly be up and running the way you like. * I did this when I rented a D300 recently and it worked like a charm. Thanks for the time-saver, Nikon!

*You could conceivably copy those settings from the memory card, and then email them for someone else to plug into their D300. I haven’t tried this, but I can’t imagine why it wouldn’t work.

Just like the D200, you can save four different user-settings within the camera itself. Though the settings are more ideal to be used between different users, you could potentially create different setups to be used in different shooting environments like a studio, weddings, and sporting events.

Given my background with Minolta, I’m used to having a tactile control for everything. With the exception of creating folders and setting the flash to wireless, everything had a physical control, button, dial, switch, or knob. The D300 relies a little bit more on menu navigation, but it allows you to create a customized menu for easy access to those features you need to pull up every once in a while.

Perhaps the thing that surprised me the most is the battery life.  …it’s ridiculously awesome!  I shot a wedding for nine hours on a single battery. It didn’t even start giving me the low-battery warning.  The picture below shows the “Pic meter.”  It tells you how many pictures you’ve taken since you last changed the battery.  My Minolta gets about 400-450 shots per battery.  The D300 gets four times that!

NikonBattery-7697

It should be noted that I was shooting with the highest quality setting (14-bit RAW) for the above-mentioned 9 hours.  Speaking of RAW, I’m a huge fan of the “Lossless, Compressed” option for the NEF files.  It uses a reversible algorithm to store information, giving you considerably more mileage from your memory cards. In my experience, I can get about 550 compressed RAW files with no loss of quality on an 8 GB card.  The same card can only hold 303 uncompressed files.

As can be expected, the maximum frame rate drops to 2.5fps when you shoot at 14-bit RAW.  I did notice the frame-rate lag at times, but I’ve found the extra data to be well worth it.  I feel like I can pull much more information from the NEF files than I can out of Minolta’s MRWs.  I have yet to do some side-by-side comparisons though.

I don’t think this is new to the D300, but I love the White Balance Bias (or Fine Tuning). I often shoot in Auto WB, but I usually warm up the images in Lightroom just a hair.  The Fine Tuning option on the D300 allows me to shoot in Auto, but push the temperature up or down a little bit.  My initial reaction is that the AWB tends to err on the side of being a tad blue, but I haven’t shot with it enough to really give it a fair estimate.

Now for the playback screen.  It’s big and it’s crystal clear!  The increased resolution of the screen is truly remarkable. No longer do you have to wonder if the shot is really in focus, or how different it will look on a computer.  I was amazed at how much detail I could see in someone’s hair, and I’m also amazed at how big of a difference it makes.  Prior to using this camera I wouldn’t have thought the screen resolution mattered that much, but man, it comes through in a big way!

Also, the screen is more versatile on the D300.  Sure you can do the Live View mode, but I personally don’t think I’ll use it much.  It’s a bit too cumbersome for critical shooting anyway.  I do however really like being able to see my camera settings on the screen. Just like the control panel, it shows your shutter, f/stop, white balance, ISO, and all the other settings right on the back of the screen.  It’s most helpful when doing freestyle shots or when the camera is above eye level.

The Playback and Delete buttons have been moved right next to each other.  It’s a small change, but it feels much more intuitive.

My only request pertaining to the screen would be an option to see the Highlight warning along with a histogram. As it is, you can turn the Highlight notifications on or off, but they only show up on top of the full-screen image.  I would prefer to be able to see the image by itself, and then be able to view the image with highlights along with a histogram.

There are a host of new features that I’ve not mentioned here primarily because they don’t mean anything to me.  The 3D tracking is a nice idea, but I will probably always shoot with single-point autofocus.  Same with the Live View.  Picture Controls and Active D Lighting are probably great for people who don’t edit photos, but I use Lightroom extensively in my workflow.  I do like the Low-Pass filter, auto sensor cleaning; but I haven’t used it yet, so I can’t really say anything more about that.  And I’ve been impressed by it’s high signal-to-noise ratio, though I haven’t really pushed its limits yet.

Conclusion: the D300 is an amazing camera.  It doesn’t feel like last year’s camera with a new name.  It’s truly a new, better camera.  The battery life is extraordinary.  The screen is a thing of beauty.  The dynamic range of the 14-bit files is impressive.  And the options for customization allow you to make it your camera.  Sure there are a few things I would change if I could, but it really boils down to personal preference.  The added features and high price tag will ultimately save time and give me much greater creative control.

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Wedding Bells and Fireworks

July 14, 2008

  Photo by Stephen Elliot

I spent the Fourth of July shooting a wedding in Ohio. My girlfriend came with me and worked as a second photographer. After nine hours of shooting, the bride’s father shook my hand and said, “You did a great job today! Even though I haven’t seen the photos yet, I can tell that you did a great job.”

One of the bridesmaids is also a photographer in the area, and she was extremely helpful suggesting some places to shoot before the reception. Thanks Echo!

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Hold that Pose for Me

July 12, 2008

   Photo by Stephen Elliot

Gaylord National recently installed a one-of-a-kind infusion bar in Pose, their “ultra lounge.” The Washington Post was going to run an article about it, so they (Gaylord) asked if I would shoot the photos for it. I definitely didn’t expect that, but I was certainly honored. =)

I did a lot of wide shots as well as some close-ups like this one. It was a fun opportunity to be creative, and I think that shows in the pictures that came from it.

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Boom!

July 12, 2008

It’s official.  I’m the proud owner of a Nikon D300.  =D

In the short term, my Minolta Maxxum 7D will still be a significant part of my workflow.  I prefer to shoot with two cameras –a wide angle lens on one and a medium or telephoto on the other– so until I get a second Nikon I’ll keep using the Minolta.

About four days after I got my D300 Nikon announced the D700.  Sheesh!  They didn’t even give me time to finish reading the manual before making a new camera.  BUT, after looking at the specs, it appears that the only real difference between the two is that the D700 has a full-frame sensor, and that’s not reason enough for me to justify the price increase.

At the moment, the only Nikon lens I have is a kit lens (18-55 f/3.5-5.6)  It looks kinda pathetic seeing such a small lens on a big camera, but it gets the job done for now.  My goal is to get three new lenses and a second Nikon by the end of the year, so, if anybody is feeling generous…