All Forum Comments
Comment by Don posted on The End of the Print Portfolio? at 18/10/2009 - 16:29
hefty1 wrote:
I think it will depend on the type of commercial photography you do. I can certainly see many (most?) periodicals such as newspapers and magazines gravitating towards online-only publishing within the next decade as economics dictate ever-smaller profits to be made from printed words and pictures.
But there are other outlets for printing that I think will remain unaffected; wedding photographers will still be expected to provide happy couples with printed albums of their day, fine art photographers will still require prints to frame and hang in galleries, product photographers will still need artwork to put on the sides of boxes, advertising photographers will still need to produce work for billboards. Even in a World where there are fewer magazines I still expect there to be a demand for high quality, glossy books!
In the future (well, tomorrow is the future after all) I just think it would make sense to tailor your portfolio depending on the type of work you're chasing - if it's going to end up on TV or the web then a multimedia portfolio is perfect, if you're still shooting weddings then nothing's really changed...
We provide a DVD, a Website, photobooks, and starting next year 1 13x19 print. This year is the last year we'll be offering the traditional leather bound album. only sold two last year... individual prints still available on demand...I think it will depend on the type of commercial photography you do. I can certainly see many (most?) periodicals such as newspapers and magazines gravitating towards online-only publishing within the next decade as economics dictate ever-smaller profits to be made from printed words and pictures.
But there are other outlets for printing that I think will remain unaffected; wedding photographers will still be expected to provide happy couples with printed albums of their day, fine art photographers will still require prints to frame and hang in galleries, product photographers will still need artwork to put on the sides of boxes, advertising photographers will still need to produce work for billboards. Even in a World where there are fewer magazines I still expect there to be a demand for high quality, glossy books!
In the future (well, tomorrow is the future after all) I just think it would make sense to tailor your portfolio depending on the type of work you're chasing - if it's going to end up on TV or the web then a multimedia portfolio is perfect, if you're still shooting weddings then nothing's really changed...
Comment by Don posted on The End of the Print Portfolio? at 18/10/2009 - 16:21
I build robots with multimedia capabilities including flat panel display and video projector.
The future is multimedia, not static print.
In my vision of the future, automated waiters/servers, tour guides, and security bots will distribute advertising and web services.
when you walk through a mall, the ads will find you. And follow you. Creepy isn't it?
one of my earliest prototypes
The future is multimedia, not static print.
In my vision of the future, automated waiters/servers, tour guides, and security bots will distribute advertising and web services.
when you walk through a mall, the ads will find you. And follow you. Creepy isn't it?
one of my earliest prototypes
Comment by Don posted on The End of the Print Portfolio? at 18/10/2009 - 16:07
pentaxian450 wrote:
I use three Sigma flashes, and they perform flawlessly. The interface is kind of "rustic", but the results are very good. But I don't think it is as sturdy as a Metz or Pentax unit.
One thing worth mentioning: if you intend to use the flash only occasionally, you might want to invest in a simpler flash. The reason is that if you want to use ALL the possibilities offered by those flashes (wireless, high speed sync, rear curtain sync...), you need to use it regularly in order to be proficient. Otherwise, you are going to curse the day you bought your unit.
for close to the price of the 540, he could go with two 360's and take the time to learn to use them.....I use three Sigma flashes, and they perform flawlessly. The interface is kind of "rustic", but the results are very good. But I don't think it is as sturdy as a Metz or Pentax unit.
One thing worth mentioning: if you intend to use the flash only occasionally, you might want to invest in a simpler flash. The reason is that if you want to use ALL the possibilities offered by those flashes (wireless, high speed sync, rear curtain sync...), you need to use it regularly in order to be proficient. Otherwise, you are going to curse the day you bought your unit.
Comment by Don posted on In a Dilema: Which Flash should I go for? at 18/10/2009 - 15:22
Mannesty wrote:
The catfish has over 27,000 taste buds.
What could be so tasty on the bottom of a pond?
the catfish... coated with cajun seasoning, a little dusting of cornmeal, blackened in smoking hot oil, and doused with hotsauce... worry about your own tastebuds!The catfish has over 27,000 taste buds.
What could be so tasty on the bottom of a pond?
Comment by Don posted on Useless topic at 17/10/2009 - 17:00
Why was I tip-toe-ing around my bedroom this morning trying not to disturb the sleeping cats that kept me up half the night?
Comment by Don posted on Useless topic at 17/10/2009 - 14:35
I get by with a huey, and using epson inks and papers and profiles....
Comment by Don posted on Huey Pro or ColorMunki Photo at 16/10/2009 - 22:42
Comment by Don posted on light meter at 16/10/2009 - 19:02
I'm intersted...
I build my shots buy first deciding on my ambient exposure...
then adding fill and finally key for my subject...
then the background/backdrop or other accent lights...
for example, typical studio portrait shot:
set up large softbox and meter it by using incident reading, meter dome pointed directly at the softbox from the position of where the shadow will be on the subject. (ie under chin or darker side of face)
I then set up and meter my key light the same way (often using a shoot through for women, or gridded reflector for men/kids) and meter where the brightess highlights hit pointing the meter dome from the subject towards the lightsource...
finally a snooted hairlight metered to match the key light, again from the subject pointed at the lightsource. remember I'm metering each light for purposes of setting up ratios, the key light is my main reading...(note it is where I start from often opening up 1/2 to 1 full stop over the key light reading)
I then take a reflected reading off my background/ambient from the camera position and adjust the backdrop/accent lighting or shutter speeds to control that.
I build my shots buy first deciding on my ambient exposure...
then adding fill and finally key for my subject...
then the background/backdrop or other accent lights...
for example, typical studio portrait shot:
set up large softbox and meter it by using incident reading, meter dome pointed directly at the softbox from the position of where the shadow will be on the subject. (ie under chin or darker side of face)
I then set up and meter my key light the same way (often using a shoot through for women, or gridded reflector for men/kids) and meter where the brightess highlights hit pointing the meter dome from the subject towards the lightsource...
finally a snooted hairlight metered to match the key light, again from the subject pointed at the lightsource. remember I'm metering each light for purposes of setting up ratios, the key light is my main reading...(note it is where I start from often opening up 1/2 to 1 full stop over the key light reading)
I then take a reflected reading off my background/ambient from the camera position and adjust the backdrop/accent lighting or shutter speeds to control that.
Comment by Don posted on light meter at 16/10/2009 - 18:17
another good reason to own a meter... and a greycard...
I upgraded the (rather pricey) modeling lamps in my strobes to (much cheaper, brighter) halogen lamps.
I shoot video as well as stills. getting the color and exposure of the video to closely match the stills is important to me.
It is also important since my strobe and (video) modeling lights may be set differently than you'd expect, that I am able to accurately set up lighting ratios for both the flash stills and constant video lights off the same units.
I upgraded the (rather pricey) modeling lamps in my strobes to (much cheaper, brighter) halogen lamps.
I shoot video as well as stills. getting the color and exposure of the video to closely match the stills is important to me.
It is also important since my strobe and (video) modeling lights may be set differently than you'd expect, that I am able to accurately set up lighting ratios for both the flash stills and constant video lights off the same units.
Comment by Don posted on light meter at 16/10/2009 - 17:12
I've been to a few weddings recently and while they've all been given (well, sold actually) DVD's of pictures from the day it's the printed albums that get dragged out so they can oooohhhhhh and aaaahhhhhh over the dresses, the flowers, the cake...
Maybe popular culture here in the UK is dragging behind Canada a bit in that respect?
I forgot to mention, I layout thank you cards with images from the wedding shoot to distribute to the guests at the wedding receptions, and do a slideshow at the receptions.