The Shot That Wasn't

J

Jordan_S

Veteran
While exiting a supermarket in Be'er Sheva today, I witnessed a young boy riding a donkey through the parking lot toward the store. One hand was in the air with a finger pointing straight up, his head was cocked back, and he was shouting something unintelligible.

I ran with my shopping cart to my car, dumped everything inside, grabbed my camera from the trunk, ran back...but he and the donkey had vanished.

Moral of the story: always carry your camera.
 
It is. However, I need to speak to an attorney regarding photographer's rights here. I know what the law is in the States but it could be quite different here.

On a somewhat related note, I once pulled my car over after receiving a phone call while driving at night near the nuclear reactor outside of Dimona. After about 60 seconds of conversation, there was a knock on the passenger side window. I sent the window down. A guy wearing all blue patiently explained to me that it was illegal to pull over along this stretch of road because of the reactor's proximity. (Apparently, I had missed the sign.) And, oh yeah, he had an M16 in his hands.

I took some shots earlier this week of the flooding in the Negev but I'm not pleased with them; my only wide angle lens right now is the 18-55 kit lens. My next lens purchase will be the Tokina 11-16 f2.8, to be followed by the Canon 24-70 f/2.8. I obtained sharper but less expansive results with the 50mm f1.8. Here's a kit example:

IMG%5D
 
For Landscapes the L series isn't going to do much for you compared to the stock lens. It's good for the low light capabilities but for outdoor daytime landscapes where there is plenty of light you shouldn't feel limited by the stock lens. When you compare F8 on both lenses the difference in sharpness is minimal. They are both pretty soft wide open and never get to the level of sharpness that a prime (especially a 50mm) will give you no matter what aperture your on. What the L series will offer you is slightly straighter lines when at 24mm but in my opinion the weight isn't worth it.
 
For landscapes, I figured the Tokina will be the one.

I need the 24-70 for weddings. Last night I shot a wedding and used the stock lens inside with a lot of light but it simply lacks any punch at all. Perhaps I need to learn to take advantage of its strengths more. I had to rely on the 50 more than I wanted. On a 1.6 crop, I have to step back a lot. But it's my fastest lens and the lighting was extremely challenging. The ceremony was outside at night with candles. Floodlights were situated on a nearby building and obnoxious rays spilled in at the most inopportune moments. It seemed like every guest had a point and shoot with a red beam. I hate using flash so a lot of shots will require me to work on the raw file.

Do you think the 24-70 will be OK for wedding work on a 1.6 crop cam? Is there a better choice? The thing is, I don't want to buy an EFS. (BTW, I heard that the Tokina is partially usable on FF, too.)

Another question: my manual focus skills need work. In addition to practicing by taking pictures, are there other ways I can increase my success rate? I know the 50mm's focus ring is partially to blame but it's not entirely at fault.
 
If you are serious about landscapes, get a wide prime lens. If you are really serious get a large format film camera. Landscapes are all about detail and DSLRs just can't compare to the dynamic range and resolution you get from a medium or large format film camera.

The 24-70 is great for weddings because of it's versatility. If I could, I would almost always shoot with a 50mm (its definitely my walk around lens.) but for journalistic style shooting for a wedding you need to be able to go wide and have some reach in a short period of time so the 24-70 does this well. I prefer it on a FF just because I would rather have a slightly wider option and less reach but it's good on a cropped sensor also (especially because it only used the middle of the glass).

I hear what your saying with not using flash but the reality of shooting weddings is that its hard to shoot it without using flash because there is so much action. The only way I wouldn't use flash is if I was shooting with a really fast prime and I was using a FF camera that does well in high ISOs. If you can't have a fast enough shutter speed you are going to get too much motion blur and it's more likely to run into the issue that other peoples flashes are firing while your shutter is open. That being said, I would recommend buying a wireless flash trigger/reciever and hiring an assistant to handle lighting. I love my pocketwizards.

Unless you have a focusing screen in your DSLR, I would recommend not shooting manual most of the time. Nothing wrong with using auto focus (especially when there is enough light, using fast lenses or have a focus assist beam from your flash). I used to think autofocus was the devil because of all the focusing points but then realized that I can turn them all off and just leave the center one on! This way you can just aim the center focus point at your subject (where there is edge contrast..thats how autofocus works) focus and frame your shot. For highspeed action/sports you can use multiple focus points.
 
I've always wanted to ask this question, so I'm going to hijack your thread to ask a somewhat related question!

Do you guys always carry your main camera with you? Even when hanging out with friends? Even in a small backpack, the 5D, 70-200mm, and the 24-70mm takes up quite a bit of room!

I'm thinking about buying a G9 or G10 to ensure I always have a camera on me.

I can't keep my camera in the trunk of my car during the winter here. It's often below freezing and can drop to -20.
 
I have a little Nova 4 or 5 bag (I don't recall which) that I take with me when I'm going most places. It will fit my D700 and the 24-70 with no issue. Sometimes I throw in an extra film body, a prime or 2, and a strobe or 2. Lots of room in the front for triggers, batteries, and cards.

That said, I usually use my iPhone for the more spontaneous stuff. The G11 is awesome though. I've played with it a good bit. I never carry my 70-200 with me. That is almost purely for gigs.
 
egproductions said:
If you are serious about landscapes, get a wide prime lens.
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I thought most people considered the Tokina 11-16 basically a prime. Is there a prime you rate as having better value?

egproductions said:
If you are really serious get a large format film camera.
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Not in the budget, unfortunately.

egproductions said:
The 24-70 is great for weddings because of it's versatility. If I could, I would almost always shoot with a 50mm (its definitely my walk around lens.) but for journalistic style shooting for a wedding you need to be able to go wide and have some reach in a short period of time so the 24-70 does this well. I prefer it on a FF just because I would rather have a slightly wider option and less reach but it's good on a cropped sensor also (especially because it only used the middle of the glass).
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This is good to know. I prefer having reach in most instances.


egproductions said:
I hear what your saying with not using flash but the reality of shooting weddings is that its hard to shoot it without using flash because there is so much action. The only way I wouldn't use flash is if I was shooting with a really fast prime and I was using a FF camera that does well in high ISOs. If you can't have a fast enough shutter speed you are going to get too much motion blur and it's more likely to run into the issue that other peoples flashes are firing while your shutter is open.
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Catching others' flashes is not the worst thing in the world just as long as it's occasional. Here's a sample shot:

2zqaa21.jpg



egproductions said:
Nothing wrong with using auto focus (especially when there is enough light, using fast lenses or have a focus assist beam from your flash).
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I thought there wouldn't be enough light for autofocus to work. This prompted a reread of this section of the manual and, interestingly, the AF point's light will turn on when focus is achieved while manually focusing if the shutter release button is pressed halfway. Practical? Maybe not always. But it's a good way to practice. Although I've never despised autofocus (or considered it the devil), I like the feeling that I'm in complete control.


egproductions said:
For highspeed action/sports you can use multiple focus points.
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This is good advice.

DivotDan said:
... The G11 is awesome though. I've played with it a good bit.
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Any samples? Do you find yourself using it in manual mode?
 
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No, its not always an issue when another flash fires in your shot but your lucky it didn't overexpose your shot. With a high ISO and an open aperture it's very possible. The thing I hate the most is having to manage getting consistent exposure but having to fight with a videographer that has very strong constant lighting. I started with doing event video so I understand where they are coming from but it's just very tough to work together sometimes. As still photographers we can get in there and get our shot and get out but the videographer has to be recording the whole time without people getting in his/her way.

Another issue with getting other peoples lighting in your shot is that you will have a mixed white balance...yuck. It's always a battle to get the best ratio of ambient and flash in your shot so that you stay true to the way the event was lit.

It might be a good wide zoom lens but a prime will almost always be sharper. I haven't really dove into the wide Canon primes except for the 15mm fisheye. It's a great lens but you will need practice composition and use dxo to correct the fisheye if you want a distortion free image. If you want to play it safe you can always buy the 14mm f2.8 L for a very good, very wide prime lens but like all L series lenses..its expensive.
 
There was one guy who took so many pictures with his red beam and flash that I shot him a look. Turns out he was using the best man's point and shoot!

Luckily, there was no videographer there. The thing is, if "what happened" was an event lit by candles and a Bescor, let's say, mounted on a video cam, then shooting that image is staying true to providing an accurate representation of the ceremony, no? I'm being a bit facetious but I guess my point is the final shot, as you're suggesting, needs to be an idealized sample.


sbryan said:
I've always wanted to ask this question, so I'm going to hijack your thread to ask a somewhat related question!
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Actually, your question is thread-related; we've gotten off-topic.


sbryan said:
Do you guys always carry your main camera with you? Even when hanging out with friends? Even in a small backpack, the 5D, 70-200mm, and the 24-70mm takes up quite a bit of room! I'm thinking about buying a G9 or G10 to ensure I always have a camera on me.
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I think you have to carry what you're comfortable bringing and, more importantly, what you'll really use. I've actually schlepped my tripod while walking up and down the hills in Jerusalem without taking it out of its bag.


sbryan said:
I can't keep my camera in the trunk of my car during the winter here. It's often below freezing and can drop to -20.
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Sometimes I leave my camera in my car trunk (like when I go shopping); however, I think it's a bad habit to get into no matter what the outdoor temperature is. You know, sticky fingers and all.
 
Jordan_Sopinsky said:
Sometimes I leave my camera in my car trunk (like when I go shopping); however, I think it's a bad habit to get into no matter what the outdoor temperature is. You know, sticky fingers and all.
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ThinkTank Photo sells bags with cables to lock it down. It won't deter a thief who really wants it, but it will deter the unequipped thieves. I have an actual trunk, though. I'd be wary of leaving the bag in the back of an SUV which can be seen.

Maybe iPhone will come to Verizon so I can subscribe to the Chase Jarvis school of thought!
 
Larry, thank you so much for the compliment on the photo. This was my first wedding and I learned a lot. I've since color-corrected and adjusted the shot's white balance and now, while "technically correct," it lacks the warmth that the candles provided. I think I'm going to have to go through all of the raw files yet again.

Nice site and work! I especially liked the shot of the African-American family on the small bridge and the one in which the bride and her maids are spread out among the trees. The latter is fairytale-ish. Which lens are you using in low-light conditions?
 
I am using a Sony A700. I chose that going to the digital world because I had some Minolta gear and it was mostly compatible. Very often I'm using my 70-210 which on the Sony is more like a 105-315. Though it only goes to f4, it is still one of my favorite lens. Then I have a prime 50; 75 on the Sony that goes down to f1.4. The only other lens I have is the Sony kit lens; 18-70; f3.5-5.6. I don't like it much but it does 'ok'. I have a thread on here that goes virtually unused but seems to get a lot of views: http://www.dvxuser.com/V6/showthread.php?t=133066&highlight=a700

Thanks for the couple of comments.

Larry
 
Hey,
With regards to the laws of the land... Israel is sort of a gray area. The moment security people tell you to put your camera away, I would... Unless its insured and you are on assignment. Don't give them a reason to be pissed at you, even though their temperament is one of perpetual pissiness... Even if you have press credentials, they don't care. The rule of law and regulation there is questionable at best, especially for artists.

~Matthew
 
I teach English. I live in Har Hevron. What are you doing in Haifa, Matthew?

It seems like every time I take out my camera, unless I'm at the kotel, someone is asking me why I'm taking pictures. I feel like asking, "Are you doing something wrong?"

This happened in a nearby "outpost" recently. Before taking pictures, I spoke to the soldier stationed there, in order to make sure it was OK. I also greeted a couple of ladies and explained who I was and that I lived in a nearby town. Ten minutes later, what turned out to be the town's secretary came running after me, stopped about 100 meters away, and made a quick motion with his hand for me to go to him (!).

I didn't. Instead, I asked him what he wanted. He wanted to know who I was, why I was "picturing," etc. I explained that I lived in a nearby town (read: settlement) and that I had checked with the soldier and that everything was cool. I even threw in the fact that my wife taught aerobics there once a week.

He did not believe me and said I was not permitted to photograph anything there. I said, "Who are you, the king?" He said, "Yes, I am the king."

I told him that I had the right to take pictures anywhere I wanted, that I was American and held Israeli citizenship and, furthermore, I was not interested in hurting the town (read: not a leftist). In fact, I explained, one reason I was there was because we had heard new houses may be going up and we were considering buying.

He still didn't trust what I was saying. Eventually, a crowd of people gathered. They confirmed that I was who I said I was. He went to his office and came back, after having made a confirmatory telephone call, to apologize. I was invited in someone's house for tea and cookies.

Apparently, it was later revealed to me, this town has had a history of photographers coming in, followed by bad press. What's really funny about this story is that the following week, my students at the yeshiva here knew about the incident. "So," they asked, "Did you punch him back after he hit you in the nose?"
 
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