Luminous Landscape Forum
Equipment & Techniques => Digital Cameras & Shooting Techniques => Topic started by: dwdallam on February 16, 2009, 06:19:53 am
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I got called on short notice (Why do I always get these stress burner jobs?) to do a 50 people reservation in an upscale restaurant, formal setting. The client wants coupes shots and then roaming shots of the dinner and dance after dinner.
As far as the set for the couples, that's easy. The roaming shots I'm wondering about. Sure, I can clip on a bracket and use a flash gun, pretty normal. But I'm thinking about something different, not to the exclusion of a bracketed flash gun. I was thinking about setting up two soft boxes on either side of the room toward the dance floor up high and matched as closely as possible to the ambient lighting.
Since I never do this type of photography, how do you shoot these types of events? What's your efficient light method?
I on the 18th evening.
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For the group shot, asssuming you want to light everybody pretty evenly I would not take the softboxes. I would opt for larger umbrellas. Boxes tend to be a bit more directional than umbrellas (which gives just a big forward cone of light instead of a regtangular or (semi)round beam).
I would also place them not too close to prevent the strength of the light falling off too fast, a bit further will give you somewhat harder light but everybody gets about the same amount of light. Unless ofcourse you have a mix of very dark and light people dressed in black suits and white dresses . If you can get the ambient to play a role in your lighting as well, great. Just make sure every light source has about the same temperature.
Another 'trick' I use with shots that contain more than 1 person is to set my camera on tripod, use a remote and make multiple shots. This way it is fairly easy to use more than 1 image and blend them together to make sure everybody has a 'decent' face in the image.
Don't worry, it seems the regular thing to get called in at the last notice. It happens to me as well all the time. You eventually get used to it
Goodluck!
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The umbrella tip was a good one. I had forgotten about those issues you point out. Also the umbrellas throw more light too, reducing power requirements. For the open dance shots and restaurant main room shots, I just want to throw as much light as I can everywhere pretty much, unless someone disagrees with that approach.
However, I'm going to be doing a fair amount of unposed, candid type photojournalist type shots while people are just hobnobbing around. There won't be enough light to do that without a flash. I have a custom bracket make up and a flash method I use to get the most of out of my flash gun. But I'm wondering if anyone has something different that may prove "better" for this environment. The ceilings are high, so straight up flash isn't going to work. I cut 10" white foam to fit on the back of my flash gun and then usually aim it up about 25 degrees. Seems to give me decent results. I do like to bounce it whenever I have a chance too, but isn't going to be much of an option in that large room.
Aside from having an assistant carry around a small 20x30 softbox for every shot, with a battery pack--lol--what other options are there? I never thought I'd use a ring flash, but this seems like it might be a good place for a ring flash. I'm just always looking for ways to do things differently to create my own lighting patterns and style. Even thoguh I hate doing things "the way others do it" sometimes they are the best way to go about it, or perhaps given specific criteria in a shoot, the only practical way to go about it.
Thanks for any other ideas.
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Ringflash is great on models and beautiful people, but point one at a fugly person and you will only make them more so..
I think the suggestion of a couple brollys for the group shot is a good one, you could also use the same lighting for the couples stuff and even a few candid shots or room shots if you get the light even enough around the space.
For anything else an on camera flash and some sort of diffusion like a Stofen will make your life much easier - just keep the ISO ramped up a bit and the shutter speed down to keep some ambient light and the mood.
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One thing I've done is set up some studio strobe in inconspicuous locations in the room bounced off the ceiling (assuming the ceiling is reasonably neutral). Then I put a 550EX/580EX in the hot shoe on the camera (for fill) and a Pocket Wizard connected to the PC jack on the camera to trigger the strobes. Using this setup, you can use the on-camera flash for fill and foreground lighting, and the strobes to light everything else. The metering pre-flash won't prematurely trigger the strobes, because the optical sensor is disabled when the cable to the Pocket Wizard is connected. I used 4 Alien Bees (2x 400, 2x 800) on stands, with the stock reflectors for bouncing off ceiling, and use umbrellas only when bouncing off the ceiling is impractical or undesirable for some reason.
The strobes, if creatively located, will boost the ambient lighting enough so that you can use reasonable shutter and ISO settings, and relegating the on-camera flash to a fill role minimizes harsh, ugly shadows.
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It sounds from your OP that you will shoot couples photos in front of a backdrop with lights, and then candid shots roaming the floor. No giant group shot. Is that right?
For roaming shots, in a large party setting, I use on-camera flash on a bracket, and one or more off camera flashes held by assistants. These are placed behind and to one (or both) side(s) of the small group I want to shoot. They are pointed at the ceiling, if it's low enough, or pointed toward the back of the group. This provides rim light (separation light), and lights the area behind the subject. Looks great. The on camera flash is on TTL, set to Master, and the off camera flashes are on Manual, set to Slave, and the camera is set for correct exposure using the manual flashes. The on camera flash TTL provides the proper exposure on the subject. (Watch those dark suits -- I often shoot with a -2/3 setting.)
If I can't have assistants roaming, or if there is a podium for speakers, I set up one or two (or more) lights along one wall, on tall light stands. These are also direct lights, no umbrella or box. Set them to manual output, and use them as either back lighting, side lighting, or main lights, depending on your position relative to the subject. I use an on-camera flash set to TTL -1 for fill, and fire the remotes using Pocket Wizards.
In many cases I will also drag the shutter a bit, just to bring up any ambient fixtures in the background. Yes, they are often too warm, but that's what people expect -- and they look better than if I shot at 1/250 at f/8 and the entire back of the room went dark. So my exposures are usually in the 1/30 at f/4 range, around ISO 400. Depends on the room. If the event happens during the day, life gets easier, but most of our big events are at night.
A note on umbrellas and soft boxes: for large groups and big rooms, direct flash actually looks pretty good. You just have to make sure it's filled properly, either by other direct flash or by on-camera flash. Think about good basketball lighting -- that's four direct lights, cross-lit (one on each corner) so everything has main light, fill, and rim light, no matter where the player stands. That's the goal in party/reception shooting.
Good luck. Hope you are charging them lots of cash.
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Ringflash is great on models and beautiful people, but point one at a fugly person and you will only make them more so..
I think the suggestion of a couple brollys for the group shot is a good one, you could also use the same lighting for the couples stuff and even a few candid shots or room shots if you get the light even enough around the space.
For anything else an on camera flash and some sort of diffusion like a Stofen will make your life much easier - just keep the ISO ramped up a bit and the shutter speed down to keep some ambient light and the mood.
OK thanks for that. I'm pretty up on ambient/flash mixtures. I've owned a stofen and Fong flash diffuser and can't tell any difference on my 580 EX. It does a very good job of diffusing that light from such a small source. Pretty amazing. Thanks much.
One other thing for those reading, there isn't going to be a huge group shot. Those have proven pretty easy for me to get my head around, but I've only done a few--I'm not that type of photography. It's going to be couples shots in formal wear, and then I'm roaming. That's it.
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One thing I've done is set up some studio strobe in inconspicuous locations in the room bounced off the ceiling (assuming the ceiling is reasonably neutral). Then I put a 550EX/580EX in the hot shoe on the camera (for fill) and a Pocket Wizard connected to the PC jack on the camera to trigger the strobes. Using this setup, you can use the on-camera flash for fill and foreground lighting, and the strobes to light everything else. The metering pre-flash won't prematurely trigger the strobes, because the optical sensor is disabled when the cable to the Pocket Wizard is connected. I used 4 Alien Bees (2x 400, 2x 800) on stands, with the stock reflectors for bouncing off ceiling, and use umbrellas only when bouncing off the ceiling is impractical or undesirable for some reason.
The strobes, if creatively located, will boost the ambient lighting enough so that you can use reasonable shutter and ISO settings, and relegating the on-camera flash to a fill role minimizes harsh, ugly shadows.
Really nice idea there Jonathan. Thanks. I was wondering how I could use both my studios plus my one camera. I never gave it much thought, but yeah duh, when the cordless receivers are plugged in, like you said, the light trigger won't is disabled. The only thing is I only have one wireless receiver. I was waiting for Paul Buff to finalize his excellent new receiver Commander units. I can at least use one flash in a 48 inch umbrella perhaps. The ceilings are really to the moon in this place. I estimate they are 15+ feet. I'll set up my AB 15600 with a silver umbrella and see what it can do.
Thanks much.
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I don't get that? When I use my radio trigger (Elinchrom Skyport) my optical eye on the flash remains functioning however I can turn it off. Problem is that when I use my transmitter my on-board flash doesn't function.
There is however an easier way which is to put your on-board flash on manual and turn the optical eyes on on your flashes. Just hope there aren't too many people snapping with their pocket cams
When cross lighting the whole room you probably don't need to use the on-boar/on-camera flash and just use the trigger only. This way you don't have to get annoyed over a bunch of people that are triggering your strobes constantly.
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It sounds from your OP that you will shoot couples photos in front of a backdrop with lights, and then candid shots roaming the floor. No giant group shot. Is that right?
For roaming shots, in a large party setting, I use on-camera flash on a bracket, and one or more off camera flashes held by assistants. These are placed behind and to one (or both) side(s) of the small group I want to shoot. They are pointed at the ceiling, if it's low enough, or pointed toward the back of the group. This provides rim light (separation light), and lights the area behind the subject. Looks great. The on camera flash is on TTL, set to Master, and the off camera flashes are on Manual, set to Slave, and the camera is set for correct exposure using the manual flashes. The on camera flash TTL provides the proper exposure on the subject. (Watch those dark suits -- I often shoot with a -2/3 setting.)
If I can't have assistants roaming, or if there is a podium for speakers, I set up one or two (or more) lights along one wall, on tall light stands. These are also direct lights, no umbrella or box. Set them to manual output, and use them as either back lighting, side lighting, or main lights, depending on your position relative to the subject. I use an on-camera flash set to TTL -1 for fill, and fire the remotes using Pocket Wizards.
In many cases I will also drag the shutter a bit, just to bring up any ambient fixtures in the background. Yes, they are often too warm, but that's what people expect -- and they look better than if I shot at 1/250 at f/8 and the entire back of the room went dark. So my exposures are usually in the 1/30 at f/4 range, around ISO 400. Depends on the room. If the event happens during the day, life gets easier, but most of our big events are at night.
A note on umbrellas and soft boxes: for large groups and big rooms, direct flash actually looks pretty good. You just have to make sure it's filled properly, either by other direct flash or by on-camera flash. Think about good basketball lighting -- that's four direct lights, cross-lit (one on each corner) so everything has main light, fill, and rim light, no matter where the player stands. That's the goal in party/reception shooting.
Good luck. Hope you are charging them lots of cash.
Yes you are right. And here are some great ideas. Cross fire lighting the entire room, how simply elegant and easy. Thank you.
As far as money goes, this is going to be my last shoot of this type unless my pockets are lined with cash. I don't like these types of shoots and I'm not particularly interested in bettering myself at them. Two really good reasons to not do them, unless of course, well, everyone has his or her price.
I think what I'll do is crank the lights up about 8 feet form the ceiling. That might work.
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I don't get that? When I use my radio trigger (Elinchrom Skyport) my optical eye on the flash remains functioning however I can turn it off. Problem is that when I use my transmitter my on-board flash doesn't function.
There is however an easier way which is to put your on-board flash on manual and turn the optical eyes on on your flashes. Just hope there aren't too many people snapping with their pocket cams
When cross lighting the whole room you probably don't need to use the on-boar/on-camera flash and just use the trigger only. This way you don't have to get annoyed over a bunch of people that are triggering your strobes constantly.
I was just thinking about that actually. I could just use a manual setting on the on camera flash like you said. Good idea. The Alien Bees flashes disable the photo eye when you plug in a cord or any remote triggering device into their PC slots, or whatever they are where you plug in the remote or corded flash triggers.
Good idea about the manual on camera flash. That would or might make it even easier to adjust for ambient lights also, since the strobes will be set before hand.
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That works perfectly as a slight fill. Set it really low (1/64th or 1/32th) and off you go. Just hope there aren't too many Uncle Joes snapping with their pocket cams.
Show us some of the results if you can?
Pfff...just read your edit. I use my on-board flash (D300) or SB800. Those work. Bummer and strange you cannot do that with the Canon? Even my Hasselblad can do this
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4 Strobes should do it. I think you don't even need to fill it with the 580, the cross lighting should provide you with enough fill. You might try just having a transmitter on your body and receivers in the strobes. This allows you to walk freely and get good images.
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I'm an idiot, although I don't know why master to off would matter.
The 580 was set to master. After I set it to OFF, and did the test again, it worked fine. Looks like I'm in business. As far as Canon flashes go, they're about as intuitive as Quantum Mechanics.
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4 Strobes should do it. I think you don't even need to fill it with the 580, the cross lighting should provide you with enough fill. You might try just having a transmitter on your body and receivers in the strobes. This allows you to walk freely and get good images.
In my experience, one really needs the on-camera fill in these situations. The remote lights just aren't high enough to prevent odd shadows being cast on the subjects from other people in the room. The fill light makes everything smooth out a bit -- it does make a difference.
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In my experience, one really needs the on-camera fill in these situations. The remote lights just aren't high enough to prevent odd shadows being cast on the subjects from other people in the room. The fill light makes everything smooth out a bit -- it does make a difference.
Agreed, it would be ideal but if you cannot, you cannot. From the sound of it, it is now possible so indeed use the fill-in
I think the Canon master setting is pretty much the same as the commander setting in Nikon. This setting uses pre-flashes to communicate with other flashes. Since your strobes are pretty dumb they fire upon the first pre-flash. When you turn the Nikon flash to manual (off with Canon, that is odd BTW) it stops doing the pre-flashes and you can use it together with 'regular' strobes.
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The Canon has no way to turn off the preflash except putting it into manual mode, since the preflash is how the 580 sets the TTL meter. Like I said, I don't use that flash much. But I have it figured out now, for a while, then I'll forget again probably. the 580EX II is a great flash now with a PC connection too so you can use pretty much any wireless trigger, receiver combination with them. I feel sorry for the guys who developed the "Radio Popper" since in a few years, as the older flashes are phased out, that product, as new as it is, will be obsolete. If I couild afford three 580 EX II's I would probably start using them more for location stuff. But they're expensive.
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Why use 3 580's? When you can get it to work with your strobes you might as well get another 2 cheap flashes with built-in slave cells. I have bought 4 SB80DX flashes for in total appr. 500USD (400euros). These things you turn on in slave mode and you can pretty much put them anywhere you like.
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If I can't have assistants roaming, or if there is a podium for speakers, I set up one or two (or more) lights along one wall, on tall light stands. These are also direct lights, no umbrella or box. Set them to manual output, and use them as either back lighting, side lighting, or main lights, depending on your position relative to the subject. I use an on-camera flash set to TTL -1 for fill, and fire the remotes using Pocket Wizards.
Do this the whole time at weddings though I use my strobes bounced for further and more even coverage. The sector I work for doesn't usually go in for the cave interior look wedding halls so I need to replicate the brightness and colour balance, easiest way to do this is with strobes and bounce and on camera fill. You can fill a large hall with just two strobes bounced if you position them right and the ceiling is high enough. Wouldn't do it without an on camera fill simply because you get the same problem as with regular bounce flash, you need a fill card! When talking about this scale of lighting you need to get light into those eye sockets and under the chins/noses and if you're in a big crowd there could be very little light at all within the group if you have no fill.
Trick to work round the preflash is to use radio slaves though you could set your 580exII's to auto flash which actually works really well with strobes. As you have a 1Ds mkIII the flashes will read the settings from your camera even in auto mode so it could be a no brainer solution.
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you're going to need strobes.
make it simple, get a bunch of softboxes, line them up from the centre outwards and light everyone evenly.
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Why use 3 580's? When you can get it to work with your strobes you might as well get another 2 cheap flashes with built-in slave cells. I have bought 4 SB80DX flashes for in total appr. 500USD (400euros). These things you turn on in slave mode and you can pretty much put them anywhere you like.
I'm really thinking about getting those flashes. I just ordered the new Paul buff remotes and the trigger. He has a deal going where if you bought one of his first generation remotes and triggers, you get a %age of your money back when you purchase the upgrades. Saves me 80 dollars. They work with any flash unit using a PC plug. Lots cheaper than the PWs too and they sync at 250th.
Using the SB80DXs and my Bogen Super Clamp, yeah, they are easy to mount anywhere.
But see below for the solution I used.
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Trick to work round the preflash is to use radio slaves though you could set your 580exII's to auto flash which actually works really well with strobes. As you have a 1Ds mkIII the flashes will read the settings from your camera even in auto mode so it could be a no brainer solution.
Not sure I understand this. the 580s won't work with strobes in Auto. the preflash thing. It's the only way auto can work. The only way to get it to work is use manual. Are you talking about using multiple 580s in auto mode? If so, I never even thought about that. And yeah, if set properly in auto, using FEC, that might be a real no brainer indeed. Canon flashes, until the EX II with a PC plug, were not used much in manual. They do work incredibly well as they were designed--auto. Maybe the best available, especially when you can simply dial up or down to get the ambient light effect you want, while dragging the shutter also.
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After I did the couple shots I tried several methods for the roaming shots.
I set up two strobes over the dance floor and used the 580 on camera for fill. It worked but I was moving so much and had such limited space to set the strobes that I was shooting into the strobes a lot. No big deal the effect isn't a killer. I was running back and forth turning on one light and turning off the other. Then I turned them down a low as I could using ISO 800, and still was getting too much light.
Shut them off and used the ambient lighting plus the 580 in manual, and then tried auto also. Manual was working much better for me because I could control the effect I wanted using the shutter and controlled flash output. Not only that but all of the subjects were at different distances. There was almost no way to to get the effects I wanted at a specific time using area lighting.
It wasn't that bad actually. I mean we now have at our disposal the LCD, Histogram, and our basic understanding of lighting all together with instant feedback. I wasn't even thinking about it after about 5 minutes. If I didn't get the look I was after, and understanding my equipment and light, I could get that look dialing the flash up or down, using a different shutter, or suing FEC and TTL flash.
the other thing that was annoying was that all of the walls have pictures hanging from them with glass over them. It was impossible to get pictures without seeing the flash in one of the pictures hanging on the walls. took some creativity before and post processing for sure.
Thee only area I think I did malfunction was setting up a back light/rim light/background light--a separator light, in short. I was using a black background (muslin) and I had no room at all. I was initially going to use an overhead gridded spot for the hair light for separation. then I thought better of it because people would be moving around too much. So I was going with a grid spot on the background. What I wanted to do was to create a gray oval in back of the couples. I couldn't get the light far enough from the background to get that effect. I moved it as close as it could and aimed it up skimming the backdrop.
I didn't like the effect, but there were so many people I didn't and would not have had the time to adjust it for every couple. If I had to do it again, I'd set up a small soft box overhead. So I screwed that up, but with some creative post processing the results are acceptable.
I'll post some results after I get the job done.
Thanks for all the help and suggestions.
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Sounds like you have done some serious sweating & swearing I am looking forward to see some of the results (also the bad ones).
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Sounds like you have done some serious sweating & swearing I am looking forward to see some of the results (also the bad ones).
Once I got on location it was stress free for the most part. I could easily get very good at this sort of shooting because it's very similar from one job to the next. However it's not where my interest lie. It bored me really, but the money is good and i can see why people need or want to do it. but it's not for the relationship between learning to create, rather more so making money. I've avoided that motivator since I left a major oil company as an analyst years ago. However, i could get a limited set of skills for this type of photography down quickly and use those skills to make easy money. The problem is that I would never market myself in that way.
The upside to this sort of thing is that I got called today by a new client that met me at that function and wants me to do some modeling shots of some gals with hotrods. I haven't a clue what he has going, but I'm interested in that stuff as a way to generate income much more than I am doing functions. the license for creativity is much greater for one, and it's just more fun for me. My main interest at this time is still studio and fine art nude and people, abstract, and of course landscape. I feel a very real need to investigate hard core shape and form, abstract, and fine art people photography at this time. I have ideas flying into my head, metaphor, relation, statement and they won't stop.
Thanks a lot for all of the comments. Sure made things easier for me.
And BTW, I never show my bad shots--are you kidding? For one, my really bad shots are blank frames. You wanna see those? --lol
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Once I got on location it was stress free for the most part. I could easily get very good at this sort of shooting because it's very similar from one job to the next. However it's not where my interest lie. It bored me really, but the money is good and i can see why people need or want to do it. but it's not for the relationship between learning to create, rather more so making money. I've avoided that motivator since I left a major oil company as an analyst years ago. However, i could get a limited set of skills for this type of photography down quickly and use those skills to make easy money. The problem is that I would never market myself in that way.
The upside to this sort of thing is that I got called today by a new client that met me at that function and wants me to do some modeling shots of some gals with hotrods. I haven't a clue what he has going, but I'm interested in that stuff as a way to generate income much more than I am doing functions. the license for creativity is much greater for one, and it's just more fun for me. My main interest at this time is still studio and fine art nude and people, abstract, and of course landscape. I feel a very real need to investigate hard core shape and form, abstract, and fine art people photography at this time. I have ideas flying into my head, metaphor, relation, statement and they won't stop.
Thanks a lot for all of the comments. Sure made things easier for me.
And BTW, I never show my bad shots--are you kidding? For one, my really bad shots are blank frames. You wanna see those? --lol
Hmmm.... you sound a lot like me. I left a directors job at a large communication company to pursue to photography. I do find I do many jobs just for the money as well. It does help me finance the other part of photography. I don't mind so much doing the things I would not have done if there wasn't a client paying for it. I did find it difficult to learn to make things that please other people instead of myself.
I never kid about bad shots I have learned more from mistakes than anything else. Painful but helpful.
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And BTW, I never show my bad shots--are you kidding? For one, my really bad shots are blank frames. You wanna see those? --lol
I want to see the best of your blank frames, so I can compare them to my own blank frames!
Your comment reminds me of my intense embarrassment, after thirty or more years of photography, when I first started using a Mamiya 6 (rangefinder MF film camera). On several rolls of film the first two or three pictures were blank -- from leaving the lens cap on (hard to do that on an SLR).
I'm glad your ordeal with the mass shoot worked out well. It doesn't sound like a lot of fun.
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I want to see the best of your blank frames, so I can compare them to my own blank frames!
Your comment reminds me of my intense embarrassment, after thirty or more years of photography, when I first started using a Mamiya 6 (rangefinder MF film camera). On several rolls of film the first two or three pictures were blank -- from leaving the lens cap on (hard to do that on an SLR).
I'm glad your ordeal with the mass shoot worked out well. It doesn't sound like a lot of fun.
That would be embarrassing, but at least it's a simple mistake. It wasn't too bad, but I'm not a crowd person. I like one on one or two person shoots the best. Large multiple group shots make me feel as if I'm herding cats more than doing photography. It's like assembly line work. Yuck.
I was just about ready to go to print and print tested a few images for profile accuracy. The contrast is way off. the images I tested were too dark and too flat. I've had this problem before. I may need to lower the contrast on my monitor then calibrate it again faking the calibration to give me less contrast, so I then increase it. I thought I had that problem figured out, but I guess not. Sometimes the Noritsu that Costco use drifts though. It's a hard one to figure.
I may upgrade my calibration software too. I am currently using a Spyder II Suite. Does anyone have a preference for calibration hardware/software? My problem with Spyder is that it doesn't seem to take into consideration print contrast, so if your monitor is a high contrast type, you end up turning down the contrast. then you get dark or flat prints.
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I may upgrade my calibration software too. I am currently using a Spyder II Suite. Does anyone have a preference for calibration hardware/software? My problem with Spyder is that it doesn't seem to take into consideration print contrast, so if your monitor is a high contrast type, you end up turning down the contrast. then you get dark or flat prints.
Morning All,
I do Fine Art Books/etc and highly recommend the German BasicColor Software-- John Mayer put us on to it.
http://www.basiccolor.de/ (http://www.basiccolor.de/)
Good Luck
DesW
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As p[promised, here are a few of the images from the gig. I'm luke warm about them, but client seems very happy:
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Nice job. As long as the client is happy, it should be fine. I know exactly what you mean, it was one of the weirdest things I had to get used to. To sometimes make things that aren't appealling to me (to the brink of finding it downright ugly) while the client loves it. Getting paid ought to make up for that but it still feels kind of unrewarding at times
It does make you realize that taste is totally personal.
It would have been a lot worse if both you as well as your client would have hated them
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Nice job. As long as the client is happy, it should be fine. I know exactly what you mean, it was one of the weirdest things I had to get used to. To sometimes make things that aren't appealling to me (to the brink of finding it downright ugly) while the client loves it. Getting paid ought to make up for that but it still feels kind of unrewarding at times
It does make you realize that taste is totally personal.
It would have been a lot worse if both you as well as your client would have hated them
Well the ones that turned out like these there isn't much to bitch about. I mean they're decent images for the type of photography it was. There are just technical issues on my end that really no one else sees, but I do. There are some creative issues too which are bothersome to me, but I'm pushing myself as always.
Thanks
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Given the "zoo" situation you were working in, I think these are excellent. You should be proud of them (and then go back to work you enjoy more!)
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Given the "zoo" situation you were working in, I think these are excellent. You should be proud of them (and then go back to work you enjoy more!)
Hey thanks for the encouragement. I actually got two more jobs from people seeing the images, but I don't get it. These are NOT what I would call marketing images, or portfolio images. I think maybe this is a result of me having many, many ideas that I really need to get going on. I feel like I am just on the cusp on breaking into a new level of photography for myself. I'm just not getting time to settle enough to pull my ideas into metaphors I can work with (I'm having some very strong ideas seeing some strong images in my head for some fine art type stuff). The guy in the red jacket I'm getting some ideas from and I have talked to his friend about doing something more fine art like in the future. So that is a good thing that came out of this. It was fun too I have to admit. But being out of my element was stressful. That and knowing that I need to get going on developing my new interest which will hopefully raise me to a new personal level of photography.
Thanks again.