As with any genre of photography, there are no universal camera settings that will result in a great photo. However, there are a few key points that you should keep in mind when choosing your camera settings.
the art of boudoir photography with speedlights pdf.zip
Where manual flash struggles with a varying subject to flash distance, TTL shines. Because the flash emits a quick burst of light to measure what the light power should be set to, it knows when the subject has moved a bit closer or further from the light. This is especially useful for event photography. If you are using direct flash and don't know how far or close your subject will be, TTL will get you close or spot on to a perfect exposure. Same for if you are roaming around a venue bouncing the flash off a wall or ceiling. As you move closer or further from a wall, that will require you to raise or lower your flash power, which TTL will do automatically.
In the case of event photography with on-camera or bounce flash, close is all you need. The power output that TTL calculates will normally be better than what you can guess. Even if you can guess just as close as TTL gets you, both will still require a bit of fine-tuning in post-processing. So in my opinion, might as well let the flash do the guesswork to save you some mental capacity so that you can concentrate on the moment and composition. If you are doing event photography and you know the subject to flash distance will remain constant (same height ceiling to bounce off of for example), then you might as well shoot manual and remove all the guessing.
N-Photo: The Nikon Magazine is a monthly publication that's entirely dedicated to Nikon users. As a 100% independent magazine, you can be assured of unbiased opinion from a trustworthy team of devoted photography experts including editor Adam Waring and Technique Editor Mike Harris. \n\nAimed at all users, from camera newcomers to working pros, every issue is packed with practical, Nikon-specific advice for taking better photos, in-depth reviews of Nikon-compatible gear, and inspiring projects and exciting video lessons for mastering camera, lens and Photoshop techniques.\n\nWritten by Nikon users for Nikon users, N-Photo is your one-stop shop for everything to do with cameras, lenses, tripods, bags, tips, tricks and techniques to get the most out of your photography.\n"}; var triggerHydrate = function() window.sliceComponents.authorBio.hydrate(data, componentContainer); var triggerScriptLoadThenHydrate = function() var script = document.createElement('script'); script.src = ' -8-2/authorBio.js'; script.async = true; script.id = 'vanilla-slice-authorBio-component-script'; script.onload = () => window.sliceComponents.authorBio = authorBio; triggerHydrate(); ; document.head.append(script); if (window.lazyObserveElement) window.lazyObserveElement(componentContainer, triggerScriptLoadThenHydrate); else triggerHydrate(); } }).catch(err => console.log('Hydration Script has failed for authorBio Slice', err)); }).catch(err => console.log('Externals script failed to load', err));N-PhotoSocial Links NavigationN-Photo: The Nikon Magazine is a monthly publication that's entirely dedicated to Nikon users. As a 100% independent magazine, you can be assured of unbiased opinion from a trustworthy team of devoted photography experts including editor Adam Waring (opens in new tab) and Technique Editor Mike Harris (opens in new tab).
The Contax 645 has become synonomous with wedding photography - so much so that the very branding of the camera is front and center in nearly every film wedding photographer's headshot. The Contax 645 is a medium format film camera with interchangeable backs, lenses, screens and prism finders. The camera functions and operates like nearly every other 645 film system in existence with a few small exceptions that I will address below. It's a wonderful camera on it's own right, but the reason the camera became so popular is because of one lens - the Contax 80mm F2. It's a dreamy lens, with a very large focusing element that creates beautiful 3D pop. At F2 on a medium format system, you can achieve surreal background separation. This lens renders 'dreamier' than most other ultra shallow depth of field lenses thanks in part to it's planar design and traditionally warm Zeiss optics rendering that the company is known for. Bokeh is incredibly pleasant and the lens can be shot wide open with very little negative effects that plague planar lens designs. I've owned my Contax 645 for nearly 2 years at the time of writing this article and have photographed everything from weddings to location portraiture to studio portraiture and boudoir with it.
The camera is known for the 80mm F2 lens. This is why people buy this camera - full stop. Somewhere along the line, someone started shooting this camera at weddings (cough cough Jose Villa and Erich McVey) and the look of the lens sort of became synonomous with "film wedding photography". People almost expect that wildly shallow, dreamy warm bokeh that the lens produces. Simply, it's the most beautiful bokeh of any lens I have ever seen. Subjects have this dreamy ability to 'melt' into the background and almost become a painting. It's quite surreal and it makes for beautiful wedding photographs. I will say, shooting at F2 is always tempting, but it isn't always the answer and I think it is often used as a crutch.
The images just have a painterly quality to them which, if you ask a lot of people less familiar with the film world (think brides) is something they desire and have come to expect from film. This camera/lens has completely defined the look of what people think "film photography" to be in the wedding world...it's that popular.
As I described above, I quite like the camera. My biggest problem with the camera is kind of a strange one and is the biggest reason that I have started using it very little at weddings. Honestly, if I didn't use the camera so much in studio, I would have sold it. My biggest complaint about the Contax 645...everyone uses it. I've grown to resent the camera for 2 major reasons. First, the lens has such a signature look and I feel like it has made wedding photography a bit homogenized. Nearly everyone shoots that lens at F2, even for things like tablescapes and venue shots. It's too easy to create dreamy images and ignore the art of storytelling or composition. I can look at breathtakingly beautiful film wedding images on instagram all day...and they all look the same. I think the popularity and prevelence of the Contax 645 is slightly to blame for this. Secondly, and sort of an extension of the first, I resent how much the camera system is a part of a photographer's brand. Most film wedding photographers have a headshot where the brand placement is right in the foreground and the most noticeable thing in the portrait. Sometimes, the camera logo is the focus itself, not the photographer! I think it's a bad thing for the photography industry when a camera brand becomes so defining for that photographer's brand and existence. People just getting into film photography go out and buy a $3500 camera and take "mentoring sessions" from photographers specifically on how to use that camera. I think it's a bit of a shame that a camera brand and look overshadows a photographer's sense of composition, color, and storytelling. 2ff7e9595c
תגובות