On Oct 13, 2010, at 10:47 AM, Walter Gilbert wrote:

>  Thanks, William.  Those were fairly short exposures.  In aperture priority 
> with an auto-ISO of 1600, the shutter speed set at 1/50.  Didn't even think 
> about using the tripod, but that would obviously be a good idea.  Thanks for 
> mentioning it!


I'm a big fan of monopods for shots under about 1/2 second.

Shoot in raw it'll compensate for a world of problems.

Every time you change the setup, take another grey card shot. Weird color from 
the lights isn't a problem with modern gear, however a weird mixture of light 
temperatures is.  If you have sunlight coming in the window and tungsten light 
in the room, you can get some weird mixtures where it's impossible to color 
balance the whole scene.  Likewise with flash and tungsten, that's why I have 
straw filters for my flashes, to help bring things into line.

If you can get someone to help, possibly holding a 3x5 foot white foamcore 
board for fill light, that could make your life a lot easier.

If you can bring a computer to look at your pictures do so.  Shoot for a while, 
take a break to download and look at what you got. Learn from what you see, 
then do it again. That keeps both of you from getting too tired, and helps you 
find out about mistakes while there is still a chance to correct them.

Treat the first couple of rounds of shooting and correcting as a warm-up, and 
make sure your model knows this.  Anything that you can get from them will be 
bonus, but that'll take the pressure off until you're both used to working with 
each other.

Don't try to force smiles.  If someone doesn't smile naturally a forced smile 
won't look any better.  Occasional jokes may help, playing comedy albums in the 
back ground may help. I find that one of the most important things is to get 
the model to relax.

I get some of my best shots when I get my model to "play act", or "make 
believe".

--
Larry Colen [email protected] sent from i4est





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