It is little too wide for use in that situation. And it wouldn't be a nice thing to shove a fat camera into a stranger's face. It felt awkward to me, and to her I'm sure.

That was one of my first few shots of her. Unlike many others, she's standing on the same floor, so no buffer zone between her and the public, her apprehension is to be expected. But she is very sweet and nice, kept smiling all the time, and changing her poses every now and then. After awhile she seemed ok with it. The same can't be said for a number of others there.

Here's another one of her from a different angle.


Exif here

That guy... was... I dunno what's he taking. I know its distracting. But can't crop him out. Maybe a huge healing brush...

Wides tend to give exaggerated depth relations and sizes. For formal shot, definitely a no no, but for fun shots, oh yeah they're fun.

And yes, that UR "booth representative" is very very sweet looking.

One final one of her, a "standard" telephoto portrait. I try not to take these kind of shots as it doesn't really tell a story. Nor what she's representing at the booth. But well, can't resist it.


Exif here.

Errr.... control a bit can or not??? I know, with the smile, dimples and all she's irresistable.

Hate to tell you this, but there is quite a bit of eye-enhancing, skin-softening, teeth-whitening, spots-healing all over. Maybe IRL won't be so picture perfect.

Love the 17-35/2.8. That is my most used lens so far. It works pretty well on DX too, and you won't have the softness in the sides wide open. Have fun! Love the 14-24/2.8 too. But both are very hard to use on FX on human subjects. Our preconception of human body proportions are set in stone, and the wideangle perspective distortions tend to mess up our mind when we see it. Makes it look weird.

This post has been edited by adriancs: Dec 14 2010, 11:39 PM

Some non-KLIMS pictures


Young Dancer Girl


Test of time


Peanuts

Its tax free, but as usual, its Malaysia, customs can do whatever they want. Usually if they wanna find problem with you its to demand *ahem*...

Low light action shot.


Sanghyang Djaran by pygmyseahorse, on Flickr

^^ Fuuuh... Nano nano!

Lock in exposure manually before the action starts, so that all exposures will have same values. White balance on auto. Fire is almost equivalent to daylight, the camera does very well. AF-C, release priority and 21-point mode. After that, just spray and pray, then pick the better looking shots afterwards.

We weren't allowed near the stage due to the fire, else I'd be shoving my 17-35/2.8 right into the scene. Instead I had to sit far away and use the tele.

This post has been edited by adriancs: Dec 15 2010, 10:40 PM

Hoya HD, Heliopan, B+W SHMC.

I don't remember you can check the exif data. I guess it would be wide open. Situations like that I usually shoot in either full manual mode, or shutter priority and center weighted metering.

^^

Most of the time I go commando with my lenses. Unless I absolutely know where I'm bringing them will be risky. Kinda weird and counter-productive to put a RM300 piece of cheap glass in front of RM6000 optics.

This post has been edited by adriancs: Dec 16 2010, 09:18 PM

I use a large softbox 2ft by 2ft and two lights (eliminates the shadows on each side., one on each side of the product, and another firing down from the top, slightly in front of the subject. If you don't have softboxes, then a "V" reflector will also work nicely.

Don't use matrix/evaluative meter. And don't use TTL. You want the background to blow out (overexposed). Try manually setting the power levels of each flash, and also use center weighted or spot meter. For consistent lighting if you're shooting multiple products, then lock in your exposure using manual mode, and fix everything for the entire shot.

As for white balance, place a gray card as the subject with all your lighting, then do a preset WB, or just shoot raw, shoot a gray card as your first shot, and then use the gray card shot as your WB reference.

This setup works... Control the subject to background distance to ensure enough power reaches the background.



This setup guarantees a white background. The additional strobes will burn out the background.


This post has been edited by adriancs: Dec 16 2010, 10:22 PM

Some pics...


Door Guardian


Danu Batur


Harvest, Bali

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Added on December 16, 2010, 11:08 pmTry using only the table lamps, and then only the flash. Your mixed lighting could be the cause of your colour cast. If the camera corrects for fluorescent (greenish) then the flash will look purple. If the camera corrects for the flash (daylight) then you'll get turquoise/green cast on your background. Best is full power blast onto the backdrop to burn all RGB out white.

This post has been edited by adriancs: Dec 17 2010, 10:13 AM

No D3s? Good luck!!!

Not if I'm continuously shooting. Will only put the cap back on when I'm done for the day. Exception is fisheyes and 14-24/2.8. Those lenses you have to baby them, and if I bring them out usually its the only lens for the day.

I'm sure the 200/2 is very sharp but I think that guy has serious problems with his 70-200 or some shooting technique problem. I'm pretty sure that my 70-200 is very very sharp at f/4 and f/5.6, unlike his.

Isnt glass easier to break than plastic? Wouldnt plastic be able to absorb knocks better than a glass protector? I have seen so many people with broken protectors, all glass, but no broken Nikon plastic ones yet...

But his photos on the sharpness tests are crap. See his 70-200mm is sharper at f/2.8 compared to f/4 and f/5.6? The whole comparison is already without merit.