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So i'm shooting a pro at hood in a few weeks... (advice needed)
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so i'm doing an in park session with a pro down at hood in a few weeks...and to be honest i've never shot action before, nor have i shot with anything longer than 135, nor have i shot on snow. don't ask about who i'm shooting, or for what publication as i haven't cleared it with the editor.
i'm not really too worried as i always find a way to make something work by the time i put my camera in my bag and head home. so to all you photogs who have some experience in the area could you please answer the following. oh and i shoot strictly in film.
1. would a 70 200L 2.8 suffice? do i need to go longer? i'll rent. (maybe the 4L)
2. obviously i'll need to freeze the shots which means high speed film, will 100 be fast enough, or do i need to regress to 200?
3. anything i should know about shooting on snow?
4. i was thinking i'd go with a polarizer filter, thoughts?
thanks, i appreciate it.
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well i find as with any shooting is that a silencer is needed. You dont want the public to know that you just took someone out, it makes the getaway real messy.
I agree with the polorized filter and the higher film 200 should do, but i gota ask. Your take shots and ski but have never once befor put the two together? i sence trickery afoot
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Now THAT is good advice.
Mine is completely not photography related. You're the shit, you're proven, just remember that and it'll all work out OK.
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um, i think this guy is taking stills, not movie....
but i could be entirely wrong.
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Snow ( depending on what time of day it is) could increase your light saturation but 2 times. This depends on what kind of snow it is, and what time of day it is. Now you could also get massive amounts of glair for ice formations.
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Polarizers bring out texture and detail in the snow, so they are a must! I wouldn't be caught dead without one when shooting snow.
and don't you have a light meter?
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how are you shooting for a publication if youve never shot action or on snow? i'm not hating or anything just wondering.
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Word up.
I know I'm not exactly a pro photographer, but What I learned from shooting at Hood about 2 weeks ago is as follows:
-Most of my shots were on ISO 200, on a nikon d70.
-You will need more Zoom than I had, which was about 100mm.
-A wide Angle is a must for shooting while sitting on the deck of a Pipe/Park Kicker
-Polarizer's make the colors pop SO HARD, and they are still pretty true.
Have a sick time man, sounds like fun.
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lenses - Wide angle, and if your renting, you should take advantage of the sigma 120-300 f/2.8, that will cover your long distance stuff for sure
BRING POLARIZERS FOR LENSES AND A LIGHT METER
other than that... im a digital guy, cant help you out....
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what publication are you shooting for?
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a red filter would be good if your going to use any black and white
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get one of those huge Canon lenses that go up to like 200mm.
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uhhh wouldn't you want a 800iso film if you are doing highspeed shots.
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jesus, i didn't know photography was so complicated, fuck taking it next year at school.
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^^no, its not video camera. and no, there is absolutely no way he would need ISO 800 on snow. 100 should be good, if you're using f2.8 lenses.Â
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shoot at the lowest possible ISO, but still be able to stop the action.
also definitely get a polarizer filter.
remember to keep the angles fresh and original and dont focus solely on the rider or skier and try to incorporate some of the scenery into your shots.
im also curious who you are shooting for so i can see how it came out.
keep us posted. or at least me posted.
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photography's about as fun as a mortgage
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velvia 50 for snow. digital is for fuckin posers. ISO 800? you have to be kidding me
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digital is for posers? hmm...fuck you?
main suggestion is come up with cool angles, otherwise what everyone else has said is true.
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With snow, things will be bright so you should be all set with ISO 100 or even 50. Snow tricks your camera's light meter, and if you were to follow your meters reading you would get gray looking snow. To fix this, over exposure your shots by 1-2 stops (you'll have to experiment with it) in order to get truly white snow.
Lens choice depends on how you plan on shooting the skier. You can do super wide shots and have success, or using 200mm to isolate the skier and a feature against a nice background. It's up to you. Just have the range to try different things out.
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thanks everyone. i do appreciate it. my main worry is compensating with the f stop, this is something i'm not entirely used to doing. i'd post the photos after i get them back but that would sort of defeat the purpose of the magazine.
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sounds like someone doesnt know how to shoot film
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actually, i do, i just cant afford it. but thanks.
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Haha Clausen is bashing on digi
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he's a big meany...but a rich one at that it would seem
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me rich? if i was rich id have a $3000 digi cam like the rest of you rich fuckers. my camera is worth $200 and the comand dial is broken so it barely works. can only turn it to manual mode, not that i ever use anything else
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Yeah, but the film costs do add up. Velvia is not all that cheap, especially if you shoot 2-3 rolls an outing.. That's why he was saying you were rich I guess. When I shot film, the cost of one years worth of film and developing just about added up to the cost of my d70 ($1000 for the body)
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So why are you shooting pro riders if you've never even shot action before?
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film is not to bad. i shoot provia for school (velvia is too saturated) and its about 50$ for 10 rolls. developing costs 10$ a roll and i usually shoot 3-5 rolls a week. i bought film in mammoth once this winter and it was 110$ for 10 rolls and a battery
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no...I agree with him. He deserves way more respect for shooting all film, that shit is tough. I love digi and all but its way easier and hes just saying that tru hardcore photographers shoot film.
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100 isn't good enough... you gotta shoot at like 500 up. i usually shoot at like 2500 or 1000
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I shoot 50D on 16mm and it looks perfect for snow. As do poorboyz and TBC and MSP etc.
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I still want to know who this guy is shooting. For someone with no experience shooting skiers and no experience "compensating with f-stop" I'd like to know how he got this gig. There's a large part of me calling BS on this one. What magazine is it for? What pro are you shooting? How did you get the gig if you have no experience doing it when there are a lot of us that do this a LOT that are not shooting pros in a closed park session?
In terms of digital vs. film... I've got huge respect for film shooters as there's no instant feedback and you can't just delete the image and shoot again. Digital is the future though. Most pros are shooting digital these days. The camera companies are moving away from film. You can get great photos out of film, but you can do that with digital now too.
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I got a gig shooting for [Photo]Play and Im not that experianced. It just happens. Some are lucky, some aren't.
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Hardcore photographers shoot both film and digi. In fact, most pros today now shoot digital. You still have to be a skilled photographer to get good results out of digital.
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it all adds up man...for digi, you pay 1k for the body, a little more for a mem card, and then thats it...
sure it takes more skill to shoot film, but with digi you can get teh same result, imo
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Well ill admit it, I shoot digital, and can shoot film, but cant develop it myself, i et it developed at a lab.
But i love digital. i love it i tell you
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but when you shoot film, you get much better quality.
however, you cant see the pic right after you took it, and it takes more to develop film, but in the end i think that quality is more important than that stuff. even though i shoot digi bc its cheaper, if i was rich or got free film i would use my film camera every day.
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I know most pro snowtographers use the Canon EOS-1D Mark II body, and have a combination of lenses. Shooting media (what you are referring to as film shooting) is mad expensive. I know a pro photog and he loves film, but it's crazy expensive. WHen shooting sequences and shit, you dont get much chance to mess up. You can go through rolls and rolls like it's nothing. Digi you can save space, money, and you can edit your photos using your computer and shit. I love shooting media, but I do enjoy the ease of use that comes with digi.
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yes Im not trying to bash on digi guys at all, cause that takes tons of talent as well. But film is harder cause you can't preview shit and its pickier.
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1. look, the mag is C.R.E.A.M. - its on the upstart obviously. dave happens to like my stuff . i took the photos of anthony b in the premier issue. these were mildly decent, since they were the first and second roll of film shot on the lens i had just bought. peruse the photos on my profile if you call bullshit, and if you still think their subpar then i respect your opinion, feel free to tell me. but i'm definately not going to mention the people i'll be shooting. you can get a hold of the next issue if you want to find out. i suppose you'll just have to wait. [and no this wasn't sort of schemed hype, i genuinely needed to know].
2. digi and film do not look the same. they simply do not share the same aesthetic and no matter how many computer generated filters you apply they will not look the same. film has an impressionistic softening to it, digi is ultra clean and far too realistic looking - too sober, too available, which is not at all what i want. film has a quality that results as a chemical reaction - they just don't look the same. end of story. my film body broke just a couple of days ago and i considered selling out and signing up for digital for a few days, but went into glazer's (seattle pro shop) and talked to film hardass and he solidly confirmed my feelings about digital. i'll never trade ease and simplicity for the value of the aesthetic, no matter how much it costs to develop. the differences are blatantly obvious to me. however, the bigger issue isn't what all of you have been arguing about: technology. a good photographer can clean up with a point and shoot. i look up photo reviews and am consistently blown away when a photographer presents and immaculate review of a piece of equipment, regarding it in terms of professional jargon and the demands of the profession, but then presents examples of their work (not to be confused with simple tests) that sucks balls. i don't claim to be a master of the trade, but whether or not i know how to compensate with f stop, push film, dodge and burn, or stack filters is arbitrary - the picture is taken before you even push the button, because it exists in your eye not in the dials and buttons of your camera body.
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p.s. i'm probably going to buy a used eos 1n, with a power booster (either 5 or 7 fps) to replace my dumpy canon elan 7n, which has lost its little brain almost a year after a bought it off ebay. although, the guy at the camera store is pushing for me to find a used eos 1v, with a power booster - which would be insane.
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wanna buy a canon A2 wiht a broken command dial? ill be rocking a 5d before the end of the year hopefully
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with a broken command dial? no.
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why not? it only shoots in manual, so why does it matter?
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