This was a person that I thought I can trust two young ladies we're going to get married in London Ontario his priorities were somewhere else didn't set up an interview didn't ask how much didn't tell me he couldn't do it he messed up a good friendship with this client that's why I do stuff on my own now
Manual if your in studio with flash other than that TTL ! Events always use TTL because all lights change and nobody has time to keep adjusting the flash during an event !
This is the same thought process as exposure without a flash - left to its own devices the camera will overexpose a dark scene and underexpose a white scene. It's just that with a flash we need to use the compensation on the flash instead of on the camera.
Perfect video, ive done a few event types, even gotten paid for some, ive had some worries and some sucsessful moments, i chuckled when your b reel and examples are all photos ive taken at my events because the just FEEL like the proper photos. I came here looking for pricing (the logic of it) and found a deeper meaning that googling a scale of x-y!!! I only use my 50m and i see theres more to capture than the cinematics watching your vid, i tend to give 50-100 images... At 10% sellable shots out of all the ones taken per event. Im not sure how many a client can or should receive... Its foggy if they are paying for time or photos. But i fear refining a whole epic down to 20 photos is unfair to the story but having more than 100 and they should just have video 🤷. (Im not speaking of individual shots of people in attendance if they are all special, juat general pix,) if anyone has any tips or suggestions feel free. Trolls included😂 i don't bring a flash, even in the darkest of red light clubs im able to get some stylish shots... My 18-55mm just feels FLAT but i may start to bring it along to play.
I'm a freelance videographer and have been receiving more requests for photography lately. So grateful I found your channel! I've been feasting on all your experience and wisdom and straightforward useful information. How you break things down is extremely helpful. I love your clear perspectives, and really enjoy your thoroughness. 😊
A lot of Pro-gear does NOT get outdated as aften as people imagine. I am still using a first gen 1DX MK1 and it can do marvels with all good glass AND its dirt cheap nowadays (this body set you back 7000 USD when it was released). Yes its old, but its still a solid reliable tank, it just never fails and it an ISO range for most pro work, even today. PS. If my own somehow breaks, then I will get another second-hand without hesitating, they are now around 500 Eur in Europe for a reasonably used body.
QUESTION: I'm currently using a Canon 77D with a Sigma 18-35mm f1.8 lens and am looking to upgrade to a Canon mirrorless body within a budget of $1000-$1500. I mainly want to use it for event (Corporate/Institutional) Photography in conferences, meetings, seminars, outdoor activities, and some video interviews (Corporate). Which camera model would you recommend that would pair well with my existing lens and provide a significant upgrade in terms of features, performance and budget? Thanks!
I'd like to add investing in a good computer with high specs. Something like a Macbook Pro to start or a desktop like a Mac Studio or high-end PC with over 32GB of ram. It will make post editing much faster. My 2018 iMac couldn't even handle Lightroom with 200 photos in the library. I had to upgrade.
My least favorite are the larger boutique mods that sell for upwards of $60 that are basically just larger versions of this. At least the basic white dome only costs about $5. Yeah, bouncing for direction is better, but that's not a mod.
My essential event gear: Black Skechers Go Walks (I have a pinched nerve in my foot). OpTech/USA Double Sling. Slinger BigBag Simple 15 rolling backpack and Alpine 200 photo backpack. Utility belt with pouches for 2 lenses, 2 batteries, and one flash.
The default recommendation of a 24-70, particularly in combination with a 70-200, has been repeated so often that it needs to be challenged. I've been shooting events for 20 years. I've never owned a 24-70/2.8. I have a 24-105/4, but use it mainly for lit group portraits and walkabout landscapes, not event coverage. The vast majority of my work has been done with 24mm, 35mm and 85mm primes on three bodies, with 18mm and 135mm primes in a bag or on a utility belt. Of late, I've found a 35-150 to be very useful in better-lit situations, but I still prefer working with primes. The hitch is that it takes three bodies. OTOH, when I was shooting Micro Four Thirds for seven years, my second and third bodies cost only $300 each, used in excellent condition, and they weighed next to nothing.
Regarding putting gels on flash to balance color temperature with ambient tungsten, I, too, didn't like a perfectly balanced look, so I used a 1/2 CTO, which warmed the flash a bit (around 3800K) but not as much as the ambient, keeping the background warm but not orange while keeping my subjects from looking blue.
Thanks! If you can answer a quick question? With available light stuff, ESPECIALLY when the subject is in shadows with a bright sunny backdrop, do you personally shoot for the subject and let the shadows come up naturally, so the person looks good, and allowing the background highlights to blow out, or do you expose for the overall scene, keeping highlights under control but letting shadows/faces dark and recovering the shadows back in "post processing"? The reason I ask is one version, letting those unimportant highlights bloom, is fast for the clients (and me) and lets me use the SOOC jpegs, while the second version, keeping highlights under control, results in much more post process editing. Also, I'm curious if you have an assistant do your culls and edits? I'm a one man show and unfortunately spend a lot of time at the computer. Thus, my questions about thoughts on mixed lighting exposures and how it relates to workflow/output.
I personally bought a tamron 35-150 F2-2.8 and Have not put another lens on my body since i got it. It doesn't cover the wide end but IMO can replace 70-200 and most of the range on a 24-70, while also having a wider maximum aperture on the wider end.
Hey Mik, Love your content. I know this is an older video, but I really like going back and watching these again before I head out to an event shoot. Thanks for all your effort to put this stuff together! ~Max
I have one from when they were newly released. Shot rally and motocross with it in all weather. Incredible camera. Will never use it again. Will never sell it. Great video mate.
There's definitely a basement section... lol. Literally, my last event shoot had a basement where a lot was going on. Remembered it half way through... not too late fortunately! Great tips all around, Mik!
