Seth Campbell and Kristin Schild Wedding

Jon Reece Link to Jon's site and I Link to my site shot a wedding this weekend at the beautiful Ducktrap Resort in Maine. Seth and Kristin brought two amazing families together and we were honored to document the day.

It was an incredibly difficult wedding to shoot. Most challenging was intense midday sunlight. Here is one shot of the Groom and his groomsmen after the wedding. Fun stuff but the light was difficult. It was about 4:30 but the contrast was still too much for the camera. The shadows and highlights were blowing out simultaneously which means that the dynamic range of the scene was beyond the capabilities of the sensor. In that case all I could do was split the difference and hope to recover most of it in post processing. Thankfully the important details of this series was salvageable. As you can see, the shadow's on Seth's (groom in front) have gone to black. In print this will not have detail. A minor nitpick but one that you need to be aware of as you shoot.

click the image to see it larger

And a stunning image taken by Jon while I held a reflector. The sun was incredibly intense that day (F11 1/250 at ISO 100).

Back to Sports Shooting!

Back at UMaine for the year. First off was some field hockey. Maine lost in a tough game 3-2.

A couple of the images break some sports shooting rules but for me they still work

Rule 1: shoot tight-crop tighter.
You hear this a lot from sports shooters but sometimes a wider angle holds up. With the following image I like that it is backlit. The water drops around her feet add to the image. I like the dead space around her. The out of focus player in the foreground gives the image some context.

Rule 2: get the ball in the shot
You can't see the ball in this shot but the two women together create some tension and the sun setting made for some great light.

Finally one a bit more typical. Good action, the ball is there and you have some context for the shot too. I could crop it a bit tighter but I have left it so that my client can have more options with it.

Frustration Station: low light action in changing light

I shot a performance by the Robinson Ballet last week and it was challenging to say the least. I was at ISO 6400 for most of the performance and at times as slow as 1/60 sec and F2.8.
When the focus hits and the exposure is good, I am blown away by the Mark IV. I know the D3s is the king of low light but the Mark IV is so much better than anything I have used prior.
Here are a couple of shots from the night


Camera Maker: Canon
Camera Model: Canon EOS-1D Mark IV
Lens: EF300mm f/2.8L IS USM
Focal Length: 300.0mm
Aperture: f/2.8
Exposure Time: 1/500
ISO equiv: 6400
Metering Mode: Spot
Exposure: aperture priority
White Balance: Auto

click on image to go to flickr and see it bigger


and another at ISO 6400 1/60


Now with that being said, I missed a lot of images. I could blame the camera but...we all know better. There are two main issues with event shooting in low and constantly changing light that I struggle with:
focus
proper exposure

Focus is tricky even with the top of the line body and high end lens in front of it. What I do to maximize my keeper is:

1. put the focus point control on the joystick on the rear of the camera. Either that or get very good at quickly changing focus points without taking your eye off the viewfinder. This is crucial for number 2

2. If you are shooting with enough DOF this works: While maintaining the composition that you want for the image, move the focal point around to match up with the part of the image that has the highest contrast. It may be a sequined belt or a headband with bright material. If you simply focus on the face because that is what you want in focus, even if it is shadowed or lacking any contrast, the lens will likely start hunting and you will miss shots.

3. If you are shooting really wide apertures and are so close that your DOF is really thin, then number 2 may not work as well and you need to keep your focus point on your desired area. If you are lucky enough to have a high contrast item in the same focal plane of the face, then you can still use number 2. For example if a belt buckle is a great target to acquire focus and the person is relatively upright, then the face will be in nearly the same focal plane.

You really need to figure out how well your camera's focus works. My 1D III was fantastic at locking focus in low light..perhaps a bit better than the mark IV. My 40D was horrible in comparison. Remember that the lens in front of the camera is a big part of the equation. A fast aperture, high end lens has a better motor and bigger aperture to focus through.

Some cameras are also much better with the center point focus in comparison to outer rings. My Mark IV can focus as well with the outer rings if I use a 2.8 or faster lens. Make sure you read your manual to find out how your body lens combo performs.

Exposure:

I still am not sure what the best approach is for rapidly changing and highly focused light. It is either AV or Manual and at times I swear one is better than the other.

Stay tuned...it is late and I will finish up in a couple of days.

Tokina 16-28 2.8 for Canon- part 2

I took the lens out for a bouldering session this past weekend. This is one of the primary motivations for me to get this lens. I don't have any F22 off a tripod landscape shots simply because that is not my thing but this will give you a bit more insight into the lens anyway.
Pros:
-very sharp at 2.8 in the center. I have not evaluated the corners, edges, distortion, yet but I can tell you that it is tack sharp in the center.

-Very well built and feels solid and balances beautifully with my Mark IV

Cons:
The zoom action is opposite of every Canon Zoom. Virtually every time I went to zoom as I was shooting, I went the wrong way then had to correct it. Seems minor but if you are shooting action, it can mean a missed shot. I think with time this will be a non-issue but it bugged me on day one for sure.

The focus is noisy and buzzing. It seems to work fine but it certainly isn't a silent action like Canon.

These are minor nit picks for what I think is going to be a very good lens for me. Other wide angles that I have owned and can compare to are the Canon 17-40L F4 and Tokina 11-16 2.8
I think the sharpness and IQ are on a par with either lens after only a little bit of use. Having another stop of light compared to the 17-40 is a must for me and the 11-16 only fits an APS_C sensor. The only other option out there is the Canon 16-35 2.8 and for the price difference, The Tokina so far is the hands down winner.

Here is a shot from the weekend
Camera Canon EOS-1D Mark IV
Exposure 0.004 sec (1/250)
Aperture f/4.0
Focal Length 24 mm
ISO Speed 400

and another wide open
Camera Canon EOS-1D Mark IV
Exposure 0.001 sec (1/800)
Aperture f/2.8
Focal Length 28 mm
ISO Speed 200

Shooting through the fence....

Today was the first day of Umaine Softball and also the first day that we had a sunny day with temps in the 50's! Not much to say other than I am happy for spring's arrival.
Many photographers struggle with shooting through a fence for field sports or glass if you are shooting hockey. There are a few tips to help:

1. Get the lens on the fence/glass (make sure you have a lens hood on though!). It also helps to keep the lens parallel to it. glass especially will really screw up focus if it is out of parallel.

2. Shoot as wide open as possible. You want to throw everything but the subject out of focus. The images below were shot at F4 because I wanted more of the pitcher in focus. If your camera lens combo is struggling, try shooting wider aperture.

3. If you have a focus limiter on your lens, use it. This will prevent focus hunting due to the camera being fooled by the fence.

4. Sometimes it is necessary to add some contrast back into the image in post production. A fence can sometimes wash out an image a bit depending on the conditions.

Here is what I got today with a 300 2.8 lens shooting through a thick chain link fence.

Click the images to see larger.

New Tokina 16-28 2.8 initial impressions

I Just took possession of a new Tokina 16-28 2.8 lens. When I owned a 40D, I used their 11-16 lens and thought that it was very good. Now that I shoot with a 1.3x crop factor camera (1D mark IV)I have been looking for a good UWA lens. I really only had three choices:
Canon 17-40L F4
Canon 16-36 2.8II
Tokina 16-28 2.8

My gear is currently at CPS for a clean and check so I cannot do any test until the end of the week. My first impressions of the build is this:
Big, heavy, and solid build. It feels well put together and the focus ring is smooth. The Zoom ring is nicely damped and smooth as well.
There have been complaints about the lens cap. I think that they have lengthened it since mine is snug and unlikely to "fall off" as others have reported.

okay. Got my gear back. People have criticized this lens as being huge and heavy. I find it nicely balanced on a 1D mark IV and honestly don't notice the weight. Then again, much of my day is hand-holding a 300 32.8 so take it for what it is worth. Below are two heavy crops of shots taken at 16mm and wide open 2.8 These crops are from the center. I will post the originals in a bit.
The weather here has been terrible. Cold, snowy, and not conducive to getting me out to test this lens...

Team photo for Women's hockey

Today I was scheduled to shoot the UMaine women's hockey team. This photo is similar to the basketball shoot I had to do last year. Once again, time was minimal. I had the assistant to the athletic director help me set up so it went smoothly. I arrived at six pm to set up for a 6:30 shoot. The team had practice at 6:30 so once we were set up I was only going to have a few minutes to get the shot (so I had better be prepared...as always)
Since my basketball team photo (in a previous blog), I have made things a bit easier on myself. If you read my last blog entry, you know that I was pushed for power using only speedlights to do a big team portrait. I have since purchased two Paul Buff Einstein 640 lights http://www.paulcbuff.com/pcb2009/einstein.html. These are great units, consistent white balance and reliable performance. I can whole-heartedly recommend these lights.
My setup was simple. Two Einsteins on the right and front left. They were in Buff softboxes http://www.alienbees.com/foldable_detail.html(large on camera left and medium on camera right). These were both set at full power. From the rear on camera left and camera right were two speedlights (Vivitar 285 HV) both set to 1/16 power. the softboxes were aimed at the far side to feather the light away from the closer chairs and to balance the light more. the Vivitars were shot bare but I had a flag on each to avoid flare. They were aimed to cover all the rows but the flags blocked any light from going past the front row. I used home-made flags made of two layers of cheap fun foam that can be found at any art supply store or WalMart for about two dollars.
I used a Sekonic L358 meter http://www.bhphotovideo.com/c/product/221078-REG/Sekonic_401_358_L_358_Flash_Master_Meter.html to check the exposure at the corners and was getting from F8-F11 from the back to the front seat. I feathered the lights a bit more to the far side to balance the light a bit more and was good to go.