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Frinkahedron posted:This is super useful info and I'm probably going to pick a set up, thanks! (How has the range been for you? Could I trigger this from hundreds of feet if I wanted?) Probably not. It's a 2.4GHz transmitter that's powered by a CR2 battery. In ideal situations (no obstructions, no interference from Bluetooth, microwaves, etc) you're probably looking at about 60m or so as an effective maximum range. I have a set of the 602 triggers and the range is ok for indoor shooting or lights but you probably aren't going to be able to use it for remote cameras at opposite ends of a sports field.
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Jan 29, 2016 16:28
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Are you shooting in RAW (always be shooting in RAW)? 11Gb is going to fill up quite quickly when you are shooting bursts over the course of a day. I used to think a 64Gb card was fine until the time I was frantically deleting images so I'd have enough space to shoot the last few exhibitors at an air show a while back. Since then I carry two spare 64Gb cards in my bag, even if I'm just out for a walk.
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Feb 2, 2016 00:08
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I'm pretty bad at remembering to delete stuff on cards ever since I moved to Lightroom from Aperture for post-processing (Aperture had an option to delete images on the card after import, with Lightroom I have to remember to do it manually).
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Feb 2, 2016 00:33
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DJExile posted:They aren't bad moments and yeah like you said it's not easy when you're up in the stands. 5 would be a lot better if the subject was reversed and focus was on the player taking the kick with the wall out of focus. Then it would be a whole lot more dynamic IMO.
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Apr 18, 2016 14:52
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IANAL but if it's a public area then there's no difference between a mountain trail and a main street as far as privacy laws go. If the mountain trail is on private property then the owners might have specific rules about photography.
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May 30, 2016 00:38
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Choicecut posted:Dude those are awesome! My dad and I have rode all over north america (on separate bikes) and have been talking about an over seas trip with bike rental. Isle of Mann is on the list for a starting point. The TT is incredible. 200mph racing on tiny public roads. https://www.youtube.com/watch?v=iRWp9rhfS_0
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Jul 16, 2016 09:55
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Falconry is sports. Landing by Iain Compton, on Flickr  I Must Go, My Planet Needs Me by Iain Compton, on Flickr  On Target by Iain Compton, on Flickr  Brakes! by Iain Compton, on Flickr
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Jul 18, 2016 15:14
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xzzy posted:I think it's a result of shooting pointing down instead of crouching and angling up, the shots were taken at f6.3 so it wasn't a super giant dof. I was using Servo AI. IIRC I was in shutter priority for 1/800 but the lens I had with me has relatively slow AF. It was a Tamron 18-200 with variable aperture because I dropped my nice Sigma f/2.8 zoom last weekend.
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Jul 18, 2016 16:25
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When I say 'dropped', what I mean is that my CarrySpeed sling strap waited until I was scrambling over rocks to let me know that the ball-joint could slip out of the retaining nut even when it was fully tightened. But 'dropped' results in the same thing.
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Jul 21, 2016 10:43
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Went to a rodeo yesterday (I live in Slovakia, so this is not how I expected to spend a weekend). untitled-327.jpg by Iain Compton, on Flickr  untitled-423.jpg by Iain Compton, on Flickr  untitled-679.jpg by Iain Compton, on Flickr
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Aug 29, 2016 01:52
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As well as adjusting the contrast slider, look at the tone curve. Pull it into more of an S shape and you'll get more contrast generally. Like most adjustments, don't go too crazy but I find that increasing the right hand end by +15 to +20 and dropping the left end by +5 to +10 gives you a nice amount of added contrast in the middle. I usually dial in about +20 highlights, + 12 lights, -12 shadows and -6 darks on one photo, copy the settings and then paste it to all the others I'm doing at the same time before I start the main editing pass.
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Sep 18, 2017 20:41
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I would drop vibrancy, saturation and contrast quite a bit in those. The compositions are great but they are completely swamped by the headachey colours and over-contrasty tone of the images.
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Oct 17, 2017 22:27
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Your colours don't 'pop' because there are no colours except on the grass. All of your highlights are blown to gently caress so that the pale blue kit looks white, and all of your shadows are dead black. Some of that is due to lovely lighting but a lot of it is down to your black and white clip points being hosed and your contrast layer pushing things too far. Pull your highlights and whites way, way back, lift your darks and shadows and make a tone curve that will give you decent contrast in the midtones without loving up the ends of the histogram.
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Oct 18, 2017 22:49
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Looks like you'd have been better off with a slightly faster shutter speed in some of those. Are you shooting in shutter priority (or a different auto mode) or are you going full manual for these? Because you are closer to the action than in most sports, movement across your frame has a much higher angular velocity (iow the same amount of movement covers a larger part of your frame), so you need to be a bit faster to compensate. Helen Highwater fucked around with this message at 00:49 on Nov 28, 2017 |
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Nov 28, 2017 00:47
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Generally when I'm shooting anything with fast action and/or variable lighting, I use shutter priority. I'll set the speed to the slowest I can reasonably use to freeze action and also set ISO to auto-ISO. That way, I only need to worry about framing and focus when things are going on.
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Nov 28, 2017 01:52
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That looks utterly brutal.
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Jan 18, 2018 23:40
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A small grey card is fine. Your camera doesn't have to focus on it. Switch the lens to manual focus, hold the grey card close enough to cover most of the frame and then shoot.
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Feb 13, 2018 00:36
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I did some skatepark shooting with my Fotosnaiper. 300mm manual focus lens on a Zenit 12 loaded up with Fujicolor 200. I needed to be a distance away to get people in the frame, but at least it meant I could usually just leave the lens focused to infinity. Fotosnaiper012.jpg by Iain Compton, on Flickr  Fotosnaiper009.jpg by Iain Compton, on Flickr  Fotosnaiper006.jpg by Iain Compton, on Flickr
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Apr 8, 2018 12:57
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I've done some LARP photography - I used to be part of the team that ran one of the biggest fest-scale systems in Europe. To add to what the others said, get close. Good event photography is very much like good sports photography. You want to show action and reaction. Big wide shots of a melée are kind of dull after the first one or two. There's no focus and nothing to draw you in. Use a longer lens and get close, tightly framed shots. Show faces and how people are reacting to the events around them, show the dynamics between fighters in a combat. Be aware of your background too. I don't know where you are doing the events, but try to find an angle that doesn't show anachronistic stuff like cars or modern buildings. I was lucky in that most of my events took place in the grounds around various castles or inside mediaeval buildings, but even a bit of open space with grass and trees is better than a car park. Try getting unposed portraits of people with particularly nice kit too. Again, you'll want to be using a longer lens so as not to intrude and to avoid the subject reacting to your camera. Some great images can come from opportunistic shots of players on the sidelines, or tired fighters taking a rest under a tree.  P1010853 by Iain Compton, on Flickr  IMG_8459 by Iain Compton, on Flickr
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May 5, 2018 10:26
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Pooper Trooper posted:Personally I find The Way to be kinda overrated, but I'm going to blame my amateurness and admit that, as with most techniques, it's tricky to get Right, but once you do it's worth it. In this case I don't really mind the background being clear as I feel it gives some context, but it goes without saying I'll be experimenting more with it until I get it. There are a bunch of reasons why panning is The Way, and not just because it's a popular fad amongst photographers. One thing that's really hard to capture otherwise is a feeling of movement, the impression of speed. If you take a shot with a very fast shutterspeed, you freeze the action obviously, but you also lose the clues that tell us something is happening. Without blur on wheels or background, the bike might as well just be parked in the middle of the track. This goes for pretty much any kind of moving target by the way - motor racing, airshows, athletics, even your dog zipping around in the park. Panning is super easy to practice, you don't need to wait for raceday, you can practice on your kids/pets, cars on the street outside or whatever. If you can keep something in the same part of the frame consistently at about 1/125s, you'll see a big improvement in your photos.
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Oct 12, 2018 09:02
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xzzy posted:Your meteoric rise to the ranks of paid photographer is the stuff of legend. Post a petapixel article about how to do it and make millions for PetaPixel.
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Feb 2, 2019 05:46
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Those are ace. Lol at the guy who forgot to put his support bandage back on his arm to cover all the Nazi tattoos though.
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Jun 24, 2019 15:21
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Dude in the green t-shirt. In the first two pictures, he's wearing support sleeves on his arm. Sure they have Valknut runes on them, but ok, there's often a lot of Norse iconography on Big Manly Men stuff. Then in one of the B&W shots later he isn't wearing them and you can see his Schwarzesonne tattoo. At which point he goes from 'a dude who might just be interested in Nordic poo poo' to 'a dude who has specific neo-Nazi symbology all over his forearm'.
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Jun 25, 2019 05:01
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There's an amazing automotive photographer I follow called Piotr Degler. He takes some really amazing photos of super interesting cars but most of his stuff is studio work rather than action shots. website
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Sep 16, 2019 20:28
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| # ¿ May 21, 2024 01:38 |
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XBenedict posted:Is it weird being at these matches when the stands are empty? Ask a Cardiff City fan.
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Jun 22, 2020 17:57
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