Shooting Tethered - Why??
Guys or Gals,
What is this incessant need to shoot tethered? It's another bloody bit of wire for some idiot client/ad trip over and, when they do, it's a rather expensive bit of kit that crashes onto the deck (speaking as a P45 owner). What's wrong with shooting to card?
Get the lighting right (for starters) let the ad have a look on screen. Once he/she's happy, get on with what you're being paid for -- taking some pictures. You never know, you might actually shoot something worth keeping, not something that's been composed by a committee from 157.5 different frames.
I'd be more interested in P1 getting the software to work roughly as it says it should do on the packaging as opposed to adding the facility to process files from some 1/2 arsed consumer camera or allow me to fiddle with jpegs - whatever they are.
Some of us learnt our craft, have an eye AND the ability to take a shot without having to resort to a monitor/photoshop/retoucher & 15 different exposures to get 1. We know what we're doing, trust our instincts and, strangely enough have clients who also trust us to take a picture at the press of a shutter button without having to resort to more computer power than that that was used to get the first man on the moon.
Photography ain't rocket science or indeed brain surgery.
However, in this digital age it would be rather useful if the programming companies we rely upon, can get their software to work as well as their sales spiel tells us it does.
What is this incessant need to shoot tethered? It's another bloody bit of wire for some idiot client/ad trip over and, when they do, it's a rather expensive bit of kit that crashes onto the deck (speaking as a P45 owner). What's wrong with shooting to card?
Get the lighting right (for starters) let the ad have a look on screen. Once he/she's happy, get on with what you're being paid for -- taking some pictures. You never know, you might actually shoot something worth keeping, not something that's been composed by a committee from 157.5 different frames.
I'd be more interested in P1 getting the software to work roughly as it says it should do on the packaging as opposed to adding the facility to process files from some 1/2 arsed consumer camera or allow me to fiddle with jpegs - whatever they are.
Some of us learnt our craft, have an eye AND the ability to take a shot without having to resort to a monitor/photoshop/retoucher & 15 different exposures to get 1. We know what we're doing, trust our instincts and, strangely enough have clients who also trust us to take a picture at the press of a shutter button without having to resort to more computer power than that that was used to get the first man on the moon.
Photography ain't rocket science or indeed brain surgery.
However, in this digital age it would be rather useful if the programming companies we rely upon, can get their software to work as well as their sales spiel tells us it does.
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[quote="David27" wrote:
on which one? On the LCD of the P45?
let the ad have a look on screen.
You can't tell a building from a refrigerator on that LCD.0 -
[quote="thomas4" wrote:
[quote="David27" wrote:
on which one? On the LCD of the P45?
let the ad have a look on screen.
You can't tell a building from a refrigerator on that LCD.
ROTFLMAO (I could not resist, have my moments every now and then 😉)0 -
[quote="Paul_E" wrote:
I'm glad you had a laugh - that's healthy 😊
ROTFLMAO (I could not resist, have my moments every now and then 😉)0 -
Never mind the monitor/lcd then. Better still let them have a squint through the lens/ground glass to check they're happy with your artistic capabilities in framing up & composing the shot. I'm naturally assuming here that the photographer has a vague idea what a light meter is, how to use it, how to operate strobe/tungsten/God's light & any possible filters he/she may wish to use.
Job done - a shot ready to go
What does ROTFLMAO mean?0 -
[quote="David27" wrote:
What does ROTFLMAO mean?
Google will give instant reply.
Happy shooting with/without a wire (by the way love the wireless transmitters like Canon/Nikon have).0 -
I wonder what happened to the Phase One Wireless thing that was coming out a year ago or so. They were making a big deal about it then it disappeared.
Maybe the files just got too big to fast to make it practical.0 -
Shooting Tethered - Why??
I guess i don't understand why one would not want to tether if it is studio work. I was a classically trained commercial photographer from back in the film days, used anything up to an 8x10 (yes, Deardorffs), and had quite a polaroid expense.
Some of us are studio product shooters, interior shooters, industrial shooters, etc. We expose for lots of layers with various lighting and focus combinations. To do that by moving a CF card to and fro would really clunk up the workflow hence making things very inefficient. Heck- even the film cinema guys have video assist.
Could you imaging doing a professional production today complete with a whole crew and not seeing what is going on?0 -
[quote="John68" wrote:
Shooting Tethered - Why??
Could you imaging doing a professional production today complete with a whole crew and not seeing what is going on?
I too started out life in a studio on large format as well. When the word chip meant a french fry or damaged china etc. As an assistant I could shoot as much film as I liked. The one thing I wasn't allowed to do, which I passed on to my assistants, was use Polaroid. Not because the guy I assisted was tight fisted, it was to teach me to use a meter, get the lighting right & most importantly have some faith in my judgement & what was going on in front of the lens. If it meant making in camera masks to multiple expose 1 sheet of 10x8/5x4 great - what a learning curve. The general idea was to get the shot right with the minimal comping/retouching required.
So, to answer the quote above - yes. Treat the lcd/monitor like a polaroid or film test. Once you and/or your client are happy, shoot it to death & occasionally download & make sure it's all going exactly as expected & planned. I just hate this whole idea of a committee commenting on each & every frame as you press the button. It's like them insisting, in days gone by, they should see a new polaroid every other frame.
As for the expense of the polaroid or film? Totally irrelevant, it's charged out anyway & in fact is the cheapest element of the production. I'm assuming here you're giving away your digital captures for free.0 -
This is all getting a bit sentimental, we have all had 10x8's etc and spent a fortune on film etc.
My lab bills were £4000 a month.I could buy a new back every 2 months.
Anyway cameras are our tools shooting tethered is like the best polaroid, sharper and the right colour why would'nt you use it.
Derek0 -
[quote="David27" wrote:
I just hate this whole idea of a committee commenting on each & every frame as you press the button. It's like them insisting, in days gone by, they should see a new polaroid every other frame.
It's funny but I like my art directors. I welcome the discussion and the collaborative effort. I don't understand the animosity.
Besides that, light meters are relative telling you only about the light that's falling not what's reflecting. And they're primitive since they don't tell you if you're clipping. They also don't tell you how the ratio looks and the back, while better than polaroid, just isn't all there. It's like if someone could tell you the future and you were like, "nah, I think I'll just be surprised when it's too late..."
Maybe it's because I worked with Gregory Heisler for years or maybe because I like precision but I shoot tethered all the time including locations like Death Valley, 80mph hanging out the back of a minivan and, of course, in the studio. The only time I don't is for personal work.
But that's just me.
Gregor0
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