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Chris Gampat The Phoblographer Sony hvlf60m flash uses (1 of 5)ISO 16001-40 sec at f - 9.0

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If you’re starting out as a photographer shooting events or portraits, one of the biggest rookie mistakes made (along with using a Gary Fong Lightsphere incorrectly) is simply pointing a flash directly up towards the ceiling and expecting the best and most perfect results. The problem with this method is that you tend to create unflattering shadows (and there is a difference between flattering and unflattering shadows) on a person’s face and therefore make them look not their best. While many flashes give you a small bounce card, it usually isn’t enough to fill in those shadows either.

In the situation where you don’t have something like a large Rogue FlashBender, we recommend this: point the flash up towards the ceiling and behind you just a tad–then crank up the flash output around 2/3-1 stop brighter. Based on the way that light and flashes work, the ceiling is used to become a main light source as it is illuminated by the flash output. But if you put the light source right above someone’s face, you’ll create shadows underneath. However, if you move it around to above and slightly in front of them, the light will seem a tad more natural.

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Not all event photography can be done alone. Some times the scope of an event can span days as well as different locations. I recently had to do a week long job like this and I learned a lot. Group work requires planing , and the ability to adapt. It’s not just about camera gear it about people and interpersonal skills as well.


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Readers of this blog know very well that the staff generally all prefer prime lenses over zooms. The Tamron 24-70mm f2.8 VC SP for Canon EF mount, however, landed in my hands for two weeks. Tamron is an extremely solid third party lens manufacturer and they create some terrific sleeper lenses that otherwise get overlooked by those of the larger brands.

To put it bluntly, I hate zoom lenses. Moreover, I’ve never been a fan of the 24-70mm zoom range. This lens, however, has to have been the best I’ve ever tested: surpassing even Nikon’s version of the lens (without stabilization) in my personal opinion.

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As the favorite lens of many growing, hobbyist and new photographers the Canon 50mm F/1.8 is the best bang for your buck lens out on the market. Capable of delivering super sharp images and small enough to forever stay coupled to your camera, the nifty 50 is a lens that receives rave after rave. This review will chronicle my long term use of the lens followed by why I finally sold mine and why I’m contemplating buying another one.

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Every photographer has a go-to lens that helps them to accomplish their daily tasks. What’s yours? Mine was (and in some ways still is) the Canon 24-105mm F/4 L IS. It has been by my side through paparazzo work, weddings, portraits, events, sports, and it has even been my casual walkaround lens. Used on the many cameras that have passed through my hands during reviews, it has been a mainstay on either my Canon 7D or 5D Mk II: always remaining ready to be used in an instant.

This long term review will cover the two years I’ve spent using this lens and will summarize the faults and strengths of this beloved piece of plastic with the heart of glass.

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You’ve got your DSLR, a fast lens, and maybe a flash or two. You’ve shot an event or two, but you want to shoot better photos. Here are a couple of tips to keep in mind to ensure that your client and the guests will be wowed.

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