I have shot a lot of images in the last few weeks. Mostly with studio flash but did the fashion thing with camera flash. I could really see the limits in a big venue, with limited lighting, the Nikon battery packs just did not hold up even with lithium batteries. Most annoying, the flash was inconsistent in rapid fire mode. For slow images, the battery packs would be fine, but if I did events for a living, I would get a Turbo, either one or two heads to power the flash units. You run the risk with a Quantum power pack of burning up the heads, but you will not lack power. I enjoyed watching the people, that is always the most interesting part of the whole gig. The trick is capturing the energy that is dynamic with a single image.
On to more images, here are a few from another fashion shoot sans clothes:This one is about body shapes and movement.
I have a relatively new IMAC, which runs on 4 gigs of RAM, two external hard drives to keep photos away from the operating system, with 50% of the hard drive available. Admittedly, I just released most of the open hard drive but it remains slow. Bridge is so slow, it drives me crazy, and I open it with the option key to keep Photoshop from opening. I was at Bear Images in Palo Alto and brought up the issues. Jim, an Apple Expert, started talking with me about the steps they take in their operation. As info, they run some major studios in the Bay area, providing technical support as well as equipment. These people know what they are doing, do it well, and above all really are solution oriented regardless of the size of your problem i.e. my IMAC.
Here is his advice, which they follow religiously:
1. Never use more than 80% of your hard drive, if practical no more than 50%. Photoshop uses hard drive and this is a common cause of slowness. Close everything else when running photoshop.
2. Keep your desk top clear. Desk top items eat up lots of computing power with their priority.
3. In this order run: The computer disk utility. Then, run Road Warrior until all red items are eliminated. This may require running Road Warrior several times. Finally run Drive Genius. I won't delve into what they do, you can google. The order is important to maximize the effectiveness of each repair. Bear Images performs this before every job or at least once per month on all computers.
The images are getting larger and I suspect this trend will continue. I know from my own work, lots of files are now over a gig because of the layers and software I use. Add to this a 20+MP sensor, and you have issues. I don't want to be in a situation where I have to spend 3-5K just to efficiently process images, buying a "tricked out" tower. So every trick with my existing equipment is important to me. Hopes this helps(Gallum accent) to those with the same issue(s).
If you are like me, it is the little stuff that drives me nuts. Like what did I do with the shutter release, or where is the extra camera battery, or were did I put the bubble level that fits in the hot shoe. Because I don't think of these things until I need them, they are always lost at the last minute when time is most precious. I keep track of camera bodies, lenses, tripods, flash heads, etc. but continually loose the ch.....s....stuff that I need. For example keeping the correct charging cord with the correct unit. Or, finding my lens pen to keep handy when I'm shooting. I tried putting these things in bags, but I then I have a bunch of mesh bags so I'm looking through bags to see what's there.
Well I can honestly say the TSA has made a contribution in this area. I now have taken a page from my toilet kit when I fly and converted all my photo bags to clear bags. The best I have found come from Think Tank with a slot for a label which I use to identify everything I put in. But I also use baggies, or anything I can get my hands on that is clear. I find this makes a big difference and saves tons of time. I can now glance at a few bags in less than a minute, and I keep a large clear bag for a catch all, where I put odds and ends. I put these clear bags in a Kelty Gear Bag, which zips up. When packing, "piece of mind" is an elusive state and nothing fries me like finding out I left something that I now have to buy. Another plus is if you are backpacking into an area you intend to photograph, you can simply put these bags in your pack, use a normal backpack instead of those camera backpacks that don't fit. Clear bags make a little contribution, and making a little head way with every annoyance is a good thing, Period.
There are lots of suggestions on why photograph, how to get better, what is a good photograph and the list goes on. The best answer to these questions is an interview with Jay Maisel by Chris Orwig. Jay Maisel is one of the remarkable photographers of our time. You can listen at this address: http://www.chrisorwig.com/flipside/2009/11/08/jay-maisel-interview/
My take-away, doing something that has the potential to touch someone however infrequent is worthwhile, rewarding, and difficult, takes curiosity, drive, practice, and sensitivity. You start this journey by doing something that touches you, if you don't past this litmus test, the attempts bring you closer until your intuitive skills are honed and your instincts become your guide. This is the road all of us travel, and we are joined in this journey by lots of other artists.
So here is the run down of gear. First the think tank belt with three pouches. One for an extra lens(24-70mm/2.8), second pouch to hold two battery packs wired to two cameras. The third to hold extra camera batteries, memory cards, and a small cleaning kit(cloth, cleaner, blower, nikon lens pen). No camera bag, only the belt. I'm carrying two cameras: D3 w/ 80-200mm/2.8 SB900 flash with softbox on RRS flash bracket. D90 with 17-35mm/2.8 SB800 flash with softbox on camera. Both flash units are connected to battery packs(Nikon), with the battery packs held in the think tank flash pouch(one pouch holds both). I like the D90 because of image quality and weight. It falls short for fast shooting requirements but does fine as a back-up in these situations.
If I had my way, I would have set up a couple of profoto lights with softboxes, and not carried all this "stuff" around. Unfortunately, the lights were thought to be distracting, potentially blocking the view of some paying customers. Now, I have to look like some tactical swat team dude with all this gear hanging off me, a wedding photographer on steroids. As a young kid, I loved pretending to be a lineman like my Uncle who wore all this stuff on a belt. My cousins and I would hang everything possible on our belts. Life comes full circle all the time.