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shoot, I always try to plug in and connect all the equipment that I plan to use cameras, lenses, sync transmitters, tether setup, lights, whatever. By plugging everything in and taking some test shots, you have the simplest method of determining that everything is working, and that all the equipment you need is there.
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Have backups! Plan for the equipment to break down, and decide ahead what you will do. And not just major items; backup cables will often save the day when you have equipment malfunctions.
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Tethering for Advertising
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While di erent photographers have their own opinions about the advantages and disadvantages of tethering in terms of the creatives
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8 Advertising and Editorial Photography
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8.4 O ce workers. This ad shoot with multiple subjects was a good time for tethering, in particular because we were shooting with hot lights, including HMIs and Kino Flos, and thus didn t have a huge depth of eld. ISO 200, 1/60 second at f/4.0, 85mm 1.2L lens.
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Lens Choices for Advertising and Editorial Photography
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Due to the improved abilities of the 1Ds Mark III sensor to pick up ne detail, it picks up lens imperfections more easily as well. Because of the increased quality demands of advertising work in particular, I d suggest L primes as your rst choices, especially the following:
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14mm 2.8L 24mm 2.8L II 35mm 1.4L 50mm 1.2L 85mm 1.2L 135mm 2.0L 200mm 2.0L The white lenses Any Canon tilt shift lenses
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150 Part III In the Field with Your Canon EOS-1Ds Mark III
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For more details on speci c lenses, see 5.
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Canon L zooms can be great, but you must be careful. The 16-35mm II lens is strong after 20mm, I m told, but not great below that. The 28-70mm 2.8L can be very good, but you need to test the lens. The same goes with the 70-200mm L. If at all possible, stick with L primes and your optical quality should be very good.
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One reality with Canon lenses is the image quality can change sample to sample. I nd this particularly true with the zooms. Some photographers purchase three copies of the same lens, test them out and then return two. Make sure you know the return policy of the store before doing this! One warning on shooting wide open with fast L lenses: there is less depth of eld than is apparent in the view nder. This is also
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8.5 Education campaign. ISO 100, 1/320 second at f/2.8, 50mm 1.2L lens.
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8 Advertising and Editorial Photography
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true of other cameras with fast lenses. So if you are shooting, for example, with the 50mm 1.2L at f/1.2, you ll have even less depth of eld in the actual le than you ll see through the view nder. Be very careful and check your image playback, particularly on a big screen, if possible.
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When the shoot is over, keep in mind what a large part processing and post work retouching and other image manipulations have on the look of the nal image. Especially for more graphic-looking images, a lot of this work is done in post. All photographers have di erent
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8.6 Doting dad. Taken with available light, and the look was created in postproduction. ISO 320, 1/320 second at f/3.2, 14mm 2.8L II lens.
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152 Part III In the Field with Your Canon EOS-1Ds Mark III
programs that they value, whether a particular RAW converter, sharpening program, or color enhancement program. These skills are often as important in image creation as the planning, lighting, directing, and shooting of the image. One nal thing to remember is that advertising production is a team e ort. Never forget this. Just within the photographic team itself you have the photographer, producer and production assistants, the main photo assistant and other assistants, stylists responsible for makeup, hair, wardrobe and props. Model makers, food stylists, animal wranglers, hand models, principal talent models, background talent, location scouts, casting agencies, retouch specialists and every one of these people and often many more help create the quality of the project you re working on. Treat them well and you ll be well-treated in return.