101

Rockwell presents his opinion as fact even when it is actually a contested opinion. Yes, professionals use 24-70 lenses. They aren't for every situation, but there are plenty where they are great go to lenses. The Canon 24-70 f/2.8 II, for example, is one of the most popular zoom lenses ever. I do wedding photography and during the reception, the 24-70 ...


63

The hosts of the wedding chose, for whatever reason, to hire the "official" photographers to document their event. As a guest of those same hosts you should respect the choice they have made and make every effort to accommodate your hosts' wishes. If those hired are less than welcoming and courteous to you, you should still respond to them in a way that ...


40

I do offer RAW files for my photos but I don't give them automatically purely because of the size and difficulty to use. A RAW file is substantially larger than even a max quality finished JPEG. Additionally, a RAW file is of no use without a photographer to develop it. It is just raw sensor data and still needs things like color grading and exposure ...


40

I have found that the best technique is to leave your equipment at home or at a minimum in your vehicle. Let the paid professionals capture the images they were hired to capture and you enjoy the event as the hosts intended; as a guest.


29

I am going to respond to this as the photographer. If and when I am covering a wedding or such an event as you have mentioned, I get really frustrated by guests bringing their DSLRs with them. To the point where I have actually spoken to the bride's mother and suggested that I want so and so to put their camera away as I am finding it a distraction. Don’t ...


28

I used to be a pro, so I can answer this: This is absolutely normal; it is even very good! I consider 30 good pics out of 400 a very good result! The most important point is IMHO that you go over your shots and select. The "reflection process" is important. It is the place where you learn to take good pictures. This is what most amateurs don't do. And this ...


26

As with many things, the end quality depends on the weakest link. Because most cameras are quite good, even cheap ones (even from mobile phones), the weakest link is mostly the person behind the camera. When learning some theory and practice, photographers can work around some pitfalls of cameras, but also knowing the shortcomings of a camera. When that ...


23

One thing to consider is what style of photographer you fashion yourself as. Some schools take more pictures than others and see different success rates. Are you shooting sports? You have no control over the action so you're probably going to spray-and-pray until you get the perfect shot. You may only get 1 sellable photo out of 1000. Are you shooting on ...


15

Gear doesn't matter... until it does. While it is true that better gear won't make you a better photographer, it is equally true that any photographer is limited by the capabilities of the gear being used. It's not just "lesser" types of gear that technically constrain photographers. Even the very best available photographic gear imposes technical limits on ...


13

There are tons of reasons out here but one fact remains. A RAW file itself is not an image or photo. It is a sensor reading which can be interpreted a myriad of ways. A RAW file is not a finished product and in most cases an unsuitable deliverable or even unusable for by client. As a professional photographer I want to deliver a finished product: photos that ...


12

I believe what you are asking for here is the correct combination of words to make a professional photographer understand your reason and logic, and allow you to keep snapping pictures. The problem is when you look at it from the angle of the people actually hired to take photos. Let's try another. I'm a DJ by trade. My niece is getting married. She ...


10

Annie Leibovitz used a Canon 24-70 2.8L for her photoshoot of the Queen Elizabeth of England. So the statement that professionals don't use that lens isn't true. I have shot professionally for 6 years and my 2 go to lenses are the Canon 24-70 2.8L and Canon 70-200 2.8L IS depending on the circumstances.


10

I would expect a professional to simply say, "Sorry, I didn't realize I was disturbing you," and stop shooting the same subjects at the same time. You can still be in the way, even from behind. People don't like ruining other people's shots. You're forcing them to commit little microagressions against you every time they get in your way or make you move. ...


9

Which professionals? Different photographers obviously have different needs. As a rule, be suspect of any statement that treats the needs of such a large class of people the same. The Canon EF 24-70 f/4L is a very popular lens, but at $1000, it's not exactly targeted at consumers.


9

I would add a fifth one, which may also help to understand the negative analogy: your RAW file is your finest pixel database. It contains more dynamic range than a JPEG file, similarly to a film negative. You can overexpose, underexpose during development (in Lightroom or in an actual lab), and find details in bright and dark corners that you simply cannot ...


9

People have answered this question beautifully. But this question is not about giving clients RAW files instead of JPEG, but rather RAW in addition to JPEG. (note the big difference!) Not having the decency of offering RAW files to your client has got more to do with the attitude of the photographer than anything else. It's like "owning work" or "giving up ...


9

Think about it like automobiles. A racing car or a semi-trailer truck would be awful to use on a grocery shopping trip no matter how 'pro' those automobiles are. But, someone who is in the business of moving goods across the country isn't going to pick the racing car or the family car either. Most of the professional photographers I've met or read about ...


6

The first shot does not require multiple exposures, or any complex lighting set up, there's nothing to suggest it wasn't just window light from the left. Light from a large window on an overcast day is about as good as you ever get for this type of photography. The second shot could have been one exposure for inside and one for the outside as seen through ...


6

I think there's a couple of points here: There's one set of things that a professional photographer might find annoying and another set that might make an innocent guest feel insulted. But since lines are not sharp it behooves both sides to step back and create some sort of a "demilitarized zone" in the middle. i.e. There's a range of behaviors that most ...


6

A "Good quality camera" is Very important to good quality photography, however the real question you are looking for is something like "what aspects make for good quality in a camera for a given subject matter?" Cameras are tools, and you use a tool suited to the task at hand. A small tack hammer is not much use in driving railroad spikes or breaking up ...


5

@AJ said all that I would have said and more about kenrockwell.com; but I would like to expand more on your specific requirement (and on AJ's recommendation) as this is also the kind of photography that I do the most. For your situation of shooting mostly buildings where you can set the shot up, you are probably best served by following his advice ...


5

Yes, this is very common. Often, much of the fee is actually to cover the cost of shooting the event and it is unfortunately relatively common for people to decide after an event that they don't care to get photos after all. You can find photographers who will charge a smaller sitting fee (the cost of actually shooting the event) and then more for each ...


5

There is no nice way to do something unreasonable. What you are trying to achieve is not possible because it is based on a fundamentally wrong premise. It is rude, arrogant and demeaning to approach a professional trying to do their job and suggest you know better. The way you have responded to answers and comments on this thread indicates that you would ...


5

It depends on the amateur and the pro. It also depends on the type of work being done. Some shooters work very methodically and set the table for a specific shot before the lens cap even comes off the camera. They may only take a handful of exposures. Other situations call for a more liberal approach to the number of frames exposed. But even then the ...


5

One reason "professional grade" is hard to define is because it's going to get manufacturer's in trouble by setting unreasonable expectations. It's easy, for example, to say that a metal bodied lens is more durable than a plastic composite... but that's not strictly true. The metal body will show dings; the plastic composite won't. The metal body will ...


4

This is just business, and is not unique to photography. I'm a electrical engineer and have a consulting company that also sells small gizmos on the side that I designed. I won't sell you certain things directly either. The broad reasons are the same regarless of industry. For example, we just got another lot of 1000 made of one particular gizmo. After ...


4

I know couple of photographers and their reason is that it may kill their sales. So imagine that you went in a session and you got couple of 4x6 and 5x7 for example, year later you want to get one of these photos as a poster so what would you do? Definitely you would go back to the photographer and ask for that, he would pull the RAW file and print it as you ...


4

You don't necessarily need a $2000+ camera. As you said, the photographer is the most important part, however good cameras make life a whole lot easier and allow shooting in situations you otherwise couldn't. Particularly for low light, having full frame makes a big difference. Additionally, higher end cameras give more direct access to controls to make ...


4

Since it appears the original work was not contracted with the intent that they would own the images (which would have required a much higher up front fee regardless of the end product), it sounds like a licensing deal is probably the best way to go. A license allows you to provide the high quality finished product, but with restrictions on what it can be ...


4

I suggest prior consultation with the bride and groom. Ask whether they would like you to take extra photos. If they would like you to take extra photos, ask them to inform the hired photographer, in advance of the wedding, and assure the photographer that you will be sensitive to their sight lines etc. If not, leave your camera at home. Even if you did not ...


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