Nokton48
Veteran
Hi Roger,
I have a massive Norma system, so that's all there is to that. I've never needed a backup for Norma, but it's good to know it's there if I do.
The Broncolor 606 power packs were a package deal, I got two when I bought them, along with a massive Brocolor Hazylight, and lot of extra Broncolor goodies. It's very nice to have 12,000ws in one pop. Good when I need f/64 and need to stop action.
I have a massive Norma system, so that's all there is to that. I've never needed a backup for Norma, but it's good to know it's there if I do.
The Broncolor 606 power packs were a package deal, I got two when I bought them, along with a massive Brocolor Hazylight, and lot of extra Broncolor goodies. It's very nice to have 12,000ws in one pop. Good when I need f/64 and need to stop action.
Brian Puccio
Well-known
I was assisting a photog I'm friends with locally (basically carry bags, hold reflectors, etc) and on two separate occasions did a 5D lose a mirror. Hooray for backup hardware!
gavinlg
Veteran
All these people saying "where's the backup" - what the m9 isn't a good enough backup for you?
:angel:
Seriously, if I had an 'ultimate' wedding kit it'd probably be a Canon 1d with an m9 as a second body. Screw having two identical bodies - that's just boring.
:angel:
Seriously, if I had an 'ultimate' wedding kit it'd probably be a Canon 1d with an m9 as a second body. Screw having two identical bodies - that's just boring.
hexiplex
Well-known
If anything is it not a sound idea to have two systems independent of one another on a shoot? Imagine, the perhaps unlikely scenario of lightning striking twice? You're left stood there with two 5D's who can't help you get the job done. Much better then for the professional photographer to have an entirely different system as a backup, as long as you are just that, a professional, you are confident in your ablility to adapt you shooting style to get what you need to get. And however unintentional this was, and no matter that it was an accident that shouldn't happen to a professional, this was a way for the OP to prove to himself that he can in fact be that adaptable and creative in his work, so in that respect this was a lucky accident, but getting the job done was pure skill.
And thusly, by coping with the situation, the OP has entered into a new form of professionalism, namely, creative professionalism, in the strictest sense of the word that is.
And thusly, by coping with the situation, the OP has entered into a new form of professionalism, namely, creative professionalism, in the strictest sense of the word that is.
Snacks
Established
Lens fails - do I have another lens that can do the same (or at least a reasonable) job?
Body fails - do I have another body that can do the same job? Do I have to carry more lenses?
It seems like the problem was covered. The real questions are whether or not it is sensible to sacrifice simplicity in such a situation, and if anything was really lost photographically by having to use a different system. Without having a second photographer there with the kit that would have been used, we may never know.
Body fails - do I have another body that can do the same job? Do I have to carry more lenses?
It seems like the problem was covered. The real questions are whether or not it is sensible to sacrifice simplicity in such a situation, and if anything was really lost photographically by having to use a different system. Without having a second photographer there with the kit that would have been used, we may never know.
FrankS
Registered User
The bottom line is that the pics were delivered. That's all that counts. Bride and groom could not care less how it was done.
dave lackey
Veteran
Congratulations on such professional work getting the shots. A lesser photographer would have missed it and the bride and groom have you to thank! Excellent.
BTW, post pics or it didn't happen!
BTW, post pics or it didn't happen!
chris91387
Well-known
quite a bold (if not rude) statement.
however, an "amateur" most likely would not have been able to cope with such problems and be able to think on the fly and still complete the job. a "professional" gets the job done with as little drama as possible so that others dont even realize that there is a problem.
Jamie123
Veteran
All this talk about "that's what a professional does" etc. etc. is pretty ridiculous. Of course you're going to make sure you can deliver images if you're getting paid for it. However, an amateur photographer who's determined to get images of an event might do just the same.
How many items of gear someone doesn't have that much to do with whether they are getting paid or not but with what the requirements are to get images in a certain environment. I've rarely seen a ''back-up'' kit on photo shoots in studios for hire as there often is an in-house rental place where you can get the required items. For a landscape photographer working with high end digital mf gear it might be more economically sound to do a reshoot (if possible) instead of keeping a spare digital back around ''just in case''.
Also, every (and I mean EVERY) professional photographer messes up sometimes and delivers crappy pictures (though most often not due to technical malfunctions). I worked at a photographer's agency for a while and saw first hand that even top name photographers sometimes deliver sub-par images. The important thing is not to mess up too often so word doesn't spread
How many items of gear someone doesn't have that much to do with whether they are getting paid or not but with what the requirements are to get images in a certain environment. I've rarely seen a ''back-up'' kit on photo shoots in studios for hire as there often is an in-house rental place where you can get the required items. For a landscape photographer working with high end digital mf gear it might be more economically sound to do a reshoot (if possible) instead of keeping a spare digital back around ''just in case''.
Also, every (and I mean EVERY) professional photographer messes up sometimes and delivers crappy pictures (though most often not due to technical malfunctions). I worked at a photographer's agency for a while and saw first hand that even top name photographers sometimes deliver sub-par images. The important thing is not to mess up too often so word doesn't spread
italy74
Well-known
Hem...
after all this talking about M9... are we allowed to see at least ONE image saved by the M9 or are they under secret ?
Joking, of course. Congratulations. I had a similar problem during a wedding on Dec. 31th, 2009 when a tripod fell broken in the church just when I had to use it. I did otherwise. At times it's the positive attitude and the solution you do to exit from troubles that make you grow
p.s. In my case I always have a two set cameras, actually both Nikons, film and digital, which can swap lenses (can't afford a Leica yet)
after all this talking about M9... are we allowed to see at least ONE image saved by the M9 or are they under secret ?
Joking, of course. Congratulations. I had a similar problem during a wedding on Dec. 31th, 2009 when a tripod fell broken in the church just when I had to use it. I did otherwise. At times it's the positive attitude and the solution you do to exit from troubles that make you grow
p.s. In my case I always have a two set cameras, actually both Nikons, film and digital, which can swap lenses (can't afford a Leica yet)
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Richard G
Veteran
Interesting points here. One very critical post, but nothing compared to the scarification that might have been meted out on the wedding forum of another photography site. Where, i might add, I have often seen a pro state that he would happily shoot a whole wedding with just a fast 35. The importance of good flash in wedding photography is one reason to be avoiding the Leica M9 as first reserve.
dave lackey
Veteran
Mcary
Well-known
There an article/interview in April 2011 issue of Black+White Photography with http://www.bybrett.com/
Quote from interviews "I now use a Leica M9 and to make it even more minamalist I just use a Noctilux 50mm F/0.95"
"When I started using Leica I was shooting at F4 and after that I bought a 50mm F 2.8 and shot wide open In 2010 I had the oppertunity to shoot with a Nocilux for a year and now I'm shooting a F0.95"
Denton
Established
Images
Images
Here are a few images, not retouched. I've been working at my new job all day (2 hour commute each way to New Haven, CT) and this leaves little time to finish this last wedding in the evening. A mix of 75mm CV classic here and 50mm planar at the reception. Group shots, not shown, were done with the 35mm Color skopar which performed very well even at the edges (which is needed for group shots).
Denton
Images
Here are a few images, not retouched. I've been working at my new job all day (2 hour commute each way to New Haven, CT) and this leaves little time to finish this last wedding in the evening. A mix of 75mm CV classic here and 50mm planar at the reception. Group shots, not shown, were done with the 35mm Color skopar which performed very well even at the edges (which is needed for group shots).
Denton
Attachments
Denton
Established
Haigh
Gary Haigh
A good story. Thanks for posting it.
Roger Hicks
Veteran
Dear Richard,
Only if you want the usual, formulaic, fill-flash shots. I've never used flash at a wedding, but then, the Happy Couples have always known that one of the conditions of my shooting their wedding is that I do it my way. I'm only talking about half a dozen weddings in my life, ones I couldn't get out of, and I've done them as wedding presents, but I genuinely cannot see why a professional wedding photographer who 'sees' the right way should not be able to shoot a wedding without flash, and quite possibly make a better job of it than many would with flash.
I should add that everyone whose wedding I've shot has been delighted, even though I made it clear that I hate doing it and would much rather they hired someone else: http://www.rogerandfrances.com/subscription/ps weddings.html
Cheers,
R.
Denton
Established
Agreed, the style of lighting is the choice of the photographer and her job is to make that style clear to the couple so they will be happy with the images. In the past, I have tended to use bounce flash indoors but I've taken to preferring available light indoors and out and now have become much better at seeing light. This improvement in my seeing has had a profound impact on how I like to shoot. I also very much prefer using the small leica rather than the 5DMII. I don't find the somewhat less sensitivity of the M9 to be a limitation but it does mean I shoot "waiting for the moment" and this also has improved my seeing.
Thanks to ALL the comments!
Denton
oftheherd
Veteran
Have to agree. The few weddings I have shot have been both with and without flash, depending on the lighting. No flash is preferred, but sometimes can't be done without.
As to backup cameras, my wedding was shot with a P&S Olympus, by a lady whose wedding I had shot with my full gear some months before. I could not afford a photographer, and didn't want to burden her with anything complicated. We still have the photos, and to her credit, the ones we display, you wouldn't suspect weren't done by a professional.
BTW Mr. Hicks, another fine module on your site. I hadn't seen it before. Good advice for anyone, as are all your modules. Thanks.
To the OP and the opening of this thread, I took it for what it was. A pro doing his job, and maybe bragging a bit on his M9. But the bottom line as others have suggested; he got the job done. At my daughter's recent wedding, the pro had a problem with his flash very late in the reception. No backup, and he didn't ask me for help (I would have been glad to loan him batteries or a flash). However, he made some very nice and interesting photos with a multiple-led light. Who would have thought? I just supposed he was doing something different for effect. Luckily for him the reception was almost over. But he delived an amazing amount of good photos, as he was paid to do.
