Yes.. I don't shoot B&W that often, so I didn't know what to tell my mom..
why she's Olive colored..
As for questions of the "professional" while they are "on the job". I know
when I'm being blown off because the person is busy.. I have no problems
with that. BUT, I'm in the computer industry, and I know when I ask a
question that someone is searching in the back of their mind for an
answer... Like, it ain't registering.
The problem I have is... My mom keeps saying "The pictures aren't bad.."
Notice the sentence? It's not "The pictures are good." It's a
self-comforting statement IMHO. Like I said, sounds mean but I'm glad this
happened, stuff for me to learn what NOT to do for my own wedding..
Albert.
----- Original Message -----
From: "AG Schnozz" <agschnozz@xxxxxxxxx>
To: <olympus@xxxxxxxxxxxxxxx>
Sent: Tuesday, January 01, 2002 8:26 AM
Subject: Re: [OM] Which is sharper, autofocus or manual focus?
> Sounds like there is slightly more to the story...
>
> The B&W prints looking olive-green. Well, that is
> indicitave of 1-hour drugstore processing and not that
> of real honest proofing from a professional lab.
>
> I too have shot many a portrait, team and other event
> (even quite a bit of product work) where I've handed
> the exposed rolls to the client and accepted the check
> in return. Where and how they get it processed and
> proofed is their problem. I've probably shot 5,000
> pictures that I've never seen. Also, I've, at the
> request of the client, just had it processed at a
> local 1-hour lab.
>
> In my experience, the best film (Portra, etc) doesn't
> handle the 1-hour labs too well. I've compared
> negatives and they are substantially grainier and not
> nearly as color "smooth" as those developed at my
> regular professional lab. I'm not talking prints, but
> the actual negatives.
>
> So, I would suspect that the negatives from this "pro"
> probably aren't as bad as initially thought. I have
> never seen B&W proof prints on color paper look
> anything but disgusting--especially from TMax. TMax's
> base, density (thin negs), and exposure latitude is
> not a match for color print film. Furthermore, the
> base, being slightly purplish is color shifted enough
> from normal color film that there is even a potential
> focus shift in the printing/enlarging equipment.
> That's one reason why it is so difficult to get sharp
> B&W prints from a normal 3R/4R printing machine.
>
> Since you will be getting the negatives (another clue
> as to the photographer/client relationship), I would
> get some of the more important shots reprinted at a
> professional lab and look at the difference. I'm sure
> you will be pleasantly suprised.
>
> I wouldn't worry about the F-stop question not being
> answered. When I'm working, I'll blow off the
> "wannabes" as I'm hired to to a job, not give amatures
> helpful hints on how to get around buying reprints
> from me. During the formals, I have my "no-zone"
> where I have exclusive access to my "space". Others
> are free to take pictures AFTER I've gotten mine, but
> only from outside of my zone. This means that their
> pictures are never the same as mine as theirs are
> taken from the side. One reason for the "no-zone" is
> tripping hazards with my wires and such. One time I
> made an exception to this rule, by prior arrangement,
> and lived to regret it. Never again.
>
> As a working pro, it is very important that I can
> focus on my job and keep distractions to a minimum.
> Furthermore, it is not unusual for the professional
> photographer to be the one that keeps the entire event
> on schedule and moving. We typically have to play
> "wedding coordinator" in addition to our primary job.
> If it was possible for me to shoot with completely
> automated cameras, I would.
>
>
> AG-Schnozz
>
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