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[OM] Re: thoughts on shooting wedding

Subject: [OM] Re: thoughts on shooting wedding
From: Chuck Norcutt <chucknorcutt@xxxxxxxxxxx>
Date: Wed, 09 Mar 2005 06:46:27 -0500
Wayne, Moose is correct that the C5050 is a lesser tool for wedding 
photography than an OM body with fast lens and Portra.  However, even 
small digicams make good photographic tools if you can control the 
light.  The C5050 (and the OM too) will do a better job if you can give 
a little lighting assist.

I don't know what you might have for flash units except that I know you 
have a T-20 for the OM.  Assuming that you're not using the T-20 (or 
other available flash unit) on the C5050 why not try using it as a 
background light?

Obtain an optical slave with tripod socket and hotshoe.  I don't know if 
Ritz Photo does business in Canada but in the US you can walk into a 
Ritz store and pick one of these off the wall in a bubble pack for about 
USD 10-12.  You can buy them on yabe for about the same price but then 
you have to add shipping.  The two shoes at the top of this photo are 
Ritz slaves.  The bracket shown is used for mounting 2-4 T-32's. 
<http://home.comcast.net/~chucknorcutt/wsb/html/view.cgi-photo.html--SiteID-2086843.html>

Mount the T-20 in the slave hotshoe and then attach the assembly to your 
tripod.  Set the tripod somewhere in the room you want to light with the 
T-20 positioned to bounce off ceiling and/or walls.  No need to pay any 
attention to exposure from the T-20 as long as it's a stop or two or 
three below the main exposure from the C5050.  The only real objective 
here is to throw some more light into the background so it doesn't go 
totally black.  This will reduce the exposure range the camera has to 
handle.  You can, of course, do even better if you've got a second 
background light to help balance things out but one is better than 
nothing.  It may take some experimentation about where to place it but 
the C5050 will make that an easy process.  Just try to keep the flash 
itself positioned out of the field of view.

Chuck Norcutt




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