debbiesweds

I am new to this forum, but have been doing photography for around 25 years, but only in the last year have I decided to explore photography - learning how to do it right - and reading everything I can get my hands on and asking lots and lots of questions. The more I learn the more I realize how much I don't know! Anywho...I just purchased a Canon 7D - have used a Canon Rebel Tsi for a long time and just got my new one in March of this year. I have done many weddings and am just this past two years gotten into being paid - so I am now need to get a lot of help because it is more important than ever that my pictures be perfect. I would like to know if anyone knows the best way to take a large group and make sure everyone is in focus- is there a best setting to use to assure everyone comes out clear as far as focus points (is F22 the best aperature?) suggestions?! Thank you!

DanielB Loc: San Diego, Ca

Hello there "I'm not sure". There are allot of variables in that question. For instance what lens are you using. At f22 is there enough available light or are you bumping up the ISO or using fill flash or slowing shutter speed to compensate. f22 would give you the greatest DOF but you you may need to use a tripod to steady the camera. A good way to experiment is get two volunteers put one in the foreground and one in the background and play around with lenses and setting until you find what best meets your needs. Ulimately I think Anything between f9 & f14 with the right lens would be fine.

Photohobo Loc: North Carolina

Are you using the lens that came with the camera or did you just purchase the body? Are you using a flash? Do you own a tripod? What is your main source of light? Yes indeed, there are a lot of variables there. At f/22 you may loose the subjects to background clutter.
On another note but in that same vien...You best get a second camera as well? Ker-ching!

sinatraman Loc: Vero Beach Florida, Earth,alpha quaudrant

first use a wide angle lens they have large depth of field. Also small apetures/ large f stop numbers also have big depth of field. Since you are hungry to learn more may i sugest enrolling in the New York Institute of Photography correspondence course? They have an excellant reputation and have been around for 100 years. They advertise on this website. Also 2 books from amphoto books that every photographer should own. Both are by Bryan Peterson and should be available at barnes and noble or books a million. The first is "understanding exposure" it teaches you how to get not only the technicaly correct exposure but the most creative exposure as well. The second is "learning to see creativvely" which has had a HUGE impact on my photography. It has opened my eyes to a whole world of photographic possibilities. I forgot the NYIP course includes a section on wedding photography and they do take monthly payments.

debbiesweds

wow! thanks for all the input - I am going to respond back, but need to go back and really read and understand all the input - thanks so much - this is great. I have two lenses I alternate between - generally - the 18-135mm f 3.5 and the 50 mm f1.8
when I was taking the shots that were not in great focus I had plenty of light - it was outside - maybe too much light - but definitely no shortage, my iso was very low
I will look at some more of the input and comment on that shortly!

debbiesweds

Thank you so much - I will try that - and I do have a tripod and as I mentioned in last response I had plenty of light and a very low iso and shutter speed was not slow - so that is why the fuzzy bothered me.

debbiesweds

why do you say second camera - i do have my original canon rebel tsi and know i always need a back up - but what was your reasoning on buying another camera?

debbiesweds

why do you say second camera - i do have my original canon rebel tsi and know i always need a back up - but what was your reasoning on buying another camera?

debbiesweds

That is some really good advice - i will check into it - need to see what the class costs - is it a correspondence course I assume? I will look up the books - right now i had purchased three - DSLR's for dummies and EOS7D for dummies (see a pattern) and then a Digital 7D field guide, so I am trying to do some cramming and have been reading a lot on line, also appreciate the help of this forum - very much!

debbiesweds

I see now you did say was a correspondence course - I called and they are sending me a catalog - guess it is $1200 and is a year to year and 1/2 long course, but can do at your own pace. Homework assignments and reading, reviews, etc. I will see once I get the catalog if this will work for me.
Thanks again for the input!

sinatraman Loc: Vero Beach Florida, Earth,alpha quaudrant

if you do weddings without a backup camera you are being foolish and inconsiderate to your clients. ACCIDENTS DO HAPPEN. A wedding is the most important day in a couples life. Unlike portraits there is no second chance. If your camera breaks down and you dont have backup the wedding party is screwed. You cant take these shots later, you could wind up being sued. Hell hath no fury like a bride her mother and her mother in law scorned :evil: Not to sound harsh but it is unprofessional not to be properly equipped. No i am not a professional wedding photographer but my dad was. In the days of film he took three or four bodies, with different lenses on each took less time to change cameras then lenses and in case of accidents there would still be lots of photos. besides do you really want to look a bride in her teary eyes and tell there is no record of her happy day opps sorry?

KB Loc: Tennessee

You might try reading a guide for your camera written by David Busch. He covers each camera model very throughly.

PhotoArtsLA Loc: Boynton Beach

Taking a course in photography would be a good idea, but, allow me to explain a little about lens design. Most lenses are designed to have maximum performance 2-3 f-stops from wide open aperture. For an f/2 lens, f/4 or f/5.6 will likely deliver the given lens' maximum performance.

f/22 rarely performs, with the exception, in 35mm photography, of macro lenses, and in large format 4x5 inch and up, well, just about any lens.

Using wide angle lenses to increase depth at wider f/stops does work, and may allow for maximum quality. The distortions of wide angle, and in fact, just about any lens, is now MUCH easier to manage with digital tools on your computer. You can't imagine what we used to do in the days of film and darkrooms to fix lens distortions.

Always keep in mind, GIGO, or "garbage in - garbage out" when considering lenses. Generally, great lenses cost in the neighborhood of a used car. Are they better? Basically, always.

In medium format, for example, back when I owned a custom lab, we could INSTANTLY tell the difference between Hasselblad and Mamiya shooters. Night and day difference of quality which matched a night and day difference in price.

When I spent $5K+ on an exotic lens for my Hasselblad on a "no tax holiday" deal from Hasselblad, I didn't just expect a great lens, but one of the sharpest lenses ever designed for photography. It was and is, and is built like a tank to last forever.

Of course, in this day and age, many an image just needs to look good on the Internet. At these low resolutions, just about all lenses can do a photographer justice. It's when you strive to print twenty feet high or across (sometimes, even a mere 24x36 inches) that lenses tell you how good they really are.

Well, more said than necessary. I used to write for a magazine, so shoot me.