A composite that came about just recently. While traveling in the western states last year I wanted to capture a silhouette of a cowboy with his horse but the opportunity didn't come about. However, while driving down the highway I just so happen to see a cowboy on his horse up on a cliff. I immediately pulled over to a safe place, since there was hardly any traffic, to capture what I saw, only to find out it was one of those life size metal cowboy silhouettes, I'm sure most have seen. I was a little disappointed, but yet satisfied. Now my concern is, since I'm so indecisive, to choose the color or the B&W. I know, the decision would be subjective, but an opinion would be appreciated. Then again, there may not be any interest in the composite in general at all, and that would be fine as well.
Dave

https://www.barclayvilla.com/

Getting ready shots are 8am. Sparkler exit is at 11:30 pm.

This is one of the better venues I have shot. The landscaping is so nice. The interior is very ornate.

This is a big wedding with 8 BM and GM and two flower girls and one RB. Never seen two flower girls before. The bride has a 15 ft. veil. Should I do the obligatory shot of the groom holding the veil outdoors?

When I scouted it out today the lighting was very dark. Maybe they didn't have all the lights on. I should have explored a little further. I'd like to know how they got so much light in the indoor pics.

I want to duplicate the shot of the bride on the steps. It looks like there is strobe or a speedlite to the left shooting across to show texture in the gown

I have an off camera speedlite with a 16in. soft box on a monopod. Take a look at the gallery and give me your thoughts. Any advice would be appreciated.

We're shooting Canon 5d Mark II and III. I have one other photographer. Each of us has two camera bodies. There is also the videographer whom I've not met.

I really have to ask. With all of the advancements in digital technology what do you
think you are gaining from film? I used B&W film for many, many years producing
silver gelatin photographs for the gallery market and as far as I'm concerned there
is no digital equivalent to a silver gelatin print (outside of Pt/Pd). However, if your
end product is a digital print, a digital capture is so much better than having a lab
bulk process your film and then scanning the film with a consumer grade scanner.
I would really like some comments from those still using film.

I deliberately underexposed this scene by about 4 stops.

The image was taken with a 24 MP Sony A7 II, a 50 mm Leica Summicron Rigid at ISO 200, 1/1000 sec at f/11 (Sunny 16). It's clearly not broad daylight.

This image should not have been possible according to proponents of ETTR. What's more, RawDigger indicates that the raw histogram is grossly shifted to the left.

But I was still able to recover a decent image simply by using the Exposure slider in Capture One. Other raw converters would have worked as well.

I don't recommend so much underexposure.