Mike,
Thanks for the kind words and the suggestions.
In answer to some of your questions and comments, the "pro" is shooting with
a Nikon Wonderbrick, AF 70-210, and Metz 60CT4, with everything set on
automatic. Kind of like a giant point and shoot. NEVER takes it off
automatic. That's why his victory lane shots have so much glare, the flash
is doing a full dump on automatic trying to light up that big nighttime sky
behind them. He tends to shoot at the long end of his zoom and several
times I have heard the media relations director ask him for more multiple
car shots. I think he is really shooting with the driver/sponsor market in
mind and not concerned with the media relations director's needs. This is,
I think, where I get my foot in the door.
Most of what the media director posted from my shots were taken with the
OM2n, MD2, and 85f2 and 100/2.8. She seems to like the shots with more than
one car in them, and anything longer than 100mm gets awfully tight when
panning multiple cars from 40 feet. I also use the 135/2.8 and 180/2.8 to
get the singles. Those weren't the shots she selected, but they are what
sells to the drivers and I have sold a good number of 8x12's to the drivers
and sponsors on my two weekends, with several more orders pending. (I am
only allowed to sell photos from the weekends the pro is not there, he has
an otherwise exclusive contract with the track to be the only one allowed to
sell photo's at the track.)
He is using flash to stop the action on everything. I tried using flash,
but I feel it stops too much action and it makes the background go black. I
actually get sharper photos and cleaner backgrounds without it, even though
my exposures are longer, usually in the 1/8 to 1/15 range. Now the only
time I use the flash is in victory lane and it is on manual, you know guide
numbers, that stuff. I must be a control freak?
I also shot some flat track motorcycle racers recently, hope to find a place
to get those photos posted soon.
Thanks again for the comments.
Daryl Hurley
Topeka, KS
----- Original Message -----
From: "Mike Veglia" <msvphoto@xxxxxxxxxxx>
To: <olympus@xxxxxxxxxxxxxxx>
Sent: Tuesday, July 30, 2002 12:58 PM
Subject: Re: [OM] Compare and critique please
> Daryl, you deserve "the job" from what I can tell.
>
> I looked at the track photographer's shooting days first and liked your
> results much better over all. Your panned shots are much better, I
thought.
> Your victory lane shots were sharper and tended to have less glare off the
> vinyl sign. Where "the track pro" seemed to have an edge was on the tight
> 3/4 view shots, and the tight frame filling side view shots. It also
appears
> as he tends to shoot for a higher percentage of "keepers" by using higher
> shutter speeds, perhaps due to longer glass as well, but I don't know.
>From
> an event coverage perspective be sure to get some that are tight and sharp
> for drivers/car owners to buy for their sponsors. Mix the tight shots in
> with those excellent pans and ceremony shots and you'll have the complete
> package that blows this guy away IMO. (Unfortunately this may mean bigger
> glass I fear--what do you use now?)
>
> Mike Veglia
> Motor Sport Visions Photography
> http://www.motorsportvisions.com
>
>
>
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