9:15 am - Rich's Gear Bag
So one thing that Joe didn't show is that the low pro bags that we have actually really, really cool cause they have this feature, which is another sponsor. Yeah. You know, it's kind of like, stand that you can just put out and then you can open it up right away. I love that about it, because thats I mean, its kitschy. But I also really is quite helpful. Um, I have ah, you know, a lens pack here also by low probe that I just sling over, um, to hold a few extra lenses. And then, um, yeah, my gears kind of the same. There are some differences as far as the lenses we use. I have an icon, of course, And Joe's cannon. Uh, D 700 right here. And then I just upgraded to a D 800 as well. So, again, two cameras, um Thean hundreds crazy. I love it. It's incredibly fast of focus, and the files are humongous, which I don't necessarily want. But, you know, I can make it. I can compress the files a little bit, so it's pretty cool. Um, I also have a 17 35 millimeter wide angle lens, so that one is a g...
ood stand by for all the party party stuff. Lots of dancing. I try and go kind of wide angle and get in there with them. My long lens is he has a 72 100. I haven't 82 200. I've had this forever. This is, Ah, a 2.8 all the way through. But it's not the V r or the I s like doesn't have the image stabilization in it. I don't necessarily find that I need that because it's like I'm going to use this lens mostly during a decent amount of light. Anyway. He's young, right? He's got a little more muscle tone holder. I shake a little. No, I got it. That's it, Right? So that's the 8200. It's awesome. It's I think it's like half the price of 72 200 you know? So it's also it's not as big, so it's not as heavy. That's kind of why like that? Um, let's see. So now we get into some of the differences. I have the 85 1.4 from Nikon. Um, I love this lens. I use it for almost everything. If I take it off my camera, it's to put the 82 on. So this is pretty much always with me. Um, use it for all sorts of candids, low light stuff again, like you were saying I rarely ever shoot it at 1.4, almost always omit to I like to shoot it to maybe 2.2. It does make a big difference from 2.8 and 1.4. I don't know. It's just it's a little riskier. I'll use it sometimes if it's like, released, like there's right on the edge of too high an eso and and to close the lens. So mostly a two point. Oh, but I love the 85 1.4. I think this one's ah standard 28 2075 to 72.8 lens from Nikon. It's awesome, super sharp, and it's a good stand by for I mean, you know, it's a standard lens. I don't usually use it unless sometimes at the party, if I want to do a little bit less wide angle, I'll try and use that. I usually just switch between that and the wide angle just for fine. Just so there's a variety of lens. Um, and I don't use the same thing all the time. Let's see the old flashes. These air kind of Yeah, SPH hundreds by Nikon. I have two of them, like you say, in case one of them fails. Um, and the same kind of battery packs set up by night guns instead of Canada was this. I think yours holds eight. Mine only holds six. So there you go, man. You got Nikon. You got me. All right. I have a video light, but I don't ever use it. This is a little led thing, but I don't Yeah, I'll just borrow your friend's even know you. I have this thing. I've never seen you. I don't use it because, you know, it's it's a little harsh, and it's a little green. So, you know, that's what $75 gets. You didn't really Whatever. All you that. Someday, someday I'll use it. All right, Um and then this is the tilt shift lens and complete. Yes, that's right. This is Ah, Lens that Joe usedto have wasn't using it. I was like, Hey, can I borrow the lens. I've never seen it back. Yeah, exactly. I was like, Can I borrow this weird crazy lens? And it's really cool. It's also risky is I'll get out manual focus. So you have to, you know, kind of bracket. You're focused while you're shooting. When I shoot the tilt shift lens, I only tilt it. I don't ever shift it. If that makes any sense, tilting it gives them an effective the focus, just being in a very specific angle. And it goes completely crazy out of focus on the outsides. It's kind of I mean, you know, the lens, baby. It's essentially that Onley the advanced, expensive, nice, like, very sturdy version. Yeah, exactly. Um, it's a macro as well. It can go really, really close up. So it's great for ring shots, some details, that kind of thing. Portraiture you can do with it again. You have to be really careful. Maybe bring the F stop up a little bit and get their faces like the bridegroom right next to each other, and then the further away you are, the less likely you'll have one person's eye and focus on the other person's out but it doesn't add a really cool effect. If you want that kind of thing. It's a little kitschy as well, so use it sparingly. But yet it's a cool ends. Um, I always have this little pouch. This came with the SP 800. I just keep it here on my belt. So I can actually, When I was saying earlier, I'll show you this guy, Um, I do the off camera flash with this cable, Uh, Nikon s C 29 and what I like about this is it's got its own infrared focusing right here on the camera. So this aids me focusing. And actually, what's really cool is especially with the wide angle if I throw this with the flash and bear with me. All right, so here we go. So right, we'll know if everything's gonna work here, but yeah, well, what there goes, So that'll help me. Aid. And I can do this with the flash, and I can kind of do this offhand. I don't necessarily because it's wider angle. I don't necessarily have to look down if I know what I'm doing. And what's really cool is that this will actually show where the lenses pointed because it will illuminate the subject. So I'll see it bounce off of them will be like I know aiming pretty much right at them. We'll zoom in a little bit, you know? Do that. And then, like I said it across this way, if I have to, I know I look ridiculous. And then one trick that Donald my friend Donald taught me is you can wrap it. It took me a while to figure this out. You wrap around and then it's kind of like a little extra support so that if you do get a little, you know, slippery or whatever you can. But again, you can do this. You could do this. I always shoot my flashes manual just because then I know how to switch it if I have to. I'm like it's a little under just up a couple stops and we're good together and I'm always e t Teoh. That's right. He's TTE TTE l. I find that manual works better for me just because you know it's brides wearing white grooms wearing black. So for T T l to bounce off black, sometimes over exposed and for it to bounce against white. Sometimes it's under, so I go manual. But, you know, to each their own we got this. Yeah. Yeah, right. Um, okay. I think that's pretty much all the gear that's worthy of mention cards, that kind of stuff. But that's what you do. Yeah, I don't have to put it all away. So do you see the line with us? Never way. Yeah, exactly. Yes. Actually, this question came in yesterday. I've been waiting all day of, you know, for another whole day to ask this for both of you. So when you guys both get your cameras out of your bags and you're about ready to go and shoot, do you sync your camera times on your various camera so that your images sync up in post for rich specifically? And that is from our bark fill a long time you were here. Creative life. Yeah. Thanks, Bill. I really appreciate that. It's a great question because initially when we didn't do that rich with Theo in a post and we he throwing all the images together that get them cold and would find I would see an image in my mind saying where is that one And he I don't know and scroll through and he'd see it all the way at the other end and because we weren't sink in time. So we learned really quickly to sink our Kanye. And sometimes we work with three photographers, and each of us have two cameras, so that can take up to, like, 45 minutes to figure out how to sink each one. And it makes your brain go upside down trying to go. Okay, so this image was shot with this camera at this time. So let's go. It drives me crazy. So we actually forgot to do it yesterday. But what we usually do is actually the best. The best way to do this. And there's another trick that we learned from my buddy Don is take out your IPhone and then pull up world time dot com and put it full screen. And all I have to do is you just take a picture of it. Each person takes picture of it. It could be different time, cause you know, it doesn't matter. I'll just be able to see what time it waas exactly at that image. When that image was shot. And then I can sink that camera. I can sink the next camera. So you do each camera taking a picture of the time stamp. That's our way on. Who is your friend? That Donald. Donald Vio is one of our associates. Shooters as well? Uh, yeah. He's the guy who introduced me to you, right? Well, who and Rich do you have anything in your bag other than, like, traditional photographic equipment? Something down there in one of those pockets you'll pull out? Yeah. Here, check this. I never leave home without Check this out. I have a Yamaka in case I'm shooting a bar mitzvah. Because if there's sometimes you get orthodox barbeque. That's what I'm talking about, right? So, like, dude, I've all said lost. This is Hollywood. Someone's name is probably on their someone. Name isn't paid. Paid killers killed, just in case you get extra batteries. That's such a funny no sorry. The theon did it that way as we've seen the pain killers before Way wipes. But yeah, You want sunscreen to? Yeah, screening doesn't least in California, So we shoot stuff out on the beach and middle of the day, it's 80 degrees out there. And so sun cream and we shoot in Mexico all the time. It's bloody hot. So, yeah, that was really hot.