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Photography assignment help?

Could you please help me, I am about to submit my first assignment for lenses in photogrpahy, Could you please tell me if there is anything wrong with the lenses i have chosen for the 10 different scenarios.. This is my assignment For each of the following hypothetical photographic assignments you have the following equipment at your disposal (note that you do not have any zoom lenses): Two small format DSLR cameras with full sized 35mm sensors 20mm lens 24mm tilt-shift lens 35mm lens 50mm lens 90mm tilt-shift lens 100mm macro lens 135mm lens 300mm lens Neutral Density Filter Polarising Filter Two quick cycle portable flash units made specifically for your cameras Transportable studio flash gear Tripod Monopod Nominate which of the above mentioned equipment you would use for each of the following 10 scenarios and give a brief explanation of why you made those choices: Scenario 1 A large art gallery has hired you to photograph every individual framed painting in the gallery for an upcoming exhibition. They require colour accurate copies of the artwork for use in a catalogue. A - 90mm tilit shift lens - You can be at floor level and shoot large paintings and correct for perspective because you'll be looking upwards. Polorizer to eliminate reflections, Tripod to eliminate camera shake Scenario 2 An advertising agency has hired you to photograph individual “pack shots” of a range of packet soups. The soups come in small rectangular boxes, which have a glossy finish. They want the pack to look heroic and important. A - 24mm tilt shift lens to make the soup look herioc and important, Polarising filter to minimise reflections on packaging, Tripod to eliminate camera shake Scenario 3 A men’s magazine has hired you to shoot an action outdoor fashion feature of a male model in the centre of a large city wearing various business suits. They want lots of movement in the images and are happy with some motion blur. A - 300mm Telephoto lens because this would give you great still shots with motion blur background. Tripod to eliminate camera shake Scenario 4 A sports magazine wants you to photograph an afternoon football game and they get you a press pass, which allows you access to the playing field. They want high contact physical shots with frozen action. A - 300mm telephoto lens this will give you high contact physical shots while being a safe distance away. Tripod to minimise camera shake Scenario 5 A lifestyle magazine wants you to shoot a cover shot of a woman in a large, bright, modern city apartment. The woman is to be the main focus, but they would also like some of the atmosphere of the apartment to be evident. A - 135mm wide angle lens would give a great focus on the model while having the apartment be in the shot too. Tripod to eliminate camera shake Scenario 6 You have been hired to photograph a wedding in a church. The light is bright enough to avoid having to use a flash and the minister has allowed you access to all areas A - 50mm ens great for up close and personal shots on there big day Scenario 7 You have been hired by a gossip magazine to shoot “social” shots at a gala movie premier one evening. The location is inside a dark Rococo (ornate) cinema and you have a press pass and are free to mingle with the “stars”. The editor requires a collection of posed and candid shots as the crowd parties through the night. A - 135mm lens because this will deliver high quality images in low light conditions Scenario 8 A book publisher has hired you to photograph Italian food in their studio for a new cookbook. The studio has large windows along one wall and lots of working space. They want the entire book shot from above, looking down on the food with an “aerial” perspective. A - 100mm macro lens for high quality close up images Scenario 9 A book publisher wants you to travel through France to photograph a book on wine. They want farm and regional images, as well as shots inside the cellars and manufacturing areas. They are on a tight schedule and have a limited budget, so you will be travelling alone in a small rented car without an assistant. You have only three weeks to cover all viticulture areas before the autumn harvest. A - 135mm lens for cellar and regional images, 300mm lens for farm animals this lens would be greatbecausee you can get a great shot from a good distance away and not disturb any animals and 2 cameras 1 for backup Scenario 10 A fashion magazine wants you to photograph the latest trends in makeup. You will be shooting female models in a studio and they may be accessorised with the latest earrings and other jewellery, but the makeup is the star. They are looking for striking, close-up images with vivid colour and texture A - 300mm lens would deliver high quality portrait pictures of the models, Tripod to eliminate camera shake and studio flash light gear. Thankyou xxx any helpwouldd be greatly appreciated

Public Comments

1. What are you doing, writing a book? Knowing what cameras, lenses and other equipment to take to a shoot is the direct result of attending professional level photo school and spending a few years working with a pro, learning from them, not only which equipment to take on specific assignments, but also how to run a business. Just the list of lenses you have available shows you are approaching this from an academic perspective, not a practical one and that you camera system of choice is Canon. I know a whole lot of photographers and ONLY one owns a perspective control lens (Nikon's version of a "tilt-shift" lens) I did note that no zoom lenses were included. The cost of operating a photo business is high enough since the advent of digital SLR's, using zooms is an important cost saving purchase I do shoot for magazines and here is what I would take on assignment. 1 - D3 (full frame dSLR) 1- D300 (APS-C sensored dSLR) 14-24mm f/2.8 24-70 mm f/2.8 70-200 mm f/2.8 200-400 mm f/4 28-300 mm and 18-200 mm "walk around lens" for the two bodies 300 mm f/2.8 50 mm f/1.4 (D300) and 105 mm f/2.8 macro (D3) - portrait lenses. 60 mm f.2.8 macro Xrite Colorchecker Passport (very important when establishing custom white balance when shooting pigments - fabric or art) I always have a good sturdy tripod and monopod with me I have one Nikon SB600 and one SB700 for flash I carry two Lowel, Tota-light lamps with umbrellas and stands I carry a Savage background stand and at least three backgrounds plus a chroma key green background. Where I would have to take special equipment would be for shooting the "art". I would use a 4x5 view camera and enough lighting to produce even lighting across the expanse of each painting as well as frames to hold polarizing gels for each. I would shoot both colour negative and transparency film of each painting. IF I really, really had to use a dSLR to shoot the paintings, I would rent a Nikon D3X and use the 60 mm f/2.8 macro with the same lighting. To prevent parallax, I would raise the camera on the tripod until it was equidistant from top to bottom of the painting to assure that the focal plane was parallel to the painting
2. Ace has a point, some of these photography course assignments are weird. Since you are suppose to learn I'm just going to provide some hints. 24mm tilt shift lens to make the soup look herioc and important Controversial. Many companies are NOT looking for this in pack shots. Scenario 3 The working distance alone would create problems here with people walking trough your shot. Think the other way. Scenario 5. 135mm wide angle lens One of these is a typo I hope. Scenario 7: Working distance again. Take a look at these kinda shots, a lot are at least upper body and many are head to toe even. Scenario 9: You have obviously never been in a cellar. They are cramped! Might I suggest you play with the focal length tool on the tamron website. http://www.tamron-usa.com/lenses/learning_center/tools/focal-length-comparison.php