You can do so much with just one light. One £30 YN460-II for example. There really is no excuse for not having at least one flash 🙂
Robert Harrington gave a great presentation at the B&H theatre on getting many looks out of one light – and you can watch it here. I thought this would make a great live demo for the camera club I belong to and worked out 10 or so looks to present within a 2 hour slot. I ran through them in a practice session with some fellow photographers and we got it done in 1:45. It was going to take longer on the night as I’d be waffling on about the light as we went – and hopefully, there would be questions!
Here’s my pick of the looks we did on the night with model Paris Spencer, who always does a great job on these shoots. For all of these shots, the camera is in manual exposure at 1/160th at F/8 and ISO 64 to 640. The flash is in manual, and when off the camera, is triggered by using the pop-up in commander mode. The popup does not fire during the exposure, it’s just used to send data and commands to the remote SB900.
We started with the flash on the camera – left, and the first shot is direct flash. When should you use this? Well, probably never unless it’s a bit of fill but as a main light, it sucks. I wanted to show just how bad flash lighting could be, so we took the mugshot, on the left. Paris looks like she just got arrested…
Continue reading “One Light”
I love fog. Use it all the time. Sometimes though, I just want it on the floor. Theatres and movie sets have used liquid nitrogen (“dry ice”) for this for a long time. You can also make regular fog lie on the floor by cooling it down so it becomes denser than the surrounding air. There are a number of commercial options for doing this ranging from the £90 American DJ “Mr Kool” all the way up to liquid nitrogen foggers. There are even more DIY solutions involving lots of plumbing, and plastic bins – all of which are huge 🙂
Continue reading “Low Lying Fog”
Having sorted the general lighting and approach to shooting some smoke, here’s the next phase in my smoke project – tungsten bulbs. The tungsten filaments in these bulbs can glow white hot and not just burn up because the bulb is filled with an inert gas, such as Argon, Krypton or Xenon. The so-called “noble gases”do not interact with incandescent material, and so the filament can carry on glowing at near melting point for thousands of hours. If you turn it on in regular air however….
Continue reading “Smoke part 2: smoking bulbs”
There are some photo ideas that have been done so much that I will probably never do them, unless I think I can build on them to produce something a little bit different. This one has been on my photographic to-do list for some time, and I’m not done with it just yet, however I thought I’d share the journey so far.
Continue reading “Smoke”
Emilia Gaza contacted me recently to ask if I’d be interested in shooting some dance/burlesque with her. Her portfolio notes over on PurplePort are filled with such enthusiasm and passion for dance and to create images of it I immediately said yes! Continue reading “LIGHTS, CAMERA, ER.. FOG! ACTION!”
I started to write this one up as the next “photography myths” post and had planned some demo shots, however Neil Van Niekerk explained it all brilliantly on his blog here: Tangents back in 2009. Go there now and read it! Neil’s blog is full of great articles on using flash, and a whole boatload of other photographic technique. Here’s my summary, but for more detail – read Neil’s blog!
The next “myth and misdirection” you will come across as a photographer learning how to use flash, especially with natural/ambient light is this phrase:-
“Shutter speed controls ambient, aperture controls flash only”
Which is nonsense. If you stop down your aperture, it affects all light in the scene – there’s no special “back door” for the ambient light. The whole picture will get darker.
For manual controlled flash power within normal x-sync range of shutter speeds:-
- Shutter speed controls ambient light
- Aperture controls flash and ambient light
- ISO controls flash and ambient light
- The flash power adjustment buttons on your light, control…. flash!
For TTL automatic flash exposure systems (camera on manual, flash on TTL ) the flash exposure is constant, as long as it is within the bounds of the flash gun to supply enough light, and the camera and subject remain reasonably still in relation to each other. Close down the aperture? The flash puts out more light so the flash exposure is the same. Raise the ISO? The flashgun reduces the power so the flash exposure remains the same. Move the light? The flashgun adjusts and the flash exposure remains constant. The ambient light doesn’t react to these changes in shutter speed and aperture though, so ambient light exposure continues to change as before. Stop down the aperture? The ambient light exposure reduces – flash exposure stays the same.
So for TTL flash with normal x-sync:-
- Shutter speed controls ambient light
- Aperture controls ambient light
- ISO controls ambient light
- Flash exposure compensation controls – flash.
and finally, for “high speed sync” flash where the flash pulses to cover the entire shutter operation, the flash effectively becomes a continuous light so:-
- Shutter speed controls ambient light and “flash”
- Aperture controls ambient light and “flash”
- ISO controls ambient light and “flash”
- Flash power controls – “flash”.
It’s no surprise newcomers to photography get confused when so much of the received wisdom they hear is not quite right. Alongside “aperture controls flash, shutter speed controls ambient” this is one of the most ubiquitous myths that do the rounds. The converse is also untrue: wide angle lenses do not distort (at least not because of the focal length, they may of course have defects in their design and manufacture).
“But” I hear you say “if I take a picture of someone with a wide angle, their features look all distorted, they have a big nose and their entire head looks like a football! If I use a telephoto lens, they look much more natural.”
Well, before I tell you what’s really going on, here’s two images of my friend Gary, who bravely volunteered to have his ruggedly handsome features pulled around for the sake of science:-
Continue reading ““Longer lenses compress the scene””
My travel lens solution for my Nikon D810 is the Nikon 28-300mm super-zoom. This enables me to walk around, without a bag full of lenses, that can get stolen. It also means I can capture things on the go when changing lenses, would mean the moment is lost, or you just end up annoying your family while they wait for you to faff around in the bag. I carry the camera on a Black Rapid strap: it sits on my right hip, ready to go if something interesting should appear (lens cap off, lens hood on).
The only downside to this is that, well, 28mm aint that wide. I can sometimes persuade my wife to carry my little Nikon 20mm f/2.8 AIS in here shoulder bag, ad have tried carrying it in my pockets before. The problem with this arrangement though, is if you swap out the 28-300mm for the 20mm, you now have a large 2 pound lens to carry around – which doesn’t really fit in your pocket. I sometimes hide the $1300 lens and come back for it, but this is far from ideal – even in remote locations where there’s no one around to walk off with it.
However, there is a modern day solution. On the odd occasion I need something wider than 28mm, I just make a wide angle pano, and stitch it in Photoshop. Here’s an example: for some reason, the ancient walled city of Dubrovnik has more than it;s fair share of basketball courts – just staring back atcha from the stone walls, gleaming limestone pavements and elegant towers. I couldn’t fit this into 28mm – not by a long way, so I took 2 shots at 28mm and gave them to Photoshop. Clicked all the boxes apart from the content aware fill of edges (the content in this case was too complex) and we get the result at the bottom. Not bad. Note – Lightroom is, as yet unable to do this correctly. It has a go, but there’s a definite seam every time, as it can’t deal with the wildly different angles.
To do this from Lightroom couldn’t be simpler. Adjust one image, sync these settings to the other one, select both images, right-click and select “Edit in.. | Merge to panorama in Photoshop”. Leave everything on auto and check all the boxes except content aware fill. Only check this one if the edges of the frame are simple (sky, water, grass etc). Click go, flatten the image, save and close. Your stitched panorama will appear back in Lightroom.
I’ve gone to the air show at RAF Cosford for the last 3 years and whilst I’m by no means a dedicated aircraft shooter, I thought I’d share some of the things I’ve learnt in that time.
Continue reading “Shooting Air Shows”