Thanks to Joe for taking the time to talk too – here’s his info and the show notes:

And I thought I was a socialite online!  Joe really takes it to the next level!  And you can hear the passion and excitement in his voice too – he really just loves photography… and life!  It’s contagious too – I’ve got a few seeds ready to sow myself….(more on that later)!

Here’s the rest of the show notes:

• The ABC’s of posing
• Corrective posing
• Adorama learning center -  softboxes versus umbrellas
• Shoot the centerfold – seminars
• www.matthewstaver.com

Just a great chat overall, and the nuggets, tips, and insights you’ll pick up are invaluable.  The show should be in your iTunes feeds shortly (if not already), but if you’d like to give a listen inline, here’s the show:

So, how are we going to round things out this week?  By turning things around!  Yep, the tip is to use the shoot through umbrella as it’s own reflector!  Take a look at the results.  I took a picture of the world (okay, it was a globe in our spare bedroom) from the flash in two different setups:

While it’s always better to shoot with your flash off-camera, this is probably the best lesson in showing that just because your flash is off-camera doesn’t make it good light!  Yes, it’s better than on camera lighting, but look at that harsh specular highlight, and how…well, boring the photo on the left looks.  Then consider the photo on the right – the hottest part of the light is nowhere near as specular (bordering on not even becoming a specular highlight…), and the diffused, reflected light gives some nice character and a sense of depth lacking in the first.

Here’s the lighting setup for each shot:

So, as you can see (hopefully), this demonstrates that turning things around (not just your camera) can have a surprisingly good effect from time to time.  It really becomes subjective at this point, and some may prefer one style over another, but that’s part of what makes the craft so enticing – you are limited by nothing more than your vision!

Thanks for tuning in to this unique week-long series on off-camera lighting – I hope you enjoyed reading these tips as much as I enjoyed writing them!

On that note – I’d like to ask you for more ideas on some themes and topics in this vein.  This really seems to have resonated based on the traffic, email, and feedback I have gotten thus far, but I do want to keep content moving in directions you are interested in, so feel free to chime in the comments with ideas, thoughts, and feedback not only on existing content, but asl on ideas thoughts and feedback for new content down the road!

Have a great weekend (don’t forget, today is the last day to get your entries in for the November Flickr contest) and be sure to stop back next week for the year-end wrap up on a bunch of product reviews – and you know what that means!

Quite a bit already, and we’re almost done, so I’d like t round things out with a little bit of stabilizing.  You see, while light stands are great for moving your flash off-camera, they’re not the most stable things around.  Certainly not like a tripod for your camera!  Why is that?  The answer is in the physics – a light stand is typically a single pole that is extended into the air, whereas a tripod is three poles that converge at a point (your ball head or camera mount).  Whereas the former has each other to lean on and stabilize things, your light stand doesn’t have this benefit.  But, you can minimize the wiggle!  Here’s how…

Most light stands will have a three-legged base which collapses down to help with portability and to compact the size.  I’ve seen people take light stands out, and the first thing they extend all the way are those three legs.  Don’t!  When you take the three legs to their maximum height, yes, you are getting more height, but you are losing leverage and stability!  Don’t!  Instead, do this:

See how in the first example the legs are high, narrow and only have three points touching the floor – this invites a top-heavy rig, which is always more likely to topple over.  If you sacrifice those 3″ at the bottom, look what you can gain!  A wider stand base = more stability, a lower light stand = additional stability, and then the addition of the center point for even more stability!  The one on the left is how it’s supposed to be done.

For an added corollary, you can also bring sand or water bags to your shoot and fill them when you get there…then place the bags inside that little “pocket” that is formed for even more of a weighted base that will further reduce toppling risks!  (Consider it a Light Stand Tip 4A!)

Tomorrow we wrap up the week of lighting do’s and don’ts when using light stands and shoot-throughs!  I hope you’ve enjoyed these as much as I enjoyed writing them (it’s always fun to do a series like this, because it has a beginning, middle and end – which makes for nice writing projects!)

The bare flash

The results are not atypical of what one would expect.  We can see quite a bit more diffusion over a flash fired with no shoot through at all.  The light is cast much wider across the umbrella, and a certain amount of diffusion can be noted.  However, we can also see a hot spot of light in the top half of our umbrella.  Bad?  Not necessarily, considering either shooting with no umbrella, or worse – using the flash on camera!   But can we make it even better?  Let’s try!

Flash+Reflector

An interesting result!  We see the light now is carried through more of the umbrella bu looking at the center point as our frame of reference.  See the light expanding a little further down past that center point?  Cool!  But also, look what happened at the top – the reflector took light from the top and bounced it down to the bottom as we clearly have a shadow line going across there.  Hmmm, not sure I like that, so let’s try another improvement!

Flash+Diffuser

Now we’re talking!  Look at that light!  It’s clean and even throughout the umbrella!  No lines from a reflector, and nowhere near as much spill over the edges of the umbrella itself.  This is some nicely diffused light!  But wait – can we take it even further?  Let’s try one last thing, just to see what happens!

Flash+Diffuser+Reflector

Uh oh, we over-thought it!  The light is still pretty evenly diffused and spread across the umbrella, except for that one rectangle area across the top where apparently the reflector blocked the light from getting to – thus creating a shadow.  For me, it looks like #3 was the best choice of flash controls.  Here – take a look at all four side-by-side-by-side:

Flash Comparisons

I’ve circled the areas that caught my eye in terms of the quality of light – what I like and what I dislike about each – with labels under each setup.  As noted above – my preference is for #3.  The lesson learned here?

Use the built in diffuser when using a shoot through umbrella for a nice even light source!

As in all things though, it’s not a “my way or the highway” mentality – all thoughts and opinions are welcome!  So, which one(s) did you like best? #1? #2? #3? #4?  Sound off with your own thoughts in the comments or via email – feedback and discussion is always encouraged!

*****

Contest Reminder:  Only a few days left to enter the Image Wizards contest.  No fuss, no muss, just enter your image in the Flickr thread for a chance to win a 16×20″ print from them (as judged by yours truly!).

Be sure to stop back in tomorrow for the fourth installment of how to get the most out of a single light setup!

In yesterday’s post, I showed how light can spill over an improperly mounted umbrella. I got a few emails noting that light does seem to still spill over the top of even a properly mounted one.  While that’s right, there’s a couple things to keep in mind.  First off, the flash is mounted to a trigger, not to the light stand directly.  This does raise the flash a tad (about an inch), and while that may not sound like much, it can increase the spill.  Now there are some triggers that are extremely low profile or that can rotate to lower the height of the flash by angling it forward, but there are downsides here too.  If you think about the idea of moving the head of the flash closer to the umbrella, you are essentially decreasing the amount of fill that your shoot thru will get.  The light will be more concentrated, (a.k.a. hotter) the closer it gets to the umbrella.  Conversely, the further away from the umbrella, the more diffused it will be.  Take a look:

Now, again, the terms “wrong” and “right” are subjective, because you may want a hotter light from your shoot thru.  The only thing I would say to that though, is that if you want a hotter light – why use the umbrella in the first place?  A shoot thru is designed to reduce the “hot” factor of the light and make it more even and diffused.  You can best accomplish this by positioning the light as far back on the umbrella as possible.  How far?  I usually leave about a quarter of an inch to an inch just so I can grab the umbrella if needed from the back side.  You can position yours where ever you like – just remember the “hot factor”!

Don’t forget to come back tomorrow for Part 3!  I bet this is one a lot of you will likely say “Now, that is cool!”  In the meantime, keep sharing your own ideas, tips and tricks for getting the most out of your lighting gear!

*****

P.S.  A couple admin notes – the monthly giveaway is almost done (with a 16×20″ print from the folks at ImageWizards at stake), so get your shots in on the Flickr thread before Friday!  Next week is review week on the blog too, with books, gadgets, lenses, even a camera, and of course, the annual Holiday Gift Guide!

Tip #1.  Positioning the Umbrella

You’ll notice on a standard light stand that the umbrella will have to be inserted at an angle…you can either angle it upward or downward.  I see so many folks that are totally confused by this and I’ve got a great mnemonic to help you remember the right way:  I call it “Up For Luck!”  Take a look at the following side-by-side shots:

See how there is so much more light missing the umbrella from my strobe in the first shot? It’s falling out of the top and not really being controlled all that much.   Compare that to the second shot, where the umbrella is nicely filled out with light…a great softening effect for sure!  This is just one of five tips I am going to share with you this week on lighting your shoots from an off-camera flash with nothing more than a single light stand and shoot through umbrella!  Ready for more?  Got your own ideas and tips/tricks to share?  Sound off in the comments, or tune back in tomorrow for another tip to help soften and diffuse things even more!

After experimenting with my own sets of various wireless triggers, and the number of questions that have come out in this area, I’d like to set about de-mystifying the concept of wireless triggers.  In doing so, let’s separate for the moment the whole reason for removing flashes from your camera (better lighting, more control, etc.), and for introducing the wireless element (fewer cables to trip over, longer range, etc.)  Let’s instead start where most people like to start – talking about the gear!  There’s basically four competitors out there, and I’ll cover the nuts and bolts of each here:

PocketWizards

• Link: Pocket Wizards at B&H Photo
• Cost: $440.00 Set
• Pros:  They just work.  These are the ones professionals use, and they do so for a reason.  You can even use them to trigger your camera!  Another plus is a long range and pretty sturdy!  Lastly, readily available through multiple vendors so warranty/worry-free
• Cons:  Expensive and large.  At close to $450 for a pair (you have to have at least two), it’s nearly the cost of a flash!  When the accessories cost almost as much as the main gear you are trying to accessorize (the flash with a trigger), the cost is probably too high in my opinion.

CyberSyncs

• Link: CyberSyncs from Paul C. Buff
• Cost $270 ($180 and $90 for a transmitter/receiver set)
• Pros:  Much more cost effective than the PocketWizards, and work with nearly the same durability, repeatability and range.  Not at the same level as PocketWizards, but for the price, this is one many enthusiasts look at seriously.
• Cons:  Not as reliable, durable and extensive a range.  Paul C. Buff is considered to be reliable and I’ve heard good things about them, but let’s face it – they’re no B&H.

Radio Poppers

• Link: Radio Popper Store
• Cost: $170
• Pros: Low cost of entry for the Jrx system, nice and compact system.
• Cons: Batteries are unique size so getting replacements can be more expensive in the long run.  I could not get multiple flashes to fire from on-camera with any measure of repeatability.  Documentation on their website not as clear I would have hoped.

Generic Triggers*

• Link: Varies
• Cost Varies – from $20 to $100
• Pros: Very low cost of entry, wide variety of vendors to choose from
• Cons: Reliability and warrantability can be sketchy depending on which vendor you go with.  No surprise, you get what you pay for.  My first generic set were from Gadget Infinity for $20 and could not get them to work right with any regularity.  My most recent set, (branded by a friend under the heading of *Blackbelt Light) costs $75, and are very reliable.  I got one trigger and three receivers for $75 and they have worked flawlessly.  Likely out of warranty after 90 days though under most normal circumstances, and again, no B&H, but having friends in high places helps!

*****

So, there’s the nuts and bolts from the various wireless triggers out there, from generic to professional grade ones.  It’s worth noting that that one player is notably absent, that being the Elinchrom Skyport.  The reason I left this out is because initially they were available from B&H, but are now distributed by Manfrotto, and while I have no bias for or against either company, when a product shifts distribution channels, that in and of itself raises a flag in my eyes.  Additionally, and perhaps more importantly, I’ve not been able to test or know anyone who has tested them that I could get to give me feedback in time for this writing!

Perhaps the best part of all of this is that now you get a chance to share your own thoughts, questions, and comments on wireless triggers?  Do you have any of the above sets?  What are your own experiences with these?  What about the Elinchrom’s?  Anyone out there use them and care to share thoughts or experiences?

First off, focus stacking is used mostly in genres like macro photography, where intricate detail is needed across a range wider than what the aperture will allow for during composition.  The principle is much like the layered approach to HDR imagery – where you stack layers of images with different compositions on top of each other and blend the right portions through the entire image.

Where focus stacking differs from HDR is the types of images that you are layering.  In HDR images, you are compositing images with different exposure values over one another.  In focus stacking, you are not changing the exposure values, rather just the point of focus.  As depth of field drops off both in front of and behind your focusing point, the subject will blur.  While this may be an appreciated blurring technique in some cases, in other cases, getting different depths of field from different focusing points can make for a tack sharp macro throughout the range of the subject.

As is most often the case, explaining a photography concept is best done with images, so let’s take a look at an example.  For easy demonstration, I took a white cordless phone and placed it on a black background.  This way color issues are kept to a minimum…

Notice on the first focusing point, the sharpest point is right near the front?  It also quickly drops off into the background as I was shooting at f2.8  The low aperture number means I will have a very shallow depth of field, which is what is causing the blurred background.  To bring the rest of it into focus, I need to “stack” more shots that have a different point of focus.  So, let’s add another few to the composite:

The end result from stacking all these together can be accomplished by any one of a number of methods ranging from the most time-consuming of doing it manually inside Lightroom or Photoshop, and the most efficient one of using 3rd party software.  While several options do exist, the one that has become pretty much the industry standard is that of Helicon Focus!  Their quality of processing is, bar none, among the best I’ve seen.  More on that likely later this week.

In the meantime, here’s the result of an image that has been focus-stacked:

It’s a quick edit, and done with only having focus-stacked 5 images.  If I wanted a really detailed depth of field on something more important than a cordless phone from circa 1990′s, I’d likely have taken at least 10-15 images and massaged them through Helicon Focus more carefully.  More details on this entire process are coming up later this week, including reviews of the Tether Table (which will be given away this weekend as the March contest comes to an end), Helicon Focus, and the light triggers from Blackbelt Lighting.

For a behind-the-scenes footage video, stop over to the Facebook page!  (Be sure to “like” it and share a comment while you are there…)

When it was done, the house sure did smell good from the caramelized sugar, bananas toasting, and who doesn’t like bread?  (I know, I know – lots of carbs aren’t good for you…)  But, every once in a while it’s fun to indulge.  As luck would have it, this particular loaf of bread had some nice colors and tones to it, so naturally, I started thinking about my other hobby – photography!

With bread there’s so much you can do from capturing details, to using a shallow depth of field, to creative lighting and shadows, everything becomes a cornucopia of possibilities.  Here’s a few of my selects from just ten minutes of prep, 60 minutes of cook, and ten minutes of shoot time!

Want a slice?  What tasks have you taken and turned them into photo opportunities?  The lesson learned here today (hopefully anyway) is to take something you have to do and make it something you want to do!  In this case, it was a win-win scenario for me, but what about you?  Sound off with your own fun-filled (or food-filling) photo projects!

For the inquisitive, this was shot with off-camera flash, using Radiopoppers.  The EXIF data:

Since EXIF data doesn’t record flash settings, I want to say that this was at 1/4 power, bare bulb (no diffuser, umbrella, bounce or anything like that).  The hint of yellow reflection off the background of the stove is likely due to bounce off the yellow color of the teapot itself onto the black metal on the stove.  It was an unintentional but cool side effect, so I left it in!

As the old saying goes: “Keep on shooting!”

Using Flash in the Snow - #1

Using Flash in the Snow - #2

Using Flash in the Snow - #3

Using Flash in the Snow - #4

Now granted, these are nothing that would ever been usable for fine art or stock type work, but it’s always fun to experiment, and this is one such case where on-camera flash works particularly well.  There’s other times when using on-camera built-in flash can also be useful though, so don’t be afraid to experiment.  Where have you had success with on-camera flash?  Share your own thoughts, perspectives and shots in the insight

However, at the risk of deflating a few of the loftier aspirations out there, I’ve always ascribed to the theory of learning through transparency and sharing of knowledge, so would like to take a moment today to talk about these various approaches to light.  How are they different?  How are they similar?  And perhaps most relevant, why would you use one method over another?  Fun stuff, so let’s get started!

Actually, before we get started – one small caveat – these are not definitions, merely my interpretations of the meaning behind the terms.  I may have slight differences in understanding of the semantics here, so up front, let me say that I encourage anyone to both offer their own insights, and correct me if I am blatantly misguided in my interpretations.  So, enough falderal – as I already said – Let’s Get Started!

Natural Light

Ahhh, natural!  It’s such a lovely word, somehow equating psychologically with peace and nature.  The essence of capturing a moment in all its raw beauty, whether a mountain mist, the serenity of a sunset at sea, or the waning sun casting its hues across a little girls face as she smiles and laughs!  Natural light simply means using only the light that is naturally occurring within a scene.  No flashes, no strobes, no speedlights or Alienbee’s allowed.  Pocket Wizards need not apply.  The only photographic technology allowed here is a camera!  (And probably a tripod since light is usually pretty low and hand holding can be tricky.)

Here’s a few examples of natural light:

Misty Mountain Sunrise

A Girl's Smile

Mexican Sunset

Ambient Light

Ambient light photography is often confused with natural light photography, since ambient light refers to the light that is present in the scene, without introducing more.  However, here things like lamps and streetlights, and other items that are present in the scene are permitted to light the scene, since they were likely there already.  The key distinction that I make here is that photographers who are “ambient light shooters” do not add their own lights to a scene, rather they make use of the lights that are already present, whether naturally occurring or not.

Here’s a few examples of what I would classify as ambient light:

Candlelight

Brighton Armory

Denver Moon Rise

So, having hopefully defined the difference between natural light (only naturally occurring light) and ambient light (light already in the scene), the last type of lighting that merits discussion is that of available light.

Available Light

Available light is kind of interesting.  Photographers who utilize available light are referring to light that is available when they go to make their pictures.  This basically refers to any light available to the photographer at time of capture. This means the light can come from naturally occurring sources like the sun or moon, ambient light already in the scene such as the lights of a skyline or an auditorium, or the light of a candle.  The important addition to make here is that the photographer can add lights of their own to the scene.  Whether it’s strobes, flashes, speedlights with gels attached, or any other method that is available at the particular moment of capture.  I guess this excludes adding lighting effects after capture, but on that I am not as clear.  If I understand the terminology correctly, it basically refers to photographers that use their own lights to sculpt their vision out of a scene that also includes elements of the other two types.  In other words – flashes are permitted, and often used.  Whether it’s a studio shot, a landscape with some fill flash, or

Here’s some examples of what I would consider available light:

Studio Light: Kid Cowboy

Alphabet Paint

Portrait - Sunset and Flash Mix

From what I’ve seen, most available light photographers tend to use the natural or ambient light with just a bit of fill from their own lights to bring some additional areas of interest to a scene.  They want it to look natural, but when push comes to shove, it’s not naturally lit.  It’s very well-lit, and often requires more skill than natural and ambient light photographers, often because it’s a mix of different lights, requires gels, custom white balancing and can get very technical very quickly.

So, there you have it – the three different types of lighting!  Which ones do you like the best?  Any points I missed in any of these descriptions?  Disagree?  Am I completely off my rocker here?  let me know what kinds you like, and your thoughts on these “classifications” in the comments or via email – I love to hear what others have to say!

That’s gonna do it for today – keep on shooting and we’ll see you back here again hopefully tomorrow!

To that end, it’s to our advantage to control the light as much as possible.  An entire sub-industry has grown over the years catering toward controlling the light in your photos too.  Everything from grid spots, to gels, strobes, reflectors, and so much more – we could spend hundreds, if not thousands, of dollars on various light modifiers.

We’re not going to break the bank today though as we take a closer look at a certain kind of light modifier called a Flash Bender, from the folks over at Expo Imaging.  Pricing for individual ones range from $30 to $40, or you can get the entire three-piece set for only $104, we’re certainly not spending exorbitant amounts of money.  The question really is more of what they can do.

Taking a page from their own description on their website (which you can find here:  Rogue Flashbenders), these devices:

“FlashBenders represent a new approach to controlling light. FlashBenders are positionable.  You can bend a FlashBender into almost any position, and it will assume that shape, staying in position until you reform it.”

To see if these shape-changing devices really can deliver on controlling the light, I turned to my trusty, not-so-rusty model train for a little demo shoot, just to see what I could do with them.  First up, I took a couple shots with a bare flash attached (580 EXII) and pointing full on the subject.  The results were predictable:

Bright, shiny highlights, and some pretty nasty glare, right?  But, like I said, to be expected from a full on-camera flash.  Having set the barometer now, I decided to move to where I knew the light would be better.  Off-camera.  I started working with the light and found a good angle (around 45 degrees, camera right), then attached one of these benders and made a snoot out of it (a snoot is a circular funnel that restricts the light).  Things were starting to look up almost immediately with a full wide angle, mid width and then a tight snoot.  Take a look:

Nice!  These Flashbenders really easily got my harsh light that just doused a scene and wrangled it under control pretty quickly with just the strap of Velcro around the neck of the 580, and shaping it around the front in a circle.  It was time to start adding slight nuances to the shape of it to see just how much nuance I could get.  Here’s the result:

Now we’re talking!  About the only thing missing is a little bounce from the light as it shoots past the train to come back and fill the shadows a little.  I tried holding one out to camera left and got the final effect desired:

I could keep going with all the different options and shapes here, but it’s sufficient to say that I was highly impressed with the Flashbenders.  They fit the bill for me in three material ways:

1.  Cost – Hey, it’s the economy right?  Gotta keep costs down and at $104 for the trifecta, it’s almost a no brainer because you can get the Large Reflector, Small reflector, and the Bounce Card sizes in one sweet little package.

2.  Space/Construction – Not only are these pretty durably designed with the bendable metal plates or fingers wrapped securely in the nicely padded and sewn-stitched outer shells, but they pack well, laying flat in the bottom of your bag or curled up snugly to fit on the edge (I put mine next the the flash and barely knew they were in there!  Rock on!

3.  Functionality – What can I say?  They deliver and in a big way.  I used one to wrap the light tightly, then the bounce card to hand hold and create a little fill on the opposite side.  They serve their purpose, do so with space-saving design in mind, and at a cost that all but the most frugal photographer can afford!

These get my two-thumbs up seal of approval.  If you don’t have a set, you need to go out and get one.  If the full set is out of your reach, then at bare  minimum, you could probably get by with the largest one as it has the most range and flexibility.  It’s available through Expo Imaging direct, or if you want, you go through one of their many retail partners.  I tend to prefer B&H as NAPP members enjoy free 3-day shipping.  (If you want to go that route, here’s the link to the largest of the set at B&H if you like…)

There you have it, my two cents on these flash modifiers – probably one of the cheapest tools out there, but so functional and usable on so many different levels, it’s simply a must have in any photographer’s tool kit!  Happy shooting and we’ll see you back here on Tuesday (Labor Day Weekend and all…) for more photography goodness!

P.S.  The September Newsletter went out this morning to all confirmed subscribers!  Like it?  Want more?  Send me a note with what you’d like to see!  Not getting it?  Want it?  Subscribe from the sidebar or from this direct page here!

1.  Cranking the ISO and hoping to fix in post

With advancements in technology, noise handling both in camera and in post production has resulted in some astonishing results that in previous years would have been literally unrecoverable.  While we should always endeavor to make our images shine as best we can in camera – advancements in tools of the trade simply give us more options and we would be foolish not to use them.

Here’s a good example of a shot that was done at a high in-camera ISO setting, that was recoverable to a good quality image.  It may not necessarily be of “stock photography” caliber (you really need every pixel to be perfect for stock photography), but for event photography, I would consider this acceptable quality.

2.  Implementing additional light sources (Flash, video lights, etc.)

3.  Using a tripod/monopod in conjunction with longer exposures to increase odds of sharp captures

4.  Use a gray card to get good white balance/off-set the ambient lighting conditions.

Having your subject hold a color balance card (or even just a gray card) in the scene for one shot is a great way to counter-act the effect of difficult lighting, including everything from halogen lights, to fluorescent, tungsten-florescent mixes, and the garish hue from sodium vapor lights common in locales like stadiums and street light settings.

Gretag Macbeth Color Wheel

Sample Graycard Shot

5.  Use supports from the surroundings to brace your camera

Using a tree, a wall, or even the ground to help stabilize your camera can reduce the shutter speed considerably to help when shooting in low light situations.

As much as we may try to hand hold our cameras, blur is unavoidable due to our heartbeats, finger tremors, breathing, and a host of biological factors, the best we can do is help to minimize that blur by using supporting mechanisms and techniques to get as stable a shot as we can.  Even when we can hand-hold, matching that color from the scene is much easier to do when you start from a known vantage point, whether it be your own flash, or a controlled ambient scene.  So much to think about and so little time…where do you want to go from here?

Hint:  Sound off in the comments – would love to hear others thoughts, tips, and tricks for dealing with low and/or harsh lighting! Special thanks to Kerry Garrison of Kerry Garrison Photography for sharing a sample image from his own portfolio when I couldn’t track my own down in the library (bad me for not keywording fully!)…

So, when Scott Kelby’s blog went live a while ago, he was encouraging people to join the Kelby Training website with a video teaser compiled by his chief video guru, Jason Scrivner.  It’s a pretty funny video teaser, but did pique my interest enough to stop over and see how much time was involved in the new video.

The new video series is of David Ziser, a long-time wedding photographer, taking you through an entire wedding shoot from start to finish.  So, that would lead one to believe that it is a long video series.  It really isn’t though…only about 90 minutes total of video…and yet the content and tips/tricks/ideas that David gives are really unbelievable.  I found myself making mental notes of everything from camera position to lighting position to poses for various portraits, and much much more.

I normally don’t go ga-ga over anything because there’s always room for improvement in pretty much anything.  Training videos are especially low on my list of things to go ga-ga over, but I must give credit where credit is due.  This “training video” is probably one of the best I have ever seen!  First and foremost, the footage keeps you engaged (I found myself dancing with the guests at the wedding, laughing with David as he got people to smile while shouting “happy happy”). I was having fun!  At the same time, David’s delivery was bar none the most engaging I’ve ever seen in a video tutorial on photography.  The reason why I put this in a “training video” category (with quotes) is because I really did not feel like I was getting trained on anything – it’s like I was a fly on the wall, and David was talking to the fly!

So, the free advertising for today is not to become a NAPP member, because the goal here isn’t Photoshop training or networking.  Nope, it’s to head on over to kelby Training and sign up.  At least do a month – watch as much as you can in that month, because there’s lots of good stuff.  But if you must pick one – it’s this new one from David Ziser on wedding photography.  Kudos to the Kelby crew for their coverage of this – it really was phenomenal!

Go sign up today – this one alone is worth the cost of entry! (It also bears mentioning that I am not getting anything in return for this – not even an affiliate click – so go sign up for Kelby Training today…)

Happy shooting and we’ll see you back here again tomorrow!

What was most glaring though was that the radio trigger didn’t report itself to the EXIF data.  I’d noticed this in the past from the Cactus triggers when I first purchased them.  It could be due to the economical nature of the cirtuitry (i.e. they weren’t very expensive).  Or it could be due to the very nature of the devices themselves.  I’m not sure as I’ve not had a chance yet to test the heftier devices like Radio Poppers, Cybersyncs, and of course, the mecca Pocketwizards!

Here’s the part where the reading audience is more than welcome to chime in!  Do you own any of the above devices?  If so, which ones?  And of course, do they report to the EXIF data in your photos?  Last, but not least – how regularly do they report?  Because one of the things that is very useful in reproducing images (the very mark of a professional) is looking at flash data from one shot so you can repeat those settings again if needed.  So, in this vein, I am not happy with the Cactus Infinity triggers.  Yes, I got what I paid for, and they work well enough for their purpose…but I feel I am starting to outgrow them even more.  Guess it’s time to pony up, eh?  Only question is – to what?

Already, some questions are coming in about what kind of lighting was used, what the lighting EXIF was, and several have also asked about the background – some things I had a feeling would come up, so thanks to all sending in email asking for more details…much more is coming!  I promise!

In the meantime, take a break (or a photo) and enjoy the weekend.  For those of us in the U.S., remember, Memorial Day isn’t just a day of baseball, hot dogs and beer – it’s also a day to remember the fallen heroes that died defending our country…

In honor of Memorial Day

#1 – The Year End Blowout Bash is underway – and LDP/Canon Blogger is giving away a ton of goodies.  I posted details about this last week, but in the interests of giving it a little more “face time”, I would encourage everyone to start thinking about their “giving” themed photos – could mean some seriously cool prizes coming your way to start the new year off right!  More details on the prize package and such here:

#2 – The 3rd edition of the LDP Newsletter is forthcoming – with some little known tidbits about the guests on most recent podcasts, including nuggets from David DuChemin and Andie Smith, as well as the monthly roundup, great quotes and christmas/holiday ideas for the photo buff in all of us.

#3 – With many things under way both professionally and personally for this time of year – the posting schedule that I had been adhering to for most of the year (hardware, software review, composition, podcast, etc.) is likely not going to be followed as strictly as things will be done more on a “catch as catch can” sort of thing.  If you like tuning in for one thing or another – keep on reading because the stuff you like will be there, just maybe not on the schedule you are accustomed to.

#4 – Last up, I’d like to point out that the donations tab is still active, and all are welcome to contribute via that conduit – but in the interests of getting some tangible things back to the reader and listeners that have been so encouraging, I am going to be coming out with some short eBooks (5-10 pages max) and there is a new link for the website to bookmark for that content:  http://www.canonblogger.com/store  While I am getting a fairly good idea of things readers and listeners would like to see/hear, feel free to send in questions, comments, suggestions and the like for store content as I am open to input.

So, with the vegetables out of the way, I’d like to delve into the “meat and ‘taters” segment of today’s post and that lies in the title:  bokeh

For those of you that may not be aware, bokeh refers to the blurred portions that are out of focus behind your subject matter.  The quality and nature of that out of focus portion can really enhance a photo, and can even become the subject matter itself when looked at creatively.  Now, I‘ve talked here on the blog about bokeh in the past, but in the spirit of the holidays, I thought it would be fun to share some samples of images where I actually forced the entire scene out of focus, to basically make the bokeh the subject:

The Beauty of Bokeh #1

The Beauty of Bokeh #2

The Beauty of Bokeh #3

The Beauty of Bokeh #4

The Beauty of Bokeh #5

As the samples show, you can make some pretty fun use of blur and bokeh.  Shapes lend themselves well, and varieties in colors, as well as monochromes too.  Another thing – when getting bokeh and blur – don’t worry too much about noise and crank the ISO if need be – it’s all about your creative mind.  You can remove noise if you must, but the idea is to capture something in a new way and getting bokeh this time of year specifically can be a lot of fun.  A few suggestions though:

1. Look for shapes, as suggesting what the subject might really be can catch visual interest by teasing the eye – you know what it is by the shape…
2. Look for light, because without much variation in light or bright spots, the bokeh will end up looking like just some smudges of a limited tonal range
3. Use your best lens(es) as these produce softer bokeh – less angular edges, and more rounded or smooth textures, which is usually better for bokeh (“better for bokeh”, did I just say that?)
4. Shoot wide open, then switch to manual focus and intentionally blur – push the lens further out of focus for variations on your bokeh elements.   Watch what happens and adjust to taste.

So, there’s a few ideas for you – there could be an eBook coming out on this later with more samples and suggestions so let me know if this whets your appetite.  Do you like the idea?  Want to see more?  Get more tips on shooting for the abstract?  Do the photos above help or hurt the idea?  Do you like them or think there are better samples?  Got any of your own?  Feel free to post links to your own libraries of bokeh and blur for everyone to enjoy – there might even be a newsletter mention in it for ya!

That’s gonna do it for today – coming up later this week, the aforementioned newsletter, another podcast, and much more, so keep on shooting, until then, may your batteries be charged and your memory cards filled with lots of photos this holiday season.  Now get out there and shoot ya some!

1. On the Photo News Beat
   1. Canon Announces Hybrid IS technology
   2. Stock Exchange joins Getty Images
   3. Think Tank Photo Announces a New Bag System
   4. OnOne Software expecting to release a Remote Capture update soon
2. LDP/CB Notes
   1. The OnOne Software Plugin Suite Ends Friday – last chance to get your best image in the Numbers Contest
   2. The August Prize is announced:  A Bamboo Fun, courtesy from the folks at Wacom
   3. Exposure Denver Photo Club
3. Interview With Matt Timmons – MTM Studios
4. Listener Q&A
   1. The Sony A100 DO Range Optimizer – Bog Segrell from NJ
   2. Martini Memory Lighting Setup? – Alistair M from New Zealand
   3. Where do you get the EOS Digital Capture from Canon? – George Maskaly from Nevada

Here’s links, as promised for the show notes to for those coming over from either PLM or iTunes.  Please let me know if I missed any (it’s getting late here)…

• Flickr “Numbers Contest” thread – Win a copy of OnOne Software Suite 4.5
• Canon News Feed
• Stock Exchange-Getty Merger
• Think Tank Photo Multi-Media bag
• OnOne Remote Capture News -( thanks to Mike Wong for his blog reports!)
• Matt Timmons Media
• Elinchrom at B&H
• Learning Resource courtesy of Bob Segrell
• Contact Canon Support

A last little bit of blog news – closing in on 2 yrs, 500 posts, and 1000 feeds – I don’t know how this ever happened, but there’s definitely going to be some prizes coming soon in celebration and to say thanks to all the loyal, faithful readers and listeners!  I teased the date a few days ago on Twitter so if you’re not on Twitter, get there for extra added value too! Happy Shooting All, and we’ll see you back here again tomorrow!

Grab the Feed

To set the scene, I put the camera on it’s lowest aperture for the lens (f3.5), and this way everything around would get thrown out of focus.  I set the shutter to 5 seconds, and the ISO to 100.  That way I would have enough time to draw each letter, and produce little noise as possible.

Next was to set a point of focus – enter my light stand as a model.  I set the focus on that (about 6 feet away), and then switched to manual focus on the lens so the point wouldn’t change.  Next step – mark the floor so I know where to stand (anything works – for me it was a USB flash drive).  Finally, I moved the light stand out of the way and started to eliminate other sources of light, as  I also wanted the surroundings to be completely dark.  So I turned off the computer (monitors give off an amazing amount of light, closed the blinds (even at night, street lights can push stray light into your image), and shut the door to the room.  Working off the handheld flashlight now, I changed the camera to start on a 10 second delay to give me time to get into position.

The rest is in the post processing.  Since I was in the middle of re-installing Windows and freshening things up last night, I’ve not had time to composite these together, but you get the idea of where I am heading!  Give it a try yourself – painting with light can be fun!  Have a great weekend everyone, happy shooting and we’ll see you back here Monday morning!

Lest you do a double take, that’s right, I used it along with a makeshift boom (arm that extends out to the side) to hold a water bag for a photo project.  The point is, light stands, like tripods, can function in a wide variety of capacities.   While I tend to shy away from making generalizations because I know my own gear experiences are unique, for me the biggest difference between a light stand and a tripod is weight and stability – light stands seem much lighter and aren’t as stable.  I am sure there are some high end light stands that provide excellent stability and can weigh a decent amount, but this one that I use is pretty light:

I’ve linked the photo to the item at B&H (Item #IMLS8AQ  ) for those that want all the detailed specs, but here’s my two cents.

Pros:

• Weight – these things are super light, and very easy to move around.  I could literally pick one of these up with one finger.
• Extension – this basic model extends up to eight feet tall and compresses down into a shade under 3 feet.
• Cost – very inexpensive, running a mere $35 from B&H Photo – small price to pay for an assistant
• Size – this collapses down so small, I can fit my tripod, my monopod, umbrella, and this all in an over-the-shoulder bag!  Compactness is a plus, especially when travelling!
• Functionality – aside from the obvious funtion of holding lights of various sizes, with a small clamp, you could hold pretty much anything from lights to grey cards to reflectors, to booms with water bags.  Heck, you can even jury-rig something from your garage or storage shed to make this guy hold pretty much anything for you.  So much for the photo assistant, eh?

Cons

• Weight – yep, while a pro, it’s also a con – because they are so light, the can get easily bumped out of position or knocked over.  While using it with the boom/water bag for a weekend project, I bumped it ever so slightly with my foot and everything got knocked out of position.  Not by much, but when your DOF is a mere quarter of an inch and you are zoomed in tight on a water drop, one little bump requires re-setting everything from scratch again!
• Workmanship – I was rather disappointed when I was going to pull out one of the extensions one day when the whole top pulled off the bottom legs.  It seems the nuts that are used to anchor legs and extensions into position weren’t tightened down all the way and as a result, a firm yank can pull it off the assembly.  Then, when I went to tighten it back down – the plastic collar that the screw/net combo fits through cracked on me.  *Sigh* Ah well – it still works, and I just have to make a mental note not to pull on the extension too roughly as the top will pop off.  But, what do you expect for $35?

Bottom line – I’d recommend this for people needed an extra set of hands from time to time.  If you are into off camera lighting (and after Wednesday, you should be!), then a light stand is a must – and this is a great entry level one that will fit your needs indefinitely, because even if you upgrade, an extra set of hands is just a few seconds away.

That’s it for today – make sure you stop in tomorrow for the next installment of software reviews!  Happy shooting and see you then!

Volumes exist on what lenses to use, how to light, depth of fieldand much much more, but perhaps the most valuable information on how to take great portraits comes not just from technical awareness, but from personal interactions, and how to get people to act natural yet emotive and to let that come through in your work.  While no blog post could entirely exhaust the subject, here are ten quick tips on taking better portraits:

1. Establish a connection – portraiture is about connecting with someone through the image.  If you don’t connect with them through the camera, then there will be no connection in the print.  Make sure you connect with your subjects in some way.  Get to know about them, because that knowledge can transform your vision into really beautiful works of art.
2. Relax the subject – Connecting with your subject means they feel comfortable around you – now the key is to get them to feel comfortable in front of the camera.  Many times this is much easier said than done, but when you do get them to relax, the poses will come more fluidly, and you’ll get better results.  One way I do this is to just start taking pictures of things around us as we talk and connect.  The whole idea of hearing the shutter can be scary to some people, so by hearing it almost to excess and know it’s not on them can mitigate the “scary” factor.
3. Choose a background – if you are in a studio environment, this is fairly easy, but if you are on location, keep your eyes out for backgrounds that provide contrast to the subject.  Are they wearing light clothes?  Look for a dark background.  What about props to give a little more meaning.  Are they sports fans?  Have them hold a football, or stand by a basketball hoop.  Backgrounds can help give more definition to your subject.
4. Have a purpose – try to think of reasons why you are taking the picture.  Is it to record an event, or is it for a model?  What about a head shot for a business executive?  If you think of why you are taking the picture in the first place, that can help give you ideas for how to compose it.  For the event, it’s about the moment, while the portrait it’s about just the person, so give some thought to how to enhance their best qualities and minimize flaws.
5. Create separation – this is crucial to giving definition to your subject while minimizing distractions.  In the on-location areas, look out for things like power lines, nearby light sources and other objects that may detract from the subject.  Here it also helps to keep a wider aperture so that any distractions can be effectively blurred out of focus to minimize their impact.
6. All about the angles – Some people have great profiles.  Striking features can be accented from certain angles and can give greater impact and meaning.  Shooting from below can suggest power and strength (for the business executive), while shooting from above can minimize a body style that is more robust.  Even profile shots can be stunning if done right (hint:  try shadows there).
7. Lights, lights, lights – photography is all about painting with light, so portraiture is no exception.  Whether it be modifying existing light with reflectors, diffusers and shoot throughs, or creating your own light with strobes and flashes positioned off to the side or from above, lighting can create a wide variety of moods and bring images to life, especially in portraiture!
8. Watch the eyes – for any subject, whether human or animals, we like to have the eyes in focus.  It’s just the nature of people to look at the eyes in a subject, so make sure the eyes of yours are tack sharp.  Seeing a persons eyes have often been said to be a mirror to their soul.  You can get playful eyes, soulful eyes, sad eyes, sparkling eyes, weepy eyes, tear-stained eyes, angry eyes, hungry eyes, passionate eyes… (you get the eye-dea!)
9. Clean that skin tone – this means make sure that you are keeping the tones in check.  If the skin is too orange or too blue, add or remove some flash or ambient light.  Here the key is in white balancing your images.  Take along a grey card (even something as small as a 3×5 card can work) and you can set your white balance off that – your skin tones will be spot on if you do – and save you tons of post processing time.
10. Less is not always more – let’s all just admit it, it’s a digital world.  Those pictures are really just data packets and with data being as cheap as it is, we can afford to take more shots.  This can help with blinkers, and if you want to try several poses or wardrobe changes, or lighting changes, or location changes, or group changes (think weddings). or weather changes (think sunlight versus rain, versus cloudy), or….I think the gist is clear again here.

So, there’s ten nuggets.  I tried to be brief yet have some detail, but you can never have enough time or space to really cover something with so much to talk about in a short blog post.  With that in mind, what about your thoughts on portraiture?  Add to the pool!  Got any ideas, DIY tricks or nuggets that work for you?  Share them in the comments or via email.

Before signing out for the day, I’d like to give some special thanks to a few people.  First to Derrick Story for the helpful link from his blog post today about the tethered shooting write-up.  It’s always nice to get what I like to call “a nod from the Gods”, but not only did he write a post about my write-up, he also submitted it to the Imaging Insider, who subsequently included the write up on their site.    Second up, I’d also like to throw some NAPP-Love back to Karen from “Pursuing Photoshop” (a.k.a. Mitzs in the blogosphere, also a member of NAPP) for her link back to the Adobe Photoshop Lightroom contest currently running here on the blog – thanks Mitzs!

Oh yeah, and finally, don’t forget the Photoshop Lightroom contest I announced in last week’s podcast – it’s running over in a thread on Flickr, and the images are starting to come in.  Some really nice ones so far, but there’s plenty of time left in May to enter!  Good luck to everyone!  Well, enough content for one day, so happy shooting and we’ll see you back here tomorrow.

A while back I decided to ditch the Canon ST-E2 wireless trigger for a number of reasons – those being:

1. It relied on line-of-sight
2. It didn’t have a very good range
3. It wouldn’t work with non-Canon gear

I, like many others, have been salivating over the new developments in radio trigger technology.  And, at my last job, I had access to multiple lights, strobes, and such for experimentation.  So, in order to do said experimentation, I decided to invest in some Cactus Triggers that I purchased off an online web vendor (I forget the vendor off the top of my head – search the archives and I am sure it’s there…).  Much to my chagrin though, it would not work with my Canon 550EX flash.  So, when I left my previous job, it was back to the ST-E2.  In order to spur some motivation to invest in some more serious lighting gear on my own, I decided to sell the ST-E2 to fund the purchase of some Cyber Syncs.

Long story short, I ended up with no off-camera method to trigger my one flash unit.  So, I was back on-camera.  Needless to say, ambient light photography was a large focus for that time period.  Well, after the economy stabilized a little for the household with my state job, I decided to invest in the Cyber Syncs – but as a measure of insurance, wanted to make sure the devices would work in my 550EX (the 550EX does not have a sync port).  So, a quick email to them revealed that a neat little device from the folks over at Flash Zebra would make the Cyber Syncs compatible.  A mere $14 later and the device arrived late last week (while I was in SC).  So, next month the Cyber Syncs will be making their way to my doorstep.

In the meantime, I have these Cactus triggers, and I thought with the inclusion of a sync port, perhaps I could jerry-rig something together.  With the sync port going out to what looks to be an RC-mini, and the receiver also going out to an RC-mini, I needed a way to join two RC-mini’s together.  A quick dig through my various buckets of cables and connectors revealed a dual mini that is normally used to connect to headphones to a single audio.  Worth a shot, since it’s only about $50 total invested.  I connected everything together to get this:

On your left is the trigger that came from Cactus, to the RC male.  A reducer on that took it to an RC-mini male.  In the center is the well-hidden PC-sync device that came from Flash Zebra.  (For a better picture, see below…)  A female sync port on that was able to connect to the male sync port that was included with my Cactus gear.  That also went to an RC-mini male.  These are both connected on the right to the y-connector that you would typically see two headsets connect to the same audio source.  The technology is the same, so it’s worth a shot right?  (No pun intended…)

I fired off a test shot from the 40D and it worked!  So, how well would it work?  What kind of reliability would there be?  I took the flash into the next room and fired the trigger from a further distance away…about 20 feet.  Flash!  Then I took the trigger around the corner and fired it.  Flash!  How cool is that?  Another set of tests was needed.  One where radio waves wouldn’t bounce all over the place – outside!  If you recall, I interviewed Scott Eccleston from Weekly Photo Tips a while back, and a recent post of his armed me with a good testing method of the Cactus triggers.  Armed with the inspiration of this video, I enlisted the aid of my wife and took to the great outdoors.

I began with a fresh set of batteries in both the trigger and receiver, as well as the flash.  Starting from ten steps away from the flash, I tripped the shutter – flash!  Twenty paces – flash!  Thirty paces – flash!  Fourty paces – nada.  Hmmm…tried again – nada.  So, I moved back to 35 paces – still nada.  A couple steps closer and it flashed again.  About four more tests at this distance and I had 100% flash rate.  Starting back to my wife, I counted the paces, 1-2-3… all the way to 33 paces.  At an average gait of 3 feet per pace, that’s an outside range of 99 feet!  Considerably better than the ST-E2 and at a third of the price!

For posterity’ sake, and since I am in a very casual way reviewing the PC-sync adaptor from Flash Zebra, here’s a better shot of just that device.

Also for posterity sake, here’s a view of the trigger that attached to the hot shoe of the 550EX:

• News Links –
  • Ansel Adams Video
  • Getty ventures into China for Asian collections
  • Yahoo adds YouTube and iTunes Integration
• Artist Statement Resources
  • Photo on Blogs
  • Art Business
  • Writing the Artist Statement

Another news item I forgot to mention in the podcast is an upcoming web seminar series for photographers, free, from Adobe.  Here’s the dates:

• Photoshop: April 23rd
• Lightroom: April 9th and May 7th
• Both: May 14th

Link for more info and to register is here

Make sure you stop in and grab the podcast from the good folks over at Personal Life Media, and visit our show sponsor Lensbaby if you are thinking about the Lensbaby Composer.  Diggs from PLM and reviews from iTunes are encouraged, welcomed, and appreciated!  Happy shooting all and we’ll see you back here tomorrow! 

Don’t forget, you can email me from the show link with any questions, comments, feedback or thoughts, as well as share comments here, and reviews on iTunes.  For those without iTunes or Zune, I can provide an mp3 version of the show on request.

So, there’s the “Train Series”.  I tried various lighting scenarios, depth of field, and compositional approaches to see the effect each has.  I know which one(s) I like the best – what about you?  Any favorites, thoughts, feedback, criqitues?  What about your own themed projects?  Any sources of inspiration?  feel free to share them in the comments section!   Happy shooting, and we’ll see you back here tomorrow!

Here’s a few sample shots.  For all the tech-types, these are pretty much straight out of camera (or sooc) – all I did was adjust the WB for Flash and adjust the ACR sharpening from 25 to 75.  All are resized to 650px wide for the blog.  Here’s the setup:  I took the Canon kit lens (18-55) on my 40D, threw on the 550EX, and set everything to default values.  Shutter at standard sync speed of 250, aperture at f8 and ISO at 100.  I powered the 550EX at it’s standard setting, on camera (relax strobists – I can hear you shuddering from here),  and started firing a few shots.  I pointed the flash to camera right and got this:

Yup, that’s a God-awful shot, with a nasty shadow.  Perhaps I could ditch the shadow.  Since we’re not exactly using conventional wisdom here, let’s try it with the flash pointed straight at the subject:

Hey!  That’s actually not too bad.  It’s not that great, and still definitely a “Meh” kind of shot as it’s still got something of a shadow.  So, I spun the flash to fire above me and bounce off the ceiling:

Voila!  You know what?  For being a spur of the moment thing, and without a lot of pre-planning or preparation, that’s not bad at all.  And, it was shot in a bathtub!  Anyone else out there have a bathtub?  Try some shots in it for different items.  I used a tape measure, but what about a pen, or a microphone, or a printer, or even a lens?  I bet you could get some pretty cool results with very little setup!  Anyone else have some odd or unusual ways to get clean backgrounds and even lighting on the cheap?  Feel free to share your thoughts, ideas, and feedback in the comments.  Feel free to link your own efforts there too!  Happy shooting all and we’ll see you back here again tomorrow!