I was asked if I ever used the largest aperture for portraits. The three images were shot in front of the group to demonstrate how to use depth of field to change the tone or focus withing a portrait.

Click to continue reading “Using Depth of Field Demostration in Portraits: CLS works with you”

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Tips on setting up lighting in a studio for a photo shoot. The scoop on flash and continuous lighting.

Click to continue reading “Lighting the Scene For Photographers”

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Sailor Lady Dori Belle

Makeup by Marie-Térese MM#1317488

As a people/model photographer I spend time looking for locations with an interesting background, lighting or feel. Once I have the opportunity to shoot at the location I work through in my head where and how within the location I will setup or design the scene to get the image I want. A lot of it depends on the person’s looks, wants and vision of the session. I am always open to ideas and really enjoy the collaborative process when working with talented  people or a least someone who knows what they want to portray in the portrait. Always with the goal of getting the shoe box picture.

There are basically three types of pictures;  there are setup or designed shots, candid shots but many times a third type of ‘design’ comes into play for me and I see a ‘target of opportunity’ shot I hadn’t planned or noticed when I scouted the location. In the this image of model Lady Dori Belle, by the way if you get a chance to work with her – jump on it, she’s a class act. We were shooting in a large motorcycle warehouse as we were walking from one side of the warehouse to the other I noticed the light from the skylight.

I placed Susan into the shaft of sunlight screaming brightly through the roof onto the warehouse floor. I had a single Nikon SB-900 Speedlight on an 8′ Cheetah stand with 40″ Wescott white shoot-through umbrella. I used the sun to back light her by changing her position until I had the light where I wanted it and used the SB900 to fill the harsh shadow. An unplanned shot for sure, a target of opportunity you bet – but impossible to pass up when noticed.

Sailor Lady Dori BelleAny Questions?

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  • Temperature: 59°F;
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I always have my speedlights when doing an outdoor portrait session. I know the basics of using natural light with or without reflectors but also know what I want. I don’t always use the speedlights, but I always have them.

When I do use them I try to either use the natural light to compliment the flash or the flash to compliment the natural light.

An example of each:

flash to compliment the natural light

LC Pace 135

natural light to compliment the flash

Candice 016

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Canon has been at this for a long, long time and they realize what it is their customers want, need and expect from them as one of the most well known camera purveyors in existence today.

Click to continue reading “Flash Above The Rest – Canon Speedlite 430EX”

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4045844104 a58a35651d Using Nikons Creative Lighting System (CLS) in daylight

SB900 using the sun as a hairlight.

I have heard and get asked a lot of questions about Nikon’s CLS’ ability or inability to function in bright daytime conditions. In my experience it really have not been an issue. I pay attention to the speedlight’s position and its sensor location relative to my camera and SU800.

Today’s metering technology is a great asset so I normally let it take the first ‘shot’ at what it sees in a scene. While I have studio lights and a Vagabond II, there is little I haven’t been able to do with my SBs. The above shot was taken with a single SB900.

4063884049 fcbf7c3117 Using Nikons Creative Lighting System (CLS) in daylight

SB900 powered by SD8A on 36 inch JTL stand with 24 inch Westscott umbrella. I use this rig when I travel because it fits in my suitcase.

It was very sunny in California the day I shot Candice – notice the shadow on the lower left of the umbrella even though the speedlight fired for this behind the scene picture.

In the photograph of Candice above I metered for the shaded portion of her face and let Nikon TTL do the rest.

In the event it does not produce the result I want I adjust the stop (by 1/3 steps) on the speedlight.

3486666059 99818abf71 m Using Nikons Creative Lighting System (CLS) in daylight

Controlled on camera with the SU-800. Both speedlights were set to TTL remote.

Distance is another concern CLS nay-sayers bring up.

In this photograph Jason is holding a 42 inch Wescott umbrella with a SB-800 tucked up in the open ribs point towarded the camera to get the light reflected back to his face.

Behind him is a SB-900 shooting into another 42 inch Wescott umbrella. That c-stand is a good 50 feet away and up the hill about 10-12 feet above Jason’s head.

Line of sight is important – so just pay attention. But I have used the SB8 & 900s behind glass, reflected the signal off of windows, mirrors, cars just about any reflective surface. I have also ‘staged’ the lights to ‘see’ another but not the SU800.

Think of the IR signal like a billiard ball.

I also use the Nikon CLS to fill on cloudy daylight sessions.

While in Phoenix last week I did the entire shoot with these tools:

4300344523 030252e866 Using Nikons Creative Lighting System (CLS) in daylight

Stand, Speedlight, umbrella and a model: the only tools you need.

The result:

4301095762 d54deb8801 Using Nikons Creative Lighting System (CLS) in daylight

Single SB900 camera left - TTL triggered with SU800.

The only time I have trouble with the system is when I position myself on the wrong side of the speedlight’s optical sensor or move in front of the flash. I use a ballhead so I can quickly rotate the speedlight into the correct position.

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4291709389 5f237953fb m Phoenix in the rain

I finally get a chance to do a shoot in Phoenix. Phoenix = sunshine and moderate winter daytime temperatures right? Not for me – three straight days of rain and 20-45 mph wind.

I had two TF models lined up – one canceled – good call – it was nasty out.

The second day Lindsey and I manged to get some shooting done between rain showers on South mountain. What a sport she was. we worked inside a covered gazebo then walked up the backside of the mountain to get to the ‘hole in the rock’.

Lindsey is a beautiful young truck driving Army reservist who goes on active duty next month with hopes of becoming a helicopter pilot flying Blackhawks.

See more of Lindsey (LC Pace)

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I have tripped and bumped my way through a lot of shooting locations; the act of repositioning the speedlights on stands with modifiers, while not the biggest challenge of any photo session, was an annoyance I didn’t like. Between the umbrella, open or not, and the open legs of an 8ft light stand I have said ‘Excuse me’; Pardon me’ a hundred times.

Indoors; the knocking around furniture, people and doorways is a headache. Outdoors; moving through people, parked cars, shrubs, trees and rocks presents its own challenges. The act of closing the umbrellas and legs every time I want to reposition the lights is both time consuming and then reversing the process at the new position can a bit unprofessional looking. Sometimes while balancing my camera gear too. I’m not as graceful as I used to be.

I’ve been doing the strobist thing for a couple of years and am always looking for a better more efficient way to get the job done. I was shown a Kwik Stand about a year ago by a studio photographer and liked the idea, but soon found out the Kwik Stand Company had gone out of business. Over the past year two companies have come to market with their versions of the folding leg light stand: Denny EZ Stand and Cheetah Stand. I have tried both and chose the Cheetah Stand for several reasons:

There is no real comparison if you take the time to see the differences. The all metal construction of the Cheetah with its slim solid metal legs and rubber rib-footed feet beats out the thin walled tubular legs of the EZ Stand with its flat smooth plastic ones. The EZ Stand feet appear larger but only one edge actually contacts the floor and it slides easily on smooth shiny floors. Maybe it’s a feature and not a flaw; in any case I didn’t care for it.

The legs of both extend on contact with the ground but the EZ Stand does not compress back to its body as closely the Cheetah. Not a huge deal but depending on the space, think church pews, you’re navigating – it just might. The all metal locking clamps and thumb wings of the Cheetah appear to be better suited to hold up over time with field use.

My copy of the EZ Stand did not smoothly extend or compress, the bottom (largest) pole section was very stiff in fact. It’s supposed to be an air cushion stand, why I’m not sure for such a small stand, which may be the reason for the gummed up feel. Fully extended, the EZ Stand is about an inch taller. The tubes are not internally secured (more on this in a minute). The Cheetah on the other hand is quick and smooth without being a hazard to your equipment with common sense and normal equipment care.

In field use neither stand met all my needs. Because of the inherent design required for this type of stand, the center post must extend down to within an inch or so of the surface. This is only a problem, for me anyway, when shooting on very rough uneven terrain like a rocky ledge 3708200578 f962113392 m Things that go Bump during a shoot: A solution for strobistsnear Lake Grapevine.(Let me add that neither stand was designed nor intended, as far as I know, to be use exactly the way I describe here.) But this is how I found out that the EZ Stand’s main extension tubes are not internally secured.

During a two speedlight shoot, one Cheetah and one EZ stand, I was unable place the opened legs of either stand on the uneven rocky ground. So, in my get the job done mode, I placed (gently wedged/balanced) the stands in-between some rocks. Worked like a charm; got the pictures; time to move on. When I reached out to grab the EZ Stand by the middle tube, balanced upon another rock, to lift it out of the crevice I had half a light stand in my hand. I did not jerk or twist it; it just ‘plop’ came apart. Ten minutes later I moved on with two complete stands. Good news, the tube went back in as easily as it came out.

Now here is a completely mox nix point I noticed, the EZ Stand could be used as a wind chime with all the hollow metal racket it makes when you walk around with it.

So the Cheetah Stand works for me, I now have four of them and they go where I go. Quite, reliable and built to last.

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3757746163 407bee0134 m WWII Re Enactors strobist shoot fun


Last weekend our DFW Midcities Strobist Meetup Group had a fun and interesting strobist outing shooting a few local WWII re-enactors. Lynn and Dean are long time players while Zack and Zane were a member’s teenage sons were conscripted into the German Army for the event.

As a photographer I thought I had a lot of gear; man these guys had more toys than any man should be allowed to own. A full sized anti-tank canon, land mines, machine guns, pistols , camouflage nets, manikins, road signs, barbed wire and on and on and on.

10 strobists, 4 actors, 5 acres of land and toys! We had a blast.

See more of my photos, including behind the scenes shots, here. To see all the uploaded photos by members of the groups go here.

WWII Re-Enactors 112

WWII Re-Enactors 117

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2982145253 8b21d7c441 m King Street Metro Station   Alexandria, VA


While in VA on business for 2 days I decided to walk over to the metro station one evening. Boring stuff, but I was bored.

I had always hesitated taking photographs of strangers on the street. I’m not sure what I expected by way of reaction from people but the truth is no one really seemed to notice. People would watch me take pictures of others, but when they thought I might take their photograph, they ignored me.

People are funny.

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