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.

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.

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:

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

The result:

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.

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)

In Joe McNally’s CLS video it showed him using a ballhead to align the flashhead along the umbrella stem axis. Made sense that it would distribute the light more evenly; so I bought the rig. Here’s the test results – you decide.

As pointed out in the note above, I forgot the diffuser.

Single SB800 set to TTL into Wescott 42″ shoot through umbrella.

The ballhead is the Manfrotto Lite Tite Swivel+Umbrella Adapter 26
The coldshoe is the Stroboframe Shoe-type Flash Mount Cat. No 300-SHO

I consider this as a ‘nice to know’ experiment only. With the inherent spill associated with shoot through umbrellas and with the difusser on the speedlight the coverage appears to be good. One additional advantage I found with the ballhead set is the ability to quickly rotate the flash body to align the IR sensor to face the camera.

I’ll know better after I field test it.

Sideview

With every portrait session I use light, shadow and pose to portray a different mood, facet and aspect of the subject. I see it during the session, I count on it to produce the shoe-box photograph – the keeper.

During nearly every post production process I am pleasantly surprised how a single person can look so differently in a photograph. Soft, rough, hard, beautiful, thin, heavy – you name it. The human face holds a true fascination for me, the eyes – the eyes, expressing the wisdom of the ages or the delight of youth.

People are wonderful creatures.

On a recent trip to Washington, DC, see Hassled by the Washington, DC Park Rangers for taking photos, I did the tourist thing early Saturday morning before heading back to Texas. I went out at 7am to avoid the heat and the crowds.

I walked from the Washington Monument, past the World War II Memorial headed for the Lincoln Memorial along the Reflecting Pool. There were a few joggers, a few Ron Paul supporters (interesting group of characters) and city workers. As I approached the Lincoln Memorial a small group of tourists were already starting to mill around. I noticed this black city worker mopping the steps, back and forth, back and forth and I knew right away I wanted to include him in the photograph.

When I got to the bottom of the steps the group of visitors were all over the steps and inside the memorial. The worker patiently continued his work, waiting when the people blocked his path.

Standing there with my Nikon D300, waiting for the moment I wanted to capture I was approached by, wait for it — a Canon shooter. He was carrying two cameras (a Rebel XT and a 5D). We had a brief discussion about the light and our shared hobby. Nice fella; other than the Canon part.

Just as we were parting ways I got this photograph. It’s the best of the three I took of this man maintaining the monument’s appearance. The fact that it is a black man working for the Federal Government at the Lincoln Memorial somehow struck a cord with me. I mean no offense to the man doing an honest job, the fact Lincoln’s eyes appear to be watching him, makes, to me anyway, this photograph sort of special.

I’ve spent the last three days here in Washington, DC on business. Meetings with the FAA, HHS and the WAAS office. Long times between meetings and I’ve been done pretty early in the day. So, I placed a casting call on ModelMayhem to see if I could pass the time doing what I like to do, take pictures. 5 or 6 TFCD models responded and I set up sessions with two of them. As my luck would have it – both at the same time. That wasn’t a problem for me (read assistant) or them though so we met at my hotel and headed for the National Mall to shoot. The plan was to use the monuments as the background. Sounded way cool.

We chose the new WW II monument because it had a nice water fountain. We got there around 7pm, good light, not huge crowds. As one model was getting her ticket from the Park Police (wrong way on a One Way street) the other model (Emily) and I set off to set up and shoot along the granite outside wall of the monument. I used 2 SB800s, at first to fill then to light her. Nikon CLS is so cool. So far so good. I get about a dozen shots off when the other model, Danielle walked up. She dismissed the ticket as part of life in DC and we starting posing her along the same wall Emily had used. About 10 minutes later I hear:

Sir – Sir:

As the old English or is it Arab proverb goes “the eyes are the windows to the soul“.

I could not agree more.

For me; to photograph someone, in or out of the studio, is an attempt on my part to capture the essence of the photographed. An outsider’s try at seeing the uniqueness of another. I have learned, sometimes at the expense of others; sometimes at my own, that a person is not their clothes or position in life.

The eyes can rarely completely deceive. Lairs cannot calm their eyes. Children cannot hide their excitement., their eyes light up with a fire that makes me smile every time. My mother can still stop me dead in my tracks with just a look. My wife is working on that talent – daily.

An otherwise unacceptable picture can both memorable and cherished because of ‘the look’ captured within it. You know the one I’m talking about, not the picture hanging on the wall you can look up and see from your computer. Go check your old shoe box full of pictures; it’s there.

I talk to the models I work with, giving ideas, comments and instruction. I try to bring out their essence. It’s not always the one they walked in to portray. Oh, we get that alright. But I’m always looking for shoe box shot too.

I’m always looking for ways to light things. This was a fun shoot and I decided to use a small flash attached to the camera’s reflector with a piece of double sided tape.

The camera held by Miglena is a Kodak Duaflex IV Camera with a mini strobe placed into the flash holder. The light on Dav is actually coming from the Kodak. See Photo Playground set from a closer image of the camera.

Skye

Skye was a both sweetheart and a challenge. The right side her had been disfigured; she was not in the least embarrassed or intimidated by it and I loved that about her. We worked with light and shadow during the entire session to our advantage.

The temptation to mask the injuries in post processing was quickly overcome when I looked into her eyes.

Most every time I work with a new model I get asked the same question: What should I bring to wear?

There is no doubt that clothing, makeup and the ability to ‘strike a pose’ are important to a successful portrait/modeling session. However, the most essential asset a model can bring to the studio or location is the ability to interact with the camera.

My job at a shoot is to make them look as best I am able given my limited skills with lighting and equipment. I cannot, however, do it alone. You have seen that cell phone snapshot that drew you in; you have also seen a professional portrait that, although technically sound, just leaves you feeling that something misfired. A model must have an understanding they are not trying to tease/seduce/influence me as the photographer: They must make the connection with the viewer of the photograph.

They must make the connection with the viewer of the photograph.

My answer to the outfit question: Bring something soft & sexy, something mean and something in-between.