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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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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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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3493512371 076561ff9d m Strobist ballhead and umbrella test

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.

3493654589 a843384855 m Strobist ballhead and umbrella test

Sideview

Sideview

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This is my on ‘location’ kit. 2xSB-800s, SB-600, PhotoFlex LiteDome Q3 9, a Wescott 32″ umbrella and two or three stands.

I have replaced the SB600 with a SB900 since this article was written.

Flashes controlled with the D300′s Commander mode.

The result

the result

Taken with my ‘location’ kit. In this case, the location was my media room.

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