Wedding Photographer

This is why I hate weddings.

Stark White Backgrounds

Zack Arias gives a tutorial on shooting into a stark white background. It's not how I did it , but I might use it in the future.

For the image at right, I used a white cinderblock wall and direct sunlight. It did not take much to blow out the wall when the jacket was properly exposed. At any rate, Zack Arias is blogrolled. Good stuff there.

Alien Bee/Softlighter II Review

In January, I ordered off camera photo lighting. After quite a bit of research, I finally settled on AlienBee B800s, two of them. I ordered a heavy duty stand and a general purpose stand from the same manufacturer, Paul Buff. After further research I had Buff throw a remote activation system, the Cybersync CSR and CST into the box. He sent along a shoot through umbrella as well. I ordered a Softlighter II from another source in lieu of a softbox.

I immediately noted that the general purpose light stand did not seem stable enough with the monolights. I ordered another heavy duty stand from Buff, and set aside the lighter duty stand for speedlights. In general, I have been impressed with the Alien Bees lights and the Cybersync activation system. I have used the system on five photo shoots over the past month and a half. I have not had one misfire.

The AlienBee monolights can be set to operate as a slave, using the Nikon's commander mode to activate them, or they can be activated with a radio control system such as the Cybersync. My preference is to make my key light radio controlled, and operate the accent light as a slave. I have also modified a Vivitar 283 speedlight with a Wein Peanut Slave to use as a hairlight if desired.

The AlienBee monolights recharge fast. I have found that I can shoot a burst of five frames per second, with the two B800s set to half power and I will not have a single dim frame. If I raise the power up to 3/4 or above, a slight difference in the image lighting can be discerned in successive frames.

I like the fact that I can plug everything into a wall socket and forget about batteries. Already, the difference between the Vivitar 283 and the AlienBees is apparent. I would not want to be limited by my supply of Duracells or tethered to a convenience store. Sure, a wall socket and alternating current has it's limitations as well, but that is only a limitation of location. I can plan for that, and switch to all speedlights if I have no power.

The Softlighter II is a very well made light modifier. The system can be used as a softbox, a bounce umbrella or a shoot through umbrella. That is versatility. I have found the construction to be superb. When stowed, the Softlighter II is as small as an umbrella in a cloth case. In fact, it comes with its own cloth case that holds everything. It is quick to assemble, and simple to use. The only issue I have had is the fire resistant sock is about 1/32 too small to fit over the AlienBee monolight's square case. A little stretching of the stitches to the point of refusal, and the Softlighter fit, but a better fit would be appreciated. Of course, the Softlighter is from another manufacturer, and it can't be expected to fit everything perfectly. This would not be an issue with most monolights or with speedlights.

The umbrella shaft of the Softlighter II is a two piece affair, allowing the lower section of the shaft to be removed once the umbrella is opened. Then the Softlighter can be brought right up to the subject, resulting in incredibly soft light. Initially I was concerned about the quality of the threads on this shaft. I should not have been. They are cut well, and I have not had a single crossthreading incident. I have not placed any grease on them, but I might dab a bit of high temp white grease on them in the future as insurance. The Softlighter II is so flexible, so easily carried, and creates such a beautiful glow that I plan on ordering another one in the future, just to have a back-up and possibly use as a soft accent.

Now, I am a rank noob when it comes to studio lighting. I do not have the years of experience using different brands and set-ups on difficult locations that some people have. I have only used these lights and modifiers in five or six photo shoots thus far. Still, they have been packed, unpacked and packed again easily and without fail by a newbie. They have traveled down dirt roads and across railroad tracks in a plastic box tossed in the back of a Jeep. Did I not once say I don't baby my equipment? I think so. There will be some readers who will want to know how the equipment held up after a year of this, and that is understandable. At present, I can only give my assessment from where I am at now. The stuff is durable and it has improved my portraiture markedly. I should have made this leap long ago. It is exhilarating to have so much to learn again.

I once thought that lights were a nice addition to photography. I was wrong. Photography is all about light. Without the ability to control and manipulate the light, the photographer is at the mercy of the sun and clouds, or severely limited to amateurish on camera flash photography. That is not where I wanted to be. I have finally come to the realization that my lights and my ability to control them are as important as my camera body and lens. There is no reason that the investment should not be comparable.

The final indicator of quality lighting is in the images though, so with apologies to those readers who come here for the guns (see the Clark Meltdown 649 post y'all) here are some of my recent portraits with the strobist information............

Strobist: AlienBee AB800 with Softlighter II camera left. Triggered by Cybersync.

Strobist info: AlienBee B800 with Softlighter II camera left, 10:00. AlienBee B800 with reflecting umbrella camera right, 3:00. LumaPro speedlight as a hairlight. Triggered by Cybersync. Gold reflector at 4:00.

Strobist info: AlienBee B800 with Softlighter II camera left, 10:00. AlienBee B800 with reflecting umbrella camera right, 3:00. LumaPro speedlight as a hairlight. Triggered by Cybersync.

Strobist info: AlienBee B800 with Softlighter II camera left, 10:00. AlienBee B800 with reflecting umbrella camera right, 3:00. LumaPro speedlight as a hairlight. Triggered by Cybersync. Gold reflector at 4:00.

Strobist: AlienBee 800 with Softlighter II camera left 9:00. AlienBee 800 camera right 1:30. Vivitar 283 with Wein Peanut Slave as accent. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 3:00. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 2:30. Reflector camera right. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera Right 9:00. AlienBee 800 with umbrella camera left 11:00. Vivitar 283 with Wein Peanut Slave as accent. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II as Keylight. AlienBee 800 with umbrella camera left at 11:00. Vivitar 283 with Wein Peanut Slave as accent. Triggered by Cybersync.

Strobist info: AlienBee B800 with Softlighter II camera left, 10:00. AlienBee B800 with reflecting umbrella camera right, 3:00. LumaPro speedlight as a hairlight. Camera rotated 45 degrees. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 10:00. Reflector camera right. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera Right 9:00. AlienBee 800 with umbrella camera left 11:00. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 9:00. AlienBee 800 with umbrella camera right 2:00. Triggered by Cybersync.

Strobist info: AlienBee B800 with Softlighter II camera left, 10:00. Gold reflector camera right, 3:00. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 10:00. Reflector camera right. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 9:00. AlienBee 800 camera right 1:30. Vivitar 283 with Wein Peanut Slave as accent. Triggered by Cybersync.

Strobist: AlienBee 800 with Softlighter II camera left 9:00. AlienBee 800 camera right 1:30. Vivitar 283 with Wein Peanut Slave as accent. Triggered by Cybersync.

For those faithful readers who have endured thus far, or who might have an interest in photography. more of my work can be see on my photostream on flickr. Feel free to comment there as well as here.

Books I have been reading on photography and lighting:
Sculpting with Light: Techniques for Portrait Photographers by Allison Earnest

Minimalist Lighting: Professional Techniques for Studio Photography by Kirk Tuck

Beyond Portraiture: Creative People Photography by Bryan Peterson

And finally, because I feel I need help in this area,

Posing Techniques for Photographing Model Portfolios by Billy Pegram

Portrait Lighting

What is Xavier Reading?

"Visual Poetry: A Creative Guide for Making Engaging Digital Photographs" by Chris Orwig is an excellent read, although the author can get a bit verbose. The author makes good points though, and he wants his reader to understand and appreciate them. That can lead to tedious nit picking. Visual Poetry never reaches that level.

The concepts Orwig discusses are often lost on those who believe good photography comes from equipment. In fact, good photography no more comes from the latest and greatest Nikon than great paintings came from Rembrandt's brushes. The masterpieces came from the master's mind and soul, not his equipment. These are the ideas that Orwig harnesses and unveils in this work.

The creative process is a mystery to many people who have never studied the arts or investigated the artistic mind. Digital cameras have brought photography out of the darkroom and into the lap of anyone with a computer. Still, the snapshots many people take are just as common as those thirty years ago. "Visual Poetry" can give the uninitiated amateur photographer the first look, and a decisive look, into the creative process of making captivating images. After all, it is the photographer who must be developed, not just the image.

Portraiture

The first portrait session with Michael DeVault went well. Michael approached me for a few portraits after seeing some of my work online. I took photos of him in his office, as well as in a friend's courtyard.

So far, I have not relied on strobes or typical photographer's lighting gear. I rely on sunlight. I'm cheap and low tech, I guess. That's the main reason. I suppose investing in some lighting equipment would give me more flexibility, enabling me to shoot when and how I would like. It would also involve managing more gear however, and also invest in the time required to learn to use it well. I like to see what I am getting when I press the shutter. I do own a collapsible reflector. I haven't used it much....

Michael is a novelist, currently working on his third book. He is the author of Anything But Ordinary and Thunder in the Distance. The shots I took will be used on the "about the author" section of the book jacket on subsequent books. These two frames are my personal favorites, and aren't necessarily the ones he will chose to use.

I find that I enjoy the spontaneity and serendipity of shooting environmental portraiture. Being able to adjust to available lighting conditions and still squeeze out a decent shot is what excites me. Taking a bunch of supplemental lighting gear up a couple of flights of stairs does not. If I continue to shoot portraiture for profit though, I may have to readjust my way of thinking........

Bokeh

Shooting Rifling

Ever want to photograph the bore of a gun? Go here and read.

The Bat Mitzvah Lesson

Yesterday a friend gave a bat mitzvah for his daughter, and I agreed to photograph it. Thankfully, he had several other friends with cameras because my results fell far beneath my standards. In fact, the majority of them are unusable. I learned a few things though.

1. Always scout the location and learn the plan of events. Know where people will stand and what they will do. I had the opportunity to do so on Friday evening, but was too tired from work to go. Knowing where to sit for the best shots, and getting there early enough to garner that seat is essential.

2. Know the distance you will be shooting from. Take a few shots before the event of a model in the available light, from the distance you will be shooting. Determine which lens will be most suitable. Have that lens on your camera. If you use flash, and if flash is permissible, know which setting will get adequate light on the subject.

3. Be bold. I had been given permission to roam, yet I stayed in my seat. I did not want to disturb the proceedings with my digital SLR's mirror clacking. Out of respect, during the service, I used a digital point and shoot with the noise muted and flash turned off. Limiting my ability to take good photographs even though I had been given permission to move about was a serious mistake.

4. Have your batteries charged and your gear at hand. Shoot as though you might never get another chance. You won't. If the event is a milestone in that person's life, it will not be repeated. The ceremony is, however, predictable. Bobby Knight once said that everyone has a desire to win, but very few have the desire to prepare to win. I know that. I did not heed it.

5. You cannot get fine image quality by increasing the frame size and cropping out the good parts. As soon as I realized my subject was going to be miniature people in a sea of synagogue, I increased the frame size. I was able to crop out images with better composition, but the overall quality was badly degraded.

6. Don't throw in the towel. After the bat mitzvah, I went to the reception. While my wife chatted with friends, I continued to shoot photographs. The lighting in the reception hall was worse than the synagogue. After twenty or so shots of people with hollowed out eyes from spotlights directly overhead, I had two choices. Change technique, or go outside. I decided to change technique and shoot the reception as though I was a street photographer. The music was loud enough to cover the sound of the SLR mirror, and I could move inhibited among people who were expecting to be photographed. I learned another lesson. Good street photography on the level of Joe Wigfall and Bruce Gilden does not come easy. If I'm going to do that, I need to go manual with a wide angle lens. But that's another lesson.

Nikon Shooting Modes Tutorial

Nikon Autofocus Tutorial

Lens Swap

Makes sense, if a table is available. Learn something every day.

Photo101: Basics of Functionary