Kiki's mouth opens too wide when yawning to even fit in the frame! - Nikon D300 Nikkor 105mm VR micro @ f/8 ISO 200 1/60th Strobist: SB-800 @ 1/4 power in brolly to frame rightI have been doing quite a few in-apartment photo shoots featuring white backgrounds added digitally lately of various subjects and inevitably when I finish them before I put my photography and strobist gear away I make a few photographs of beloved puppy, Kiki.  I cannot say she is always thrilled about this.  Her expression is usually pretty neutral.  This time I interrupted her naptime resulting first in a yawn then the look she gave me (see below).  

Kiki looking very nonplussed as she usually does for photos - Nikon D300 Nikkor 105mm VR micro @ f/8 ISO 200 1/60th Strobist: SB-800 @ 1/4 power in brolly to frame rightSince these photographs were made in the close confines of my living room, and even though the great Nikkor AF-S 105mm VR micro f/2.8G macro lens makes great bokeh, the backgrounds were still a distraction, which is why I chose to do a Quick Select of just Kiki in Photoshop CS5 and then refine the edges and send that image onto a new layer (done automatically if you choose the right output).  I added a layer below Kiki, painted it white, and voila, a studio looking image of Kiki done right in my own living room, no mess, no fuss.

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Baby's Ear Shell in macro top side - Nikon D300 Nikkor 105mm VR micro @ f/16 ISO 200 1/200th Strobist: Nikon SB-600 Speedlight with diffuser cap @ 1/8th power just under shellA dog park friend saw my recent macro photographs of shells I found actually at the dog park and approached me last week with a rare shell she found herself on a local beach thinking I might like to photograph it as well.  She gave me a shell she said was called a Baby's Ear Shell for how its soft curves and translucent shell looks.  It is a very delicate looking shell when held in one's hand.  However, to photograph it I wanted to bring out as much detail as possible, which meant using a strobist technique.  The other challenge was how to prop or stand the shell so it could be cleanly photographed.  My solution for that is represented in the last image below.

For the above shot I placed a speedlight just under the shell adjusting the strobe's power to illuminate without blowing out too much of the bottom of the shell.  Slight movements produced different shadows, but it did not take long until I was pleased with the results I got above.

Baby's Ear Shell in macro back side - Nikon D300 Nikkor 105mm VR micro @ f/16 ISO 200 1/200th Strobist: Nikon SB-600 Speedlight with diffuser cap @ 1/4th power just under shellTo photograph the under side of the shell I placed the speedlight behind the shell for a more traditional backlit look.  This created shadows which show the depth of the dome of the shell and the underside ring portion of it.  I was surprised to be able to pull blue out of the dome portion, which is not visible with the shell just in hand.

My shell shooting solution, putting a piece of tape on it and hanging it from a wire rack.The method I came up with to photograph the shell was simply to hang it by a piece of tape from a wire rack plant holder I have in my living room.  Then I simply painted over in black the tape and the wire in Photoshop.  The black background was created in camera by choosing a fast shutter speed of 1/200th while shooting in my living room with the blinds closed.

Thank you Mari for thinking of me and sharing your shell!

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Would you eat this ice cream? Nikon D300 with Nikkor AF-S 105mm VR micro f/2.8G lens @ f/16 ISO 200 1/250th Strobist: Nikon SB-800 Speedlight in 42" brolly @ 1/4 power behind to left & Nikon SB-600 Speedlight @ 1/8th power in Honl snoot to frame right triggered using Yongnuo remotesThis ice cream sundae is one of my favorite possessions.  It looks good enough to eat right?  However, it is made by a famous company in Japan that produces realistic food models for display in front of restaurants.  It is common, almost required, for a restaurant to put many of its dishes on display in front of the restaurant to entice passersby to come eat there.  I had been waiting for an opportunity to photograph it, so I finally decided to use it as a subject for a demonstration on what each light does in a two-light strobist setup.  The above shot is the completely lit final image.  I got the idea to show how adding lights changes a shot from this video of a photographer setting up $60,000 worth of lights to get a shot of a Lamborghini Aventador.  I cannot recommend watching the video enough as it is outstanding.  This post does not compare at all to that video, but it is something you can practice in your living room assuming you do not have access to $60k of lights and/or a Lamborghini.  

This is the off-camera-flash setup I used right in my (cramped) living room space.  My trusty new 42" brolly is on the left with a Nikon SB-800 Speedlight shootoing into it.  In the lower right corner you can see a Nikon SB-600 Speedlight with a Honl snoot attached.  The SB-800 was @ 1/4 power and the SB-600 @ 1/8th power.  I set my shutter speed to 1/250th (the fastest I can sync with the Yongnuo radio triggers) in order to produce a black background (read more about how to make a black background).  I had to carefully position the lights so neither bounced light off the wall behind the ice cream, which from where I shot was the wall space next to the rear wheel of the bicycle.  In a studio or larger space this shot would be much easier to setup.

From the angle I was shooting at you can see that the brolly though the largest light source does not add much light to the subject.  If I had just used the snoot, the handle and back part of the ice cream would remain too dark.  The top image in this post shows what both lights combined can produce.  

Try making a shot like this at home with using multiple light sources and see the effect adding, moving or removing a light source has on how your subject looks.  Be sure and post a link to your results in the commments below. 

Porsche 911 GT2 RS in white with black rims - Vinoy Park - St. Petersburg, Florida - Nikon D300 Nikkor AF-S 105mm VR micro @ f/4 ISO 200 1/2000th - black & white processing in Silver Efex Pro, white background digitally inserted in PhotoshopSitting at my desk now, before me on the wall is a large poster of the new 991 generation Porsche 911 Carerra.  I found the poster in with an edition of the Wall Street Journal.  To my left on the wall is a custom photo of a Cayman S made by Porsche specifically for me from a Facebook promotion they had last year.  In the photograph above, is the current apex Porsche, the Porsche 911 GT2 RS.  I made this photograph in Vinoy Park where the Porsche was one of several others waiting to be part of a car show the next day.  

The problem with photographing cars at car shows is that it is very hard to get a clean shot.  Choosing the angle I did insured no other cars appeared in the shot.  The background bokeh of trees and condos was busy.  In my post processing of the image in Photoshop, the final step I took was removing the GT2 RS itself from the frame and placing it upon an empty background.  I then created a new layer and inserted it behind the Porsche layer.  I painted this layer white thus removing the background distraction resulting in a clean image.

The original color photograph on left; The black & white digital white background image on the rightIn the above comparison you can see how removing the background (also in the windows too) puts the focus on the GT2 RS.  Also notice the optical illusion created by using a white background.  Doesn't the color image make the Porsche look much bigger in the frame?  However, they are the exact same size.

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Nature's spiral black & white seashell macro image - Nikon D300 Nikkor 105mm VR micro @ f/32 ISO 200 2.5s tripod mounted with cable release Strobist: Nikon SB-800 Speedlight @ 1/4 power in 42" brolly to frame left using Yongnuo radio triggersPhotography is mostly about observing.  To be a good observer, I believe one needs to practice silence in mind and body.  The seashells featured in this photo story would not found along a quiet beach where I was taking a contemplative stroll.  They were, in fact, found in the middle of the chaos of my neighborhood dog park, but since my mind was silent, I was able to observe them.

This seashell reminds me of an anklyosaurus - Nikon D300 Nikkor 105mm VR micro @ f/22 ISO 200 1.6 sec tripod mounted with cable release Strobist: Nikon SB-800 Speedlight @ 1/4 power in 42" brolly to frame left using Yongnuo radio triggersBy the newly installed water station there is a ring of seashells, not crushed, but small and mostly whole.  As I pushed the nozzle to let Kiki drink, I observed this unusual fact.  Mostly one finds crushed seashells used in landscaping purposes so to see a bed of intact seashells surprised me.  You have to bend over quite a bit to trigger the water flow allowing me to notice the details in the shells.  I thought to myself, "I will take a few home to make macro photographs of."

Into a cavern of a seashell opening - Nikon D300 Nikkor 105mm VR micro @ f/22 ISO 200 1.6 sec tripod mounted with cable release Strobist: Nikon SB-800 Speedlight @ 1/4 power in 42" brolly to frame left using Yongnuo radio triggersIt fascinates me to think that such objects once resided untold miles away at untold depths in the sea.  Where were they from?  How old are they?  Of all places they end up in a dog park, albeit one very close to the sea.  In fact, you can see a part of Tampa Bay from the park.  Now these seashells have journeyed a few more miles to inside my apartment.  They have felt air conditioning.  However, I shall return them shortly to the dog park and their water fountain resting place.  

How did you get cracked seashell? Nikon D300 Nikkor 105mm VR micro @ f/32 ISO 200 2.5 sec tripod mounted with cable release Strobist: Nikon SB-800 Speedlight @ 1/4 power in 42" brolly to frame left using Yongnuo radio triggersPHOTOGRAPHY TIP:  always be observing, and you will always be improving your photography

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