Photography Tips

Brolly & snoot ice cream sundae strobist lighting setup

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. 

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  • Seashells in Black & White Macro fine art images

    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

    Architecture Photography Tip put building edge parallel to edge of the frame

    This photography tip is about how to frame architecture shots with regards to the sides of the frame.  When photographing a skyscraper like the one above, I like to get the opposite edge (in this case the left) of where the building starts from to end with a part of the building parallel to that edge.  

    In the shot on the right, the top of the building is at an angle to the left of the frame.  To me this looks awkward and makes the viewer's eye uncomfortable when following the lines of the skyscraper.  In the shot on the left, I composed so that the top of the building ended up parallel to the left (opposite edge) of the frame.  The viewer's eye starts from right to left and continues up through the top of the frame.  

    What do you think about this small, but important composition detail? 

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  • Photography Tip - How to make a black background out of nothing but camera & strobe settings

    This flower was photographed in my living room in the afternoon, black background achieved by: Nikon D300 Nikkor 105mm VR micro lens @ f/22 ISO 200 1/250th - Strobist: SB-800 in reflective umbrella to frame leftIf you would like to photograph a subject on a black background, you do not need to have an actual black background to achieve this.  Using strobist skills and manual settings on your DSLR you can create a black background almost magically.  I set these flowers on a small table in the middle of my living room.  It was 1:21pm on a sunny afternoon with the blinds closed on both windows, but a lot of light was still filtering through.  I setup a reflective umbrella (a softbox would work even better) to the left of the flowers with a Nikon SB-800 Speedlight.  It took some fiddling to make sure none of the light from the umbrella splashed onto any of the walls, which made them visible in the shot.  The same goes for getting the settings on my DSLR to produce the results I wanted.  In the end I was able to achieve what I wanted, just the light from the speedlight exposing my subject with the ambient light in the room eliminated due to the small aperture and fast shutter speed settings.  

    How to create a black background: 

    1. setup the subject in a room with as much distance from the walls as possible
    2. setup a speedlight to left or right of subject with umbrella/softbox/other light modifier
    3. start with f/16 and 1/200th & adjust from there as necessary (ISO should be at lowest setting) 

    Thank you to Bill Gracey and his great flickr photostream for the inspiration for this shot.  Be sure and visit his extensive gallery of strobe lit plants.

    Try this at home and be sure and post a link to your results in the comments below.  If you would like to learn how to make photographs like this first hand, I offer 1-on-1 DSLR Photography Lessons in and around the St. Petersburg area.  Reserve your lesson today! 

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  • Meeting Rick Sammon - what I learned in Oldsmar Florida

    Jason & Rick Sammon - I got to meet one of my biggest photography influences - thank you Kathy for the photoI was walking down the hallway in the Hilton Garden Inn looking to make a quick restroom stop before attending a photography seminar.  I see a tall man at the end of the hallway who asks me, if I am looking for the photography seminar, that it is this way.  I do not recognize him at first from a few feet away, but the voice was very familiar.  As I get closer I realize it is the speaker for the seminar himself, Rick Sammon.  In my mind I thought wow, shook his hand and asked if he would sign my copy of his book, DIGITAL PHOTOGRAPHY SECRETS.  He did so gladly.  This is how I got to meet Rick Sammon for the first time after listening to him for years on photography podcasts, which made his voice very familiar to me.

    Rick (website) is a very famous photography traveling to dozens and dozens of countries making all kinds of photographs.  His photography talent is evident in his images.  What is perhaps even more amazing about him is his passion and enthusiasm for sharing what he knows and loves about photography with people, often for free.  This particular evening he gave two hours of his time to talk to about a hundred local photographers of all levels.  His photography podcasts I used to listen to were all for free.  I really respect how much he gives to help others love photography as much as he does.  

    About thirty minutes into Rick's photography seminar I began to realize just exactly how much my own photography knowledge came from him.  Things I now tell my own photography students are nearly verbatim tips Rick espouses as key things for making great photographs.  This surprised me and made me smile.  I guess, however, this should hardly be surprising given I have listend to dozens of hours of his podcasts and read his SECRETS book containing all those tips.  

    Depsite all that expsoure already to Rick's knowledge, here are things I learned during his 2-hour seminar: 

    • speedlights keep pupils wide (bedroom eyes)
    • use layer masks for combining to very different DoF's
    • horse photographs ideally show all legs off the ground (I thought just curled under before, which is probably the same actually)
    • a photographer should practice (a lot)
    • cut a slotted hole in a piece of cardboard for movie lighting (like when peeping through window blinds)
    • include shadows on a wall to add depth
    • conversely put the flash high to hide shadows on walls 

    It was inspiring to meet Rick and feel his enthusiasm.  This is my photography tip for your, go and hear (famous) professional photographers speak!  I am sure you will always learn something.  This will help your photography a lot.  Each tip you can pick up adds to your skill set.  Picking up a few key skills from other photographers and lots of practice was how I taught myself DSLR photography.  I cannot emphasize enough how important it was to me randomly picking up a key piece of photography knowledge here and there because of being around other photographers via seminars like this one and even more through photography meetups.  

    Thank you very much to Kathy for organizing this seminar and for making the photo of me with Rick above and for giving so much of her own time to run The Tampa Bay Strobist & Photoshop Collective on Meetup.com.  You should join her group!

    So now I have had direct contact with my two favorite photographers and biggest influences, this meeting with Rick Sammon and a few years ago Scott Bourne personally critiqued one of my photos on his website.  Try and seek out and meet your own favorite photographers!  It may be easier than you think.

    Photography Tip - sometimes blown out highlights are ok

    Blowing out some highlights is not always bad - Nikon D300 Nikkor 50mm @ f/2 ISO 200 1/100th handheldOne of the first things I teach to my DSLR photography students, is how to check for blown out highlights and how to correct the exposure to get rid of them.  However, blown out highlights can be ok and actually compliment how a final image looks.  In the above shot I asked the owner of a restaurant if I could photograph the pendant lights hanging over a row of tables.  I am often looking for repeating patterns as a subject for photographs.  By using my 50mm lens at a large aperture (f/2) I could making the repeating pattern shot I wanted to with bokeh while handholding my DSLR even though in a very dark interior space.

    The part of the image where the bulbs are inside the pendant lights are totally blown out.  However, I liked how this looks because it produces an overall exposure that fits the mood of the shot I wanted to make.  

    Go out and make your own photograph with some blown out highlights on purpose and post a link to your photo in the comments below. 

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  • Photography tip - compose with subject looking or going into the frame

    great blue heron in profile looking into the frameOne easy to remember photography tip that will improve your shooting is to have the subject "looking" or "moving" into the frame.  This means the subject should be at one edge of the frame appearing to look into or go into the empty space in the shot, rather than staring at the edge of the frame.  A subject that looks into the frame or motion that leads into the frame gives the viewer's eyes some place to go.  

    FOR SUBJECTS IN PROFILE

    Kiki in profile looking into the empty frame makes my eyes follow hers.In the above photographs of a great blue heron and of beloved puppy Kiki, both subjects are shown in profile and both are looking into the empty frame.  If I had composed the shots with the empty space to the right, the images would look awkward and unbalanced.  When photography a subject in profile, be sure to include enough space for that subject, and the viewer, to look into.

     

    FOR SUBJECTS IN MOTION

    The airplane has enough space to "fly" into creating movement for the viewer.Likewise for subjects in motion, they should also have plenty of space to "move" into in the frame.  This allows the viewer to look and see where the airplane is flying.  The Jeep below suggests a continued movement and leading action.  Having empty space to either the rear of the plane or Jeep would not only look awkward but show that we were too slow on the shutter to catch the action.

    This Jeep continues on because of the composition.

     

    FOR SUBJECTS LOOKING INDIRECTLY

    What is the flamenco dancer looking at? The composition gives enough space for the question to arise.When a subject is looking indirectly in the frame, space should still be given in the composition in the general direction the subject is looking.  The flamenco dancer above is facing the lens, but looking to her right.  Composing for more space on the left of the frame makes the viewer also look left.  The wedding couple below are really looking indirectly in the frame, but overall both their poses and the directions of their eyes favor viewing from top right toward bottom left.  

    Pose & composition direct the viewer to look from right to left.Keep the "look into the frame" composition tip in mind to produce photographs that give the subject and the viewer space to look into and avoid subjects staring into the edges of the frame.

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