How to Take Great Portraits with One Flash
Although I always bring a whole bag, well, really a few bags full of flashes of all sizes and powers, many times I find that using one flash is an easy way to get the right lighting while still being flexible enough to follow the subject and make corrections quickly.
I recently shot a senior portrait session with a variety of lighting setups. I always try to be flexible and give lots of options in terms of lighting, background, and ‘looks’. While I am always working towards a thought out end photo, I will happily stray from that as light allows, or when things come up during the shoot, which they always do. As we went through the shoot, I was moving back and forth from flash to available to bounce and all combinations of the two. On these wide ranging shoots, I find that working with the different combinations of lighting helps me keep fresh perspective throughout the shoot. Each small change of lighting can lead to a new idea.
For this setup I was using a Nikon SB-800 Speedlight with a 24″ softbox and a 48″ circular reflector with the gold side bouncing a bit of warmth back on the subject and filling in the deep shadows. The SB-800 was triggered by radio. I do use Nikon’s iTTL with commander and remote flashes, but for this set up I was moving back and forth, changing cameras and lenses and needed to be sure the flash would be triggered. The bright sun has played tricks on the communication between commander and remote flashes in the past, meaning you need a pretty direct line of sight between the two. So for this I did do some minor tweaks to the flash, set in manual mode, increasing or decreasing the power as needed. Yes, it’s an extra trip to the flash, but we were moving around quite a bit and it didn’t seem to break up the flow too much. The movement and small break in shooting will also give the subject a little space to catch their breath before getting back into it. I find that with professional models you can get away with more sustained shooting, but with amateurs a little break is always helpful, if only for a few seconds.
The Nikon SB-800 had the dome diffuser off, but the wide angle flap down. I generally use the dome diffuser to give a slightly softer light through the softbox, but due to the intense sun I needed that extra bit of power that the dome diffuser takes away. I was running the SB-800 between 1/4 and full power. Having blown a few SB-800’s running on full power in the past, I generally try not to use it too much, but if I have to, I try and slow my shooting down to allow the flash to safely recycle without frying. The amount of ambient light and strength of the sun also kept me using the SB-800 instead of my SB-900 which will shut down if it starts overheating. Yes, it saves the flash, but a flash that stops working mid-shoot, while under normal circumstances is frustrating. I’ve heard good things about the SB-910’s thermal shutoff. Hopefully they have extended the range of heat allowed, or figured out a way to get rid of the heat more efficiently.
I could have just as easily used a battery powered monolight such as my SP-Systems Lancerlight 160 or an Elinchrome Ranger. I choose to use a smaller flash only for ease of movement. The larger monolights are just that, larger, so if you’re running around moving the light every few exposures, having the small flash helps keep the hassle to a minimum.
How to take great photos of a ballerina at sunset
I had the wonderful opportunity to photograph ballet dancer Sarah Steward dancing along the shores of Lake Champlain the other day. After the crazy rain we’ve been having, the skies cleared and a magnificent sunset gave us just the backdrop we were looking for. The balmy weather quickly changed to strong winds and 38 degree water soaking us, but I think the results are worth the temporary discomfort.
As always, all the photos are available for sale as prints or digital stock here.
The setup for these photos is fairly simple. The main shot we were looking for was a silhouette of her dancing with Lake Champlain and the Adirondack mountains in the background at sunset.
The main thing about shooting silhouettes is to watch out for lens flare. It can sometimes look nice to incorporate the lens flare into the shot, but I was looking for a clean silhouette and the less flare the better.
Lens flare is from unwanted light striking the lens glass. It manifests itself in two basic forms, a haze that can wash out the deep shadows of a silhouette, and dots of rings of light coming from the direction of the light source. If you’re shooting directly into the sun or another light source, there’s really nothing you can do about it, but if the light is just out of frame, you can shade the lens to reduce the flare.
Using the lens hood is a good place to start. I had my assistant holding a reflector just over the end of my lens to cast a shadow on my lens and cut out the flare.
All of these photos were shot with Nikon’s D2x camera with it’s ISO set to 100. The D2x may not have the most sensitive sensor, but at 100 ISO it produces some of the smoothest and best files I’ve seen out of any current digital camera.
Nikon D2x, 50mm, f1.8, 1/2500 sec
Nikon D2x, 50mm, f7.1, 1/1250 sec
Nikon D2x, 17-35, f7.1, 1/180 sec
Nikon D2x, 17-35, f5.6, 1/500 sec
Nikon D2x, 17-35, f7.1, 1/500 sec
Nikon D2x, 17-35, f5.6, 1/500 sec
Nikon D2x, 17-35, f5.6, 1/500 sec
Nikon D2x, 17-35, f3.5, 1/100 sec, SB-900, 16″ softbox, radio transmitter
I decided to add a little light to really make things pop. I was using a Nikon SB-900 with a 16″x16″ softbox, camera left, tightly held by my assistant as the wind was really picking up. I would have used the Nikon i-TTL, but there was too much light, and the wind was really whipping, so I decided to trigger the flash with a radio transmitter to ensure it would fire each time. The flash was set to M 1/4 power.
I was trying to balance the ambient light with the flash. I had to keep the shutter speed below 1/160th for the radio transmitters, and wanted the sunset to be darked a bit more than the flashed area to get some real deep colors in the sky and mountains. The ambient it about 2 stops under normal exposure, and the flash is right on.
Nikon D2x, 17-35, f5, 1/100 sec, SB-900, 16″ softbox, radio transmitter
Nikon D2x, 17-35, f5, 1/100 sec, SB-900, 16″ softbox, radio transmitter
More to come.
How to Take Great Photos of a Violin
I recently had the opportunity to photograph some of luthier Jonathan Vacanti’s hand made violins. They are beautiful works of art. It’s great to see that true craft is still happening out there. Vacanti works at Vermont Violins, Burlington’s violin shop on Church St.
Product photography is much trickier than it seems. Photographing products means that you need to get perfect shots of the item. No glare, straight and sharp, great lighting, even background.
To shoot this hand made violin, I knew that the final product would be a violin floating on a black background. In the studio, I set up a black muslin background and blocked out the light from the window to make sure I was working in a darker environment. It can be difficult to get a true black right in the camera while keeping the rest of the image properly exposed. My goal was to get the background as black as possible before heading into post production in Photoshop.
To get the violin to ‘stand up’ with the least amount of movement, interference with the lighting, and least amount of post time, we hung the violin on fishing line between two light stands. Thankfully the violins are extremely light and didn’t need much support, but we made sure that there was something close by underneath, just in case it decided to jump off the line.
As far as lighting, I chose to use two soft boxes on SP-Excalibur studio flashes, triggered by a wireless transmitter. I wanted to keep the lighting fairly even, adding just a bit of depth and a little highlight on the edges.
The lights are set up at a 45 degree angle camera left, and about a 120 degree angle camera right. This made my key light the one on the left, and I used to the right one for extra fill and to highlight the edge. I did have to slightly adjust the lighting to keep the glare on these shiny instruments to a minimum.
I used two black flags (actually foam core covered with black paper) to keep the light from spilling backwards from the left light and towards the camera from the right light.
These were all shot with a Nikon D2x, 50mm 1.8, around f7.1 at ISO100. I love how creamy and smooth the Nikon D2x’s files are. Having a starting point of such a low ISO, there just aren’t any chunky pixels to deal with, just smooth transitions from light to dark.
After shooting, I went into Photoshop and removed the fishing line and made sure the background was actually black and not just dark.
How to Take Great Travel Photos
Great travel photos are all about being in the right place at the right time. Does that mean it’s all luck. No way. You can ‘create good luck’ but doing a little research, talking to people, and generally saying YES to opportunities.
I love travel photography. It’s what pushed me towards pursuing photography (instead of silversmithing, which I was intensely studying), it has been the driving force in my professional life, and it acts as a rejuvenating activity to keep me fresh creatively.
Travel photography makes you think fast, observe closely, and generally helps to push you out of your comfort zone. When you only have one chance to get the shot, it should make you think just a bit more about the kinds of photos you want to create. When you are seeing things for the first time, you have the perfect opportunity to capture them in a creative way.
Nikon F100, 70-200, f3.2, Fuji Velvia 50, b&w processed in Photoshop
While riding around the countryside outside Kep, Cambodia on the back of my friend/fixer Rya’s rented moped, we had stopped so I could photograph the landscape, verdant green rice paddies leading up to dark green mountains. After a few minutes this old man came walking down the road. He was a 72 year old rice farmer that had survived the Khmer Rouge and the civil war in previous decades and was happy to chat and be photographed.
The light was hard from a late afternoon sun, but there was enough bounce from the light red dirt road we were standing on to not give super deep shadows. Although I shot a number of different angles of this man, I like the shallow depth of field keeping the focu on his weathered, kind face.
While traveling may begin as a search for place, it ultimately ends up being about people.
Nikon F100, 50, f4, Fuji Provia 100
Before children were to put on a traditional Khmer dances, there were filling a school room getting ready. It was slightly chaotic with kids running around, so I looked for interesting moments I could focus on to calm the scene.
When the action starts I find myself on auto-pilot, shooting instinctively, flowing really well. It’s these moments that I strive for, a photo-zen.
Nikon D2X, 17-35, f7.1, 30secs
As the chaos of the annual water festival swirled around town, I worked my way down the river, grabbing shots where I could. It was a sea of humanity, many sending floating candle boats down the river. From one of the bridges I made this long exposure of the candles blurring as they make their way down stream. I wasn’t carrying my tripod, so the camera is resting on the edge of the bridge, triggered by the self timer. I definitely had one hand on the neck strap, in case the camera decided to jump off the edge.
Traveling to countries while they’re having annual celebrations is an easy way to soak up the local culture and there are photo opportunities everywhere.
Nikon F100, 24-120, f5.6, Fuji Velvia 50
Traveling presents encounters that you don’t get in your normal life.
After driving all day through overcast skies, we reached our destination for the night, Oggi Noor Lake. We were sitting in our SUV, mustering up the energy to set up camp, when the sun dropped below the clouds and bathed everything in it’s golden light. I jumped out of the SUV and started shooting when I noticed a group of teenage boys on horseback on the beach below me. They saw me and waved me down. I clamored down to them. They were very excited and offered me a drink of vodka. After a few minutes of hand gestures we all made our way back up to where the others were. I shot a bunch of group photos and a few portraits before they headed off in different directions. In a few minutes, what had been a drab day turned into the best light I saw the whole trip.
Nikon F100, 70-200, f2.8, Fuji Velvia 50
After the young Mongolian riders left, I captured this shot that I think sums up Mongolia the best and has been a favorite of mine over the years.
Nikon F100, 24-120, f4.5, Fuji Provia 100
This was a grab shot while meandering through the Summer Palace in Beijing, China. It was tough shooting with the bright smoggy haze that blanketed the city. The city was hot, in late summer. Shooting in touristy places like the Summer Palace, it’s sometimes hard to find new and engaging images that haven’t been taken a billion times before. This image came about as I was shooting the pond of lilies behind her. She sat down and started fussing with her hat. I made a few frames before the crowds overtook me and I moved on.
Nikon F100, 24-120, f5.6, Fuji Provia 100
Getting lost is part of traveling.
If your aim is to get lost, are you really lost?
Nikon F100, 24-120, Fuji Provia 400
While in the process of documenting the small Muslim community in predominately Buddhist Cambodia’s city of Siem Reap, we were invited to join some of the community for a Ramadan meal. It was just after the time the USA was entering the war in Afghanistan and it was unclear how they would receive us. As with most people I meet traveling, they were exceptionally welcoming. I made this shot of an old man tentatively watching us from across the mosque, through a railing.
When I’m shooting I always look for things that can go in the foreground of a photo. I want to give depth and a sense of scale, add a bit of color, or just add a little framing. I couldn’t see over the railing, so shooting through it made more sense. You have to work with what you have.
Nikon D2H, 50mm, f4.5
If you really want the shot you might have to put up with some little annoyances.
The flies in Lake Mungo, Australia are persistent little buggers. You have about a minute from exiting the confines of your car until they cover you…or at least they covered me. I could barely handle it.
Nikon D2H, 24-120, f4.5
Forcing myself to not freak out over the flies rewarded me with this ridiculous landscape of one of Lake Mungo’s sand dunes with an impending rain storm that almost trapped us in the outback.
The weather can change in seconds. Those times can present stunning landscapes and colors. You may have to run for cover in a few minutes, but the leading edge of storms is a beautiful thing. Dark skies can also help to bring out the colors of the landscape.
Nikon D2X, 7mm, f1
There are times when you just get a feeling about which lens to use and how to shoot a space. When you’re in the golden orb at the top of the Bayterek Tower in the new section of Astana, Kazakhstan the time is right to pull out the fisheye. While I think that fisheye shots can be gimmicky, there is a time and place for every lens.
The need to keep changing things up when you’re shooting is key. Along with the fisheye photos, I also shot with a telephoto lens and a normal wide angle. This gave a whole range of images to work from. Knowing that I wouldn’t be back to this place again on our trip, I made a point of a taking a few extra minutes and making a few extra frames.
Take the time to stop and look around.
Packing the gear bag for the day in an unknown city is a tough exercise in preparedness, economy, and guessing. You want access to all your gear, but you don’t want to lug it around day and night. What I bring depends on if there’s a car involved or if I’ll be hoofing it all day. This day in Astana we weren’t doing too much walking, but we were still moving around too much for my huge backpack. I used a medium sized shoulder bag, carrying two Nikon D2X’s, 70-200mm, 17-35mm, 50mm, and 7mm lens, one SB-800 flash, and an extra layer of clothing. It sounds like a lot, and it is, but when creating images is what you do, you drag that bag around until your sore and tired.
I love all my gear, but there are days when it’s good to go super light, back to basics, one camera one lens. I usually go for the 50mm. Forcing yourself to work in that limited frame will get you thinking about your photos and lead to more creative shots. Going back to basics is a good thing to do, revisit what you know, push the boundaries a bit. One camera one lens, especially a prime lens forces you to move your feet, changing your angle and giving you a new perspective. Zoom lenses are wonderful, but nothing beats moving your feet.
Taking great photos is about patience when you’re waiting for the shot, then hustling to work the moment until it’s gone. Setting yourself up for shots is as easy as paying attention to your surroundings. If you see something that works well as the background, be patient and wait for something to come in front of it. Something invariably will. Pay attention to weather and lighting, sunrise and sunset times and put yourself in places to make the most of each. Some places that are ‘known’ for sunset might be just as stunning at sunrise without all the crowds.
Nikon F100, 24-120, Fuji Velvia 50, SB-80 Flash, tripod
This shot was made just after sunset at Phnom Bakheng temple, overlooking Angkor Wat, in Cambodia. The camera is on a tripod, the flash is being triggered manually from inside the temple. The exposure is a few seconds. While making this photo we were already being hustled out by the guards before nightfall. You can always get a few minutes out of guards by being nice, starting to chat with them, and generally being polite. You’ll eventually have to leave anyways, and who knows, they might give you a private tour or show you some special place off the beaten track.
An interested, kind smile is your best currency when traveling, it is universally accepted and sometimes priceless.
Nikon D2X, 17-35mm, f18, 9 seconds
Try and get to places where you can have a view. This time lapse of the Bangkok, Thailand streets at night is from one of the many concrete pedestrian overpasses that are ubiquitous to South East Asia’s crowded cities. I wasn’t carrying a tripod, so I just rested the camera on the railing. It’s pretty hard to keep a camera still for 9 seconds, so find places to prop your camera. Time lapses are great for showing movement within a space. Is there crazy traffic? Are the crowds overwhelming? Go for the long exposure to convey the movement.
Nikon D2X, 17-35mm, f2.8
Follow your nose (and other senses) to take great travel photos. Street food is an amazing thing. Cheap, easy, and delicious. The best part is that people congregate near food, there’s usually lots of good color, and interesting moments to capture. And afterwards (or before) can you eat some interesting food! Ordering food or a drink from street vendors is a great way to break the ice and get you on a good foot for when you go back and ask to take photos of them.
When I’m traveling, it’s very apparent that I’m not your normal tourist taking little snapshots. When you bring out the big cameras people notice. Most people are very open to having their photos taken and I try and ask people if it’s okay before I get to it. If someone says no, then I just thank them and move on.
Nikon D2X, 17-35mm, f2.8
Traveling will surprise you.
Ok, so this isn’t a great photo, but it comes with a crazy travel story about getting lost in the Cambodian jungle on motorcycles. There are stories behind every photo.
Available lighting
In this post I’m going to talk a little about lighting and how it relates to taking great photos.
Lighting one of the big three that makes a photo great; lighting, composition, and subject matter. I’ll discuss each of these in other posts.
Photos need light. It’s what makes them a photo. In the old days it was a chemical process, now it’s a digital one, turning light into a photograph. Within lighting there are basically three options, natual/available, flash/controlled, and a combination of the two. We’ll start with the original light source, our sun. It’s big and bright and comes in an unending variety of colors and intensities depending on what’s diffusing or reflecting it. While direct sunlight has it’s place, and the golden hours around sunrise and sunset are a magical time, it can create blinding hot spots and black holes in your photos if you’re not careful. Cameras are not equipped to deal with the capturing the range from hot highlight to deep shadow. They’re much happier with either one of the other, which means moving your subject into some shade, or evening out the light a little bit. Yes, there’s the new craze of high dynamic range (HDR), but I’m a purist and think people take it too far and it ends up looking like a velvet painting. Used properly, there is a place for HDR, basically replacing filters of yester-year. However to get great photos, it’s easier to take a few seconds and think about what the lighting is, and how you want to use it, then to spend countless hours in Photoshop massaging a bad photo into a mediocre one. Let’s take a look at a few photos that give examples of different types of natural light.
Nikon F100, 50mm f5.6, Fuji Velvia Film
This boy was photographed just before a hazy sunset outside of Siem Reap, Cambodia. You can tell that the light is very low on the horizon and therefore very directional, leaving part of his body in shade. I had him turn slightly towards the sun so his face wouldn’t totally be in shadow and to give a little definition to his body and to pick up that golden light.
Nikon D2X, Nikon 50mm, f2.0
This photo of Amy Redford, film maker and daughter of Robert Redford, was shot under the eave of a porch to block out the harsh late afternoon sun. Although I did make some images of her in the direct sun, this setup worked best, with the soft light filtering in.
As a photographer, I’m always scanning my surroundings for proper lighting and background options. When shooting, I’m always aware of the direction and intensity of the available light as it determines what to do next. You can see in both of these shots that I have the subjects turned slightly from the light source to give more depth and definition to their faces.
Nikon D2X, Nikon 50mm, f1.8
This portrait was made in full shadow outside of my studio. After working with studio lights, I wanted to get some totally different lighting options, so we headed outside. With the soft even light when I’m out of the full sun, I like to shoot pretty wide open, softening the light even more.
When you’re shooting in available light, you really have to work with what you’ve got. You need to think outside the box and try create interesting vignettes. There’s always a little corner here or there with acceptable light. Work the light coming through a window or door, or if it’s bouncing off a white wall, even better.
To see more of my work or to contact me about a project or assignment, please visit my website, www.photovt.com.
