Extend multiple flash setup applications - cheap and efficient

Sometimes (well, probably more often than I would like to) I experience the situation when the system that I thought and use during my photography assignments doesn't work as I expected. This happened during my last portrait shooting.

The problem I had was manifestated with the close-up portraits:

Since I was using the iTTL system of Nikon, it was required that all three light sources needed to be in the line of sight of the master flash, placed on the camera. The problem was with the rim light source (C). Since it was a strip softbox (30x100 cm) and it was quite deep (30 cm), the flash unit placed at the rear side of the softbox was not always reachable by the master flash. There are several options to solve it (at least that I came with in the first instance):

1. Put the omnibouncer on the master unit to create the broader light bundle used for controlling other flashes
2. Use a radio frequency wireless trigger
3. Don't come so close to the subject (for example by using a lens with a longer focal length)

The first option helped a bit, but didn't solve the problem completely. To be honest, it was required anyway, to control the base light (A) in a reliable way.
The second option is nice, but I don't have a wireless trigger and my budget for photography is for this year really, really up.
Third option is the probably something I'd love to try, if I had a proper lens. I was shooting with the 24-70mm lens. If I had a lens with a longer focal lenght (e.g. 70-200) that would solve my problem. And I think it would also create a lot of new opportunities for the composition of a close up portrait, but alas - something for the future.

There is actually a fourth option, coming from the observation that iTTL is a one-way control system, where the master unit sends the control signals in the form of short light pulses. So the basic light principles, like the reflection of light apply for these signals. The solution was born. I simply put a highly reflective surface ensuring the light from the control unit reaches the remote flash. Something like on the picture below:

Now the best part. The "high reflective surface" was a silver foam that is used to protect the windscreen of a car from freezing. To buy in the Netherlands for 2 or 3 Euro.

The result: 100% efficiency in the controlling of the rim light.

Let small object "hang" in the air (with no postprocessing and a lot of fun)

The idea described here came during preparing a set of Xmas postcards for our family and friends. I had a number of little Christmas decorations that together with other bigger subject could make a nice composition. The final product (one of several) looks like this:

So the decoration hangs in the air (which is a quite normal behavior for an angel) and candles below it lit the subject a little bit. No Photoshop (or other software) has been involved in this photo. The hanging effect is achieved purely mechanically. Here's how the concept basically works:

Scene setup in bird's view

The subject is supported by an aluminium pipe that is placed horizontally. Now if the camera lens is put at the same height as the hanging subject, the subject hides the pipe completely and we have a hanging angel (or Santa, or whatever):

Scene setup showing orientation of a camera w.r.t. the support and the  subject

The direction of the aluminium pipe doesn't need to be exactly horizontal. Important is that it matches the line of sight of the lens and the pipe remains invisible behind the subject.

When basis is done the rest is to choose a proper lighting for the subject and decide what to do with the background. If one wants to try the setup here are some practical tips:

• As a support for the pipe I have used an Lastolite umbrella stand with hotshoe swivel. The hole which is normally used for mounting an umbrella was used to hold the aluminium pipe.
• It is convenient to be able to regulate somehow the length of the pipe. I started with the length of 1.35m but then I realized that the subject is too close to the background and light doesn't drop enough with this distance to have a close to black background. A length of 2.4m worked well.
• To mount the subjects to the pipe I have used a removable adhesive from Tack-It. But any brand of course would be good as long as the subject is not too heavy.

If you are interested let me know, I can upload some more pictures showing the details of the setup.

Shoot portraits of 100 children in 3 hours (and get decent results)

It is becoming a tradition that around Xmas and new year a quite big photo event is organized at the school where my wife teaches. The idea is to take a 'Christmas-like' portrait of each child in the school and offer it to sell just before Chrristmas so the parents and grand parents have something memorable (next to the other gifts).
Each year it is quite extensive photo session, since there are 100+ children, each child is photographed twice (the whole silhouette, and a shoulder portrait), then there are always group photos: with best friend, with the whole class, with the group of buddies, etc.

This entry is not about shooting portaits. There are dozens of places where it is already described (like here).
What is not said very often though are the little details around the session that can save you a lot of time if applied. And the opposite applies as well: if forgotten, a lot of extra work needs to be done during and after the shooting.

Over the years I have established kind of a 'logistic workflow' ensuring that the session goes smooth and the children get their photos a week or 1 1/2 week after the session. Here are some things that work good for me:

• Make appointment in advance. Inform the teachers about the event. Kindly ask for cooperation during the event
• Plan the whole event. Ask for the day schedule in advance. You want to shot all the children being at school this specific day. Look at the schedule and check if it is possible, and how to order the classes.
• Work with small groups. Try to avoid the situation when 20+ 7-years old boys and girls are running around (and sometimes across) the shooting setup. See also next bullet.
• Ask for the assistance of some staff or parents. Believe me having 2 other adults that children are familiar with is priceless. They organize smooth flow of the groups, keep an eye on the group waiting for the shoot and they can assist immediatelly in case something unexpected happens.
• Have a feminine assistant on location. For one important reason: women pay a lot more attention on the small details with respect to children hair, clothing and general look. And they can make 'last minute' small adjustments in a way that children accept it and feel comfortable.
• Play safe with your setup. While it is tempting to start experimenting with your beautiful models (as children of all ages are), remember that there are 100 waiting for their shot. So what I use mostly is a simple lighting setup with a softbox at the front of a model and one to enlight the background or to create separation between a model and the background. Something like this:

• Take a steam iron with you (no kidding). It happened to me that after unfolding the background and putting it on the stand there were creases going right through the background scene. Sure, you can remove them in postprocessing but remember: You'll have to postprocess 200+ photos. Believe me, after 10 of them it is not fun anymore. Ironing of the background will cost you 15-20 minutes.
• Take a big, white sheet with you. When put on the window it can soften harsh light (you never know) and form a nice, additional light source.
• Talk to children. Some of them seem to be born models. But some need just a little encouragement. 
• Ask children to bring their favorite toys. While not always necessary, sometimes it enriches the scene and makes children looking more natural.

This year after first shooting session one of the parents invited me to her school to make some photos at their place. Apparently she liked the photos. Which is very nice.