From a regular snapshot to a decent one

Recently I was enjoying a party together with a group of friends. And there was a moment when they asked for the photos. It was evening, in a quite dark room, so there was not much options for lighting: I had to use flash or I had to crank the ISO up to 6400. So I have chosen for flash.

I started with one flash with omnibouncer, placed on the camera, directed 45 degrees towards the ceiling. iTTL mode did the job well, the only thing I had to do was to reduce the flash power by 1,5 stop, to balance a little bit with the background lighting. The result was, well, as expected:

The faces are well exposed, but the effect is rather disappointing: the scene is flat, shadows on the faces rather uniteresting.
But then I saw the possibilities to redo the scene with another lighting setup. Since I had 2 flash lights I decided to place them in the room according to the scheme shown below:

The light sources were SB-900 and SB-910 speedlight flashes, with omnibouncers, directed 45 degrees towards the ceiling, slightly above the model, both in the iTTL remote mode. They were triggered by the built-in flash of my camera. As previously, I adjusted the power of the flash by -1,5 stops - to show a little bit more background. I knew that the photo would be slightly underexposed, but I would be able to easily correct it in the post processing. The result was (in my opinion) much better:

Now I have separated the model from the background (look at the left shoulder of her and the top of the hair). Next to that, thanks to the light source on the left side of the camera I got the interesting shadow on her face, giving much more shape to it than on the first photo.
Of course, there is still a dozen of things to be improved (composition, background, white balance of the flash, just to mention some) - it is still a snapshot, after all.
But the learning is that it is always worth trying something else than on the camera flash. The setup cost me about 5 minutes but opened plenty of new possibilities of exposing the scene.

Shooting an event with two cameras - first observations and learnings

I have a new photographic experience behind me. Yesterday I was shooting almost the whole day with the two cameras. Before the event, I was considering shooting with just one and change the lenses if required. More on these considerations here.
During the event it turned out that switching the lenses is not an option. There were too many interesting things happening simultaneously. Just to give an example: at the certain moment there were children playing in a gym on two fields, two different sports. A very nice opportunity to capture some team movements and take a number of nice close-ups. But since the games were of short duration and I wanted to take photos of as many children as possible, I couldn't afford swapping the lenses.

I equipped my Nikon D80 with 24-70 f/2.8 lens and my D800E with 70-200 f/2.8. Next to it I put SB-900 on each of the cameras. There was not coincidence in such choice. Since my intention was to capture lots of faces I wanted to reach maximum quality for the close-up or tightly composed photos. For the scenes with a broader angle of view I could sacrifice some quality since my intention was to take pictures of groups of scenes implying more distance to the subjects and less details in the scene.

During the day I have made some observations with respect of using two cameras:

• It is easier to carry them than I thought. I was a bit worried about how to take care of two cameras. After all it was not such big issue. One camera (D800 with 70-200 lens) was hanging on my right arm (I use a very decent strap of OptechUSA which was sticking to my arm very well). The other camera was hanging on my neck.
• Keeping the settings simple helps a lot. I was trying to keep the settings of both cameras as simple as possible so I didn't have to think too much about them when switching between the cameras. So I set them both to manual mode, and when I was using flashes, I set them to the TTL mode. In the lighting conditions that I had it worked very well.
• Knowing the camera limits is very important. Different cameras have different limitations. It is very important to know the limits and not get tempted to apply settings from the camera with higher possibilities to the 'weaker' one. A good example is setting the ISO. D800E can very easy handle ISO sensitivity of 2000. When one tries to apply such ISO to D80 will get very disappointing results. I stayed with ISO of max 640 on the D80, knowing it is more or less the highest value still delivering pictures with acceptable noise level. 
• Don't forget to synchronize the clocks of both cameras. I unfortunately forgot to do so. As a result I got quite mixed set of photos when I have stored them in Lightroom. Sure, the time offset can be corrected in the software, but it cost time. So next time I will do better.
• Divide the load between two cameras is good for batteries. Especially the flash batteries. I didn't have to change the batteries of any flash. While shooting with one camera during a comparable event, I have to change them at least once. It is logical but the consequence is that I don't loose the time on battery change.

All with all it was an interesting experience that I will be practicing more during interactive, time-intensive events.

My humble attempt to product photography

Last couple of weeks I was not very busy with photography. Instead I was doing some renovation works in my house. But at the end I thought it would be fun to take a good shot of the result of my activities. My 'product' are the stairs in my living room.
First of all one can ask: are stairs a good item for product photography excercise? Believe me, after couple of weekends spent on sanding, milling, painting, drilling, all done with your own hands - you want to show off! So for me it is a fantastic item. Here one of the final shots:

To get there I applied the process described later in this post.

Setting up the scene

First I wanted to choose 2-3 compositions to work with and to enhance these scenes during the session. In my opinion a good product shot should reveal all most important features of the product, showing the material it is made from, its shape, texture, etc. On the other hand it should attract viewer's attention and make the product appear attractively. After playing around with my camera I finally chosen three compositions to work further with:

Scene 1

Scene 2 

Scene 3

 The three pictures show different aspects of the 'product'. The first shows a generic form and a little bit of positioning of the stairs. Second shows the slope as seen from top. Third is a view showing some details of the construction.
All three pictures were takes as the 'pre visualisation' of the actual shots. The composition of all of them needs to be refined.
Second important aspect is the light to be used.

Lighting

The light used for pre visualisation photos was just ambient light, in the middle of the day. Nothing spectacular, causing the images (especially the first one) looking flat. I wanted to create the situation where the light source would cast the harsh shadows on the wall behind the stairs, making the first image looking less flat and making the background more interesting.

To achieve that I have put a SB-900 strobe on the stand, left to the picture and increase the zoom to focus the light a bit. It would give me enough harshness of the cast shadows.

Another aspect was the colour of the main light.

From the beginning I wanted to emphasize the fact that new staircases are made out of wood. One of the most forthcoming associations with wood is warmth: wood is perceived warm when making physical contact with it, it is used to produce warmth, its colours are also warm. To strenghten this association I decided to use warm light for all the shots. I have put a CTO gel on the strobes I have used. 

So the first picture was enhanced by using the light left to the camera from the SB-900 strobe, positioned on the light stand. The strobe was about the 2m height from the ground, pointing the stairs. Zoom of the flash was set to 70mm, Light intensity in manual mode to 1/4th of maximum power:

Comparing to the initial picture I took it with slightly lower angle of view, mainly to show some more floor on the foreground. 

Moving on

Next shots show the different aspects of the stairs. First the shot from top, showing the slope of the stairs:

Comparing to the first version I have used slightly different angle of view, letting the stairs be positioned diagonally on the frame. I simply liked this composition more than the initial version.

Scene number 3:

This one deviates most from the initial concept. First of all it shows the whole construction instead of the only part of it. Again, I included some part of the floor on the foreground. In this case to create leading lines and emphasize the perspective.

This picture required also a special treatment with respect to lighting. To ensure that the top part of the stairs is properly exposed, I put 2nd strobe (SB-900) on top of the stairs and difussed the light by a white shoot-through umbrella. Of course, the 2nd strobe was equipped with the CTO gel as well.

The human aspect

I do believe that adding people to the scene can make the picture much more interesting. For this assigment I have also tried to do this trick, showing the main puprose of the stairs:

To remember in the future:

1. Work with few scenes keeping in mind how to emphasize product's feature in the best way
2. Ensure that the product is absolutely clean. I was not paying much attention to this and in case of the 2nd photo (stairs seen from the top) I had to do quite some spot removal in Photoshop

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.

Students meet an interesting person

I have been asked by my wife to take a couple of photos at a school she works. There was a meeting organized between a group of students and their parents (about 60 in total) and so-called 'ineteresting person' who were going to tell about last 20 years of democratic changes in Poland.
The basic idea was to take the pictures for a school chronicle (of course) and to create a kind of album for the speaker and hand it over to him as a gift.
First part of an assignment is actually not a big deal - I used to do it many times before.
The photos for an album is a different story. I knew I wouldn't have a chance to take any decent portret photo of the person, neither get any time for one-to-one interaction: his time was very limited, he is in advanced age and it was pretty sure that very soon after the meeting he'll leave. So what I took during the meeting would be the material for an album. That's it.
According to the motto: "Preparation is half of work" I visited the location two hours before the actual event. There would be a small reception before the meeting (with a coffee, cake, etc.) - which was a good news; this creates extra opportunities for interesting photos.
Bad news was the setup of the meeting place:

Crowded audience, a table of the speaker placed in the corner with the speaker back to the window and a lot of glass behind a place where the speaker was going to sit.
Two things came to my mind immediatelly:
- there should be an extra light source out of the camera and not being reflected by the glass wall and put in the front of the speaker,
- there must be a possibility for taking shots from several different angles.
So I've asked the for a possibility of re-arranging the audience sitting places to create some movement opportunities. Then placed and secured an extra light source (SB-600 at the height of about 2 m pointing towards the speaker:

This setup was a good starting point (at least creating enough various possibilities of shooting).

Then the session started. Some interesting (in my opinion) photos have been taken:

One final word about the equipment:

I have used two flashes: one SB-900 attached to the camera (Nikon D-80) and one SB-600 placed on the stand. It gave me enough flexibility. I have learned however that when the audience is really quiet, zooming motor of the SB-900 is making a lot of noise, causing some disctraction. So be careful in the future and consider not using zoom in such situations.

Summary:

- Learned to prepare some "movement space" to be able to shoot from different angles,

- Extra light even from a "typical" angle of 45 degrees can make your photos a way more interesting

- Zoom motor of SB-900 in a quiet room can create a lot of undesired distraction.

Do's:
- Inspect the place in advance, try to adapt it for your needs,
- Talk to the organizers, learn the agenda of the event
- Take different positions during shooting. It enhance the final results and increases chances of a good result

Don's:
- Get surprised by your equipment by discovering a new "feature" during a session