model

Strobist ballhead and umbrella test

In Joe McNally‘s CLS video it showed him using a ballhead to align the flashhead along the umbrella stem axis. Made sense that it would distribute the light more evenly; so I bought the rig. Here’s the test results – you decide.

As pointed out in the note above, I forgot the diffuser.

Single SB800 set to TTL into Wescott 42″ shoot through umbrella.

The ballhead is the Manfrotto Lite Tite Swivel+Umbrella Adapter 26
The coldshoe is the Stroboframe Shoe-type Flash Mount Cat. No 300-SHO

I consider this as a ‘nice to know’ experiment only. With the inherent spill associated with shoot through umbrellas and with the difusser on the speedlight the coverage appears to be good. One additional advantage I found with the ballhead set is the ability to quickly rotate the flash body to align the IR sensor to face the camera.

I’ll know better after I field test it.

3500660886 fd9585bbbc m Strobist ballhead and umbrella test

Sideview

Hassled by the Washington, DC Park Rangers for taking photos

I’ve spent the last three days here in Washington, DC on business. Meetings with the 2661837879 36a304139e m Hassled by the Washington, DC Park Rangers for taking photos FAA, HHS and the WAAS office. Long times between meetings and I’ve been done pretty early in the day. So, I placed a casting call on ModelMayhem to see if I could pass the time doing what I like to do, take pictures. 5 or 6 TFCD models responded and I set up sessions with two of them. As my luck would have it – both at the same time. That wasn’t a problem for me (read assistant) or them though so we met at my hotel and headed for the National Mall to shoot. The plan was to use the monuments as the background. Sounded way cool.

We chose the new WW II monument because it had a nice water fountain. We got there around 7pm, good light, not huge crowds. As one model was getting her ticket from the Park Police (wrong way on a One Way street) the other model (Emily) and I set off to set up and shoot along the granite outside wall of the monument. I used 2 SB800s, at first to fill then to light her. Nikon CLS is so cool. So far so good. I get about a dozen shots off when the other model, Danielle walked up. She dismissed the ticket as part of life in DC and we starting posing her along the same wall Emily had used. About 10 minutes later I hear:

Sir – Sir:

3461391320 3c511648e1 Something soft & sexy, something mean and something in between

Most every time I work with a new model I get asked the same question: What should I bring to wear?

There is no doubt that clothing, makeup and the ability to ‘strike a pose’ are important to a successful portrait/modeling session. However, the most essential asset a model can bring to the studio or location is the ability to interact with the camera.

My job at a shoot is to make them look as best I am able given my limited skills with lighting and equipment. I cannot, however, do it alone. You have seen that cell phone snapshot that drew you in; you have also seen a professional portrait that, although technically sound, just leaves you feeling that something misfired. A model must have an understanding they are not trying to tease/seduce/influence me as the photographer: They must make the connection with the viewer of the photograph.

They must make the connection with the viewer of the photograph.

My answer to the outfit question: Bring something soft & sexy, something mean and something in-between.

8 Models in 8 Hours: A good time was had by all.

I had used the very capable Ashley Rihel: Hair and Makeup Artist on several corporate, meetup and model portfolio assignments. She is always on time and ready to work. During a recent studio session Ashley asked if I would do some trade work with her to develop her MUA portfolio. Always willing to help I said “Sure, let me know”. Soon it went to off into direction I hadn’t expected.Thank you ladies

The original conversation with Ashley was for ‘a’ model and we’d split the studio cost. As time passed it went to 2 models. No worries – headshots only – in and out in under 2-3 hours with makeup.

A few days after setting up for the headshot portfolio session for Ashley I got a message from Gaylee. A friend and fellow photographer; owner of Urban Chic Designs Photography Gaylee had found a studio for rent closer to her home than Dallas and asked if I would go look at it with her. Always willing to help I said “Sure, let me know”.

The studio was on the smallish side but well equipped with background sets. Unfamiliar with the provided lighting equipment my monoblocks and modifiers would work well enough. Gaylee’s a wiz with props and clothing and Ashley wants images for her port – right? The hourly and day rates were very reasonable so we decided – after a beer stop at the local Fuzzy’s – to rent it at the day rate – 8 full hours. Now – all we needed were models.[pullquote align="left"]Now – all we needed were models.[/pullquote]

Coordination between Ashley and Gaylee worked well and we booked 10 models fully understanding grandmothers tend to pass away on TF shoot days and we’d end up with 4-5 models.

We had 8 show up over the course of the day.

The models, at left, ranged in age from 17-~35ish. White, black, Asian and Hispanic. Experience levels were just as diverse – from brand-new to very experienced. Quite the mix, I was very pleased with the subjects for the all day shoot.

This started as simple session to help a friend’s business. Photographing 8 models in 8 hours for portrait portfolio development taught me a few things also.

Models: (Left to right – top to bottom)

Cynthia Ann
Ms Click
Jonna
Alisha Lee
Natalie
Krystle
Pocky Pants
Amanda Rose

Thank you ladies for the experience – you were all great to work with.

Young girls and tattoos

I have photographed many young females with massive tattoo displays recently. Most all of them were strikingly colorful; both the young lady and her tattoos. They have held all sorts of jobs, been from various backgrounds and nearly all under 21.

Examples: Nathalie and Emily.

The young never see themselves growing old or their bodies wearing out and loosing its youthful firmness. Although I do not have tattoos, almost got inked one night in Army boot camp back in ’72 though, I can understand one, two or a few tats to mark an occasion, person or event. To have massive, highly visible sleeves at 18 or 19 is not looking beyond the rebellious moment of youthful freedom.

I did encounter a young woman about 2 years ago, she was in her late twenties, who realized life, to include her body, moves on. She asked if I would photograph her tattoos, after a short discussion we agreed on date, time and place. During the session she explained to me her body was ‘failing her’, her words and she wanted to memorialize them as her body is now and not as her children and grandkids would eventually see them.

I am not against tattoos, I enjoy the photographic challenge of lighting them and posing the model to achieve the best effect. I never mention my thoughts about the years to come and how I have learned life and bodies change. I simply take the photographs for their grandkids.

Incoming search terms:

In praise of the mature model

There is something I love about a mature woman. Their sense of presence, their no bullshit approach to life in general and men in particular.

Diane was simply a joy to work with yesterday. A classy woman with ideas about classic poses. Her eyes shared a lifetime of glances, sultry come-ons and femaleness in just the couple of hours we worked together.

The model’s husband

This entry is not about the model shown.

In the last three or four months I have allowed several models to bring their husband to the shoot. I set clear guidelines with the model, I spoke with the husband when they arrived at the studio about not getting in the way; please don’t distract me or the wife. If it became a problem I would ask them to step out of the studio and/or stop the session. Of course they agreed.

Most went very well. In two cases the husband, during a set change or a break, started talking about nudes, implied and full. Neither model appeared to really want to do full nudity and both agreed to do some implied. Although the session wasn’t booked that way, we would start doing mild implied shots.

Both times the husband continued to suggest/ask his wife to take more clothing off; undercover more. I never witnessed a real argument but could sense the tension between them. The model would exchange a look with me that I read as seeking a little intervention.

The first time I simply reminded the fellow of our agreement not to interfere. He said ‘Oh, okay, sorry’ and we finished the shoot.

The other guy just floored me. Pretty much the same scenario as above. Except during my second reminder that I would stop the session if he continued to disrupt me, he politely asked me to step out of the room to talk to him. I gave his wife a puzzled look and followed him out the door. In the hall he basically asked me to help him get his wife naked so I could get the photographs for him. When I expressed my puzzlement about his request he said, and I quote; “But she won’t let me take these kind of pictures of her at home.“

I really don’t remember my exact reply except for something about I’d see what I could do. The session came to ‘routine’ conclusion about 10 minutes later.

Lesson learned: No more husbands or significant others allowed.

Physical fitness shoot

Physical fitness shoot DFW MidCities Strobist Meetup Group

We will do a shoot with weights and bodybuilding equipment. The goal is to accentuate the human form with light. We will, in a studio (way too hot to be outside) environment, use our speed lights, continuous lighting and modifiers to produce dramatic portraiture. Some effects may require the addition of studio strobes. We will discuss and demonstrate the best way to mix speedlights and studio strobes.

Physical fitness shoot

We will have at least one male and one female model for our subjects, both are P90X instructors and the camera loves them.

Our group models are encouraged to sign up for this shoot.

This is a great way to enhance both model and photographer portfolios.

Richland Hills, TX 76118 – USA

Sunday, August 14 at 3:00 PM

Attending: 1

Fee: Price: USD 49.00 per person

Details: http://www.meetup.com/DFW-Strobist-Meetup-Group/events/16220418/

Using Nikon’s Creative Lighting System (CLS) in daylight

SB900 using the sun as a hairlight.

I have heard and get asked a lot of questions about Nikon’s CLS’ ability or inability to function in bright daytime conditions. In my experience it really have not been an issue. I pay attention to the speedlight’s position and its sensor location relative to my camera and SU800.

Today’s metering technology is a great asset so I normally let it take the first ‘shot‘ at what it sees in a scene. While I have studio lights and a Vagabond II, there is little I haven’t been able to do with my SBs. The above shot was taken with a single SB900.

4063884049 fcbf7c3117 Using Nikons Creative Lighting System (CLS) in daylight

It was very sunny in California the day I shot Candice – notice the shadow on the lower left of the umbrella even though the speedlight fired for this behind the scene picture.

In the photograph of Candice above I metered for the shaded portion of her face and let Nikon TTL do the rest.

In the event it does not produce the result I want I adjust the stop (by 1/3 steps) on the speedlight.

3486666059 99818abf71 m Using Nikons Creative Lighting System (CLS) in daylight

Distance is another concern CLS nay-sayers bring up.

In this photograph Jason is holding a 42 inch Wescott umbrella with a SB-800 tucked up in the open ribs point towarded the camera to get the light reflected back to his face.

Behind him is a SB-900 shooting into another 42 inch Wescott umbrella. That c-stand is a good 50 feet away and up the hill about 10-12 feet above Jason’s head.

Line of sight is important – so just pay attention. But I have used the SB8 & 900s behind glass, reflected the signal off of windows, mirrors, cars just about any reflective surface. I have also ‘staged’ the lights to ‘see’ another but not the SU800.

Think of the IR signal like a billiard ball.

I also use the Nikon CLS to fill on cloudy daylight sessions.

While in Phoenix last week I did the entire shoot with these tools:

4300344523 030252e866 Using Nikons Creative Lighting System (CLS) in daylight

The result:

4301095762 d54deb8801 Using Nikons Creative Lighting System (CLS) in daylight

Single SB900 camera left - TTL triggered with SU800.

The only time I have trouble with the system is when I position myself on the wrong side of the speedlight’s optical sensor or move in front of the flash. I use a ballhead so I can quickly rotate the speedlight into the correct position.

Phoenix in the rain

I finally get a chance to do a shoot in Phoenix. Phoenix = sunshine and moderate winter daytime temperatures right? Not for me – three straight days of rain and 20-45 mph wind.

I had two TF models lined up – one canceled – good call – it was nasty out.

The second day Lindsey and I manged to get some shooting done between rain showers on South mountain. What a sport she was. we worked inside a covered gazebo then walked up the backside of the mountain to get to the ‘hole in the rock’.

Lindsey is a beautiful young truck driving Army reservist who goes on active duty next month with hopes of becoming a helicopter pilot flying Blackhawks.

See more of Lindsey (LC Pace)

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