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Soft and elegant
If you want something very elegant, very “resort” style that you can show everyone including your grandchildren, we will help you create those images.
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The Glamorous Over 50 package is available in the Greater Dallas/Fort Worth area. Call us today at: (817) 479-9366 or email ray (at) creativeconceptdfw.com for more information or for a Free Estimate
Originally uploaded by rkdauph
On camera flash photography has always challenged me. I learned photography, in West Germany during the early ‘70s, using natural light only, black and white film and developed my own prints. My first experience, in the early ‘80s, with a flash gun was a reunion of flight school classmates and our families. We paraded the kids through the living room, onesies, twosies, you know the drill, and I took whole family photos too. The garish, over exposed pictures with that damn hard edged shadow (like the top center picture) was embarrassing when the color prints arrived. Who needs a flash? Not a REAL photographer anyway; so, back to natural light for more than 2 decades.
I was stationed at Dolan Barracks in Schwäbisch Hall, West Germany with the US Army. This is where my interest in photography began.
Photos scanned from self developed prints made during the time they were taken. Pentex Spotmatic and Spotmatic F.
Thank you Herr Ritter.
One thing about this WordPress blogging software; it logs the search terms people used to find my blog. I have been amazed by the number of searches for Dolan Barracks and/or Schwäbisch Hall. There have been a lot of us.
So, if you were stationed there; how about leaving a comment with the dates and unit?
The construction of an air force base by the Germans at Hessental was started in 1934. During the war it was garrisoned with bomber and night fighter squadrons. Dolan Barracks at Schwäbisch Hall was closed by the US Army on 30 September 1993.
If you were stationed at Dolan Barracks and would like to contribute please contact me.
My equipment/software list:
- Nikon D700
- Lens as needed
- Dell 13″ StudioXPS
- 500 gb external HD
- 15′ USB cable
- Gitzo 1258 Tripod
- ProLine GMS80A Conductor Sheet Music Stand
- Nikon Camera Control Pro 2
- * Just bought TetherPro
- And of course the studio light gear
So here is the basic setup: Simple and useful.
Tethered shooting allows me to view the images in real time on a 13 inch calibrated monitor, allows me to zoom into the images to check focus and detail.
I rarely show the monitor to the model, unless I need to show them something specific – good or bad. I do, however, encourage the client, in this case the MUA, to review and comment as the photographs are taken to ensure they are getting what they want and need.
I don’t know if it’s the same with Canon equipment but Nikon software places the images onto the computer’s hard-drive not the CF card. I do not edit, much, on the laptop so I have the download directory on an external hard-drive for easy transfer to my desktop editing machine.
While this setup isn’t exactly ‘high end’ it works well for my needs.
A specials thanks to Tom Thompson for the behind the scenes shots.
I honestly do not remember where I read about the Photojojo iPhone Telephoto Lens but remember thinking it must be a joke.
Chuckled and went to read about it anyway. After reading their humorous write-up and looking closely at the images provided. I realized I had no use for it at all. But of course I bought one anyway.
“But of course I bought one anyway.”
The iPhone 4 kit was on back order and took nearly three weeks to arrive. If you order the iPhone 4 kit today (March 6, 2011) it won’t ship until March 21st.
Mine arrived last night. First thoughts:
- Well packaged.
- Comes complete with;
- lens (front and rear caps)
- cleaning cloth
- back case
- small black cloth carrying bag
- instruction manual
- Surprisingly well build components. Not Nikon level craftsmanship but pretty well done.
My only real complaint is the back only case – I prefer a case with front and back coverage for my phone. A smaller disappointment is the minimum focus distance of 3 meters.
Today I took it out to play a bit. I mounted the iPhone onto the supplied stand and braced it upon a garden fence in my front yard. (yeah – I know.)
Click on the following images to enlarge:
Pro D/SLR quality it ain’t: but it is functional. And would be very handy if you were a spy. Well, except for the 3 meter focal distance thing.
I will carry it and look for opportunities to use it.
I had offered to loan/help another photographer with a project involving the iPad. Of course in order to help him incorporate the iPad into his assignment I had to figure out how to make it work – so off to the studio to do some testing.
I have found the iPad to be much more useful than I had expected in my photography work. I use several Photo apps now at most every session.
So, for you is the iPad use in your photography a tool, toy or prop?
During a recent Strobist meetup I was doing a boudoir demonstration to show dramatic lighting using speedlights. I was shooting tethered and projecting the resulting images. 97.3% of the time I let Nikon tell/show me how it sees the scene first and how it thinks it should be lit. I almost always make adjustments to the resulting mechanically conjured lighting.
See setup photo here: http://www.flickr.com/photos/byrkdauph/4613328383/in/set-72157621832784087/
As I was changing the lens from the Nikkor 24-70 2.8 to the Nikkor 85 1.4 I was asked if I ever used the largest aperture for portraits. The three images were shot in front of the group to demonstrate how to use depth of field to change the tone or focus withing a portrait.
The top image was taken at f/16
The middle one at f/5.6
The bottom at f1.4
The effect is dramatic but I’d like to point out another aspect of the photos that I failed to highlight for the group. I was showing the effect of change f /stops and did not adjust the speedlights throughout the large aperture changes for the DOF demo.
I had adjusted them to get the lighting I wanted in the beginning as stated above but not after making the f/stop adjustments. Nikon’s CLS system adjusted – on the fly- the power outputs of three speedlights for the entire range of lens - f/1.4 through f/16 with NO adjustments from me.
Had I been shooting manual I would have spent easily 3 or 4 times the effort to show something that took me literally less than 5 minutes using the CLS.
I love the Nikon CLS system.
More photos from the session here: http://www.flickr.com/photos/byrkdauph/sets/72157623950994863/detail/
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.
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.
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:
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.
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)