Fooling around with video presentations is a fun way to waste a few nights. This one focuses on lighting, posing, and post-processing of my Urban Ninja photo concept. Aside from the concept and posing, which I discussed previously, this video includes a screencast of the post-processing.

The post-processing for the Urban Ninja images was done in Adobe Lightroom and Photoshop CS3. The processing was designed to define and enhance shadow areas of the arms and hands, while the pose of the image is the main element. The face falls off into blackness and shadows, so that the form of the Ninja is focused on by the viewer. Grunge layering techniques were used to add the dark-gritiness I seem to like. Two concrete layers were used here, one I shot in Wintethur, Switzerland, and the second came with the Joey L Photoshop Tutorial DVD. I blended the concrete layers using overlay or softlight, and a few curves and levels adjustment layers were included to better define the shadows. A final color layer was used to give the final color-cast and define the overall image feel. Anyways, to see the full process just check out the video below.

I used black+white adjustment layers to control the shadow depth. With his technique you create a B+W layer, then blend it using Luminosity or, as I prefer Multiply. This darkens the shadows and since it’s a black and white layer, you can go in and adjust the amount of red, green, blue, etc. which is being defined in that layer. This technique can be used in many images so long as you don’t abuse it. In addition to portraits I like to use it for landscape images with a deep blue sky and a collection of clouds. This image below from the Swiss National Park was shot on film with my Fuji GA645, scanned with a Nikon LS-9000 scanner, then worked on in Photoshop, with a B+W layer used to control shadow texture.

I picked up the Canon G10 for a trip to the States where I would be traveling between San Diego and Los Angeles, including a mountain excursion to San Jacinto, and it seemed like the right time to buy. However, as I live in Switzerland and am sometimes active in the mountains, I’ve started taking the G10 on climbing and mountaineering excursions. This is my functional climbing review of the G10 as a mountaineering camera. A climbing camera needs to be as small and functional as possible. Climbing partners sometimes get pissed if you bring a Fuji GA645 or Sony A900 up north ridges. I’ve reviewed the Ricoh GR Digital (GRD) for climbing in the Swiss Alps, so it seemed like a good idea to do the same with my Canon G10.

Why the Canon G10?

First, from a specs perspective, why the G10? The G10 sports a 28-140mm lens in 35mm format. This gives good coverage for landscape and telephoto for portraits. In addition it shoots RAW and has a 14.7 Megapixel sensor. This is a pretty sweet combination of features, topped off by the fact that the manual control interface is almost as good as the Ricoh cameras (GRD, GRD-II, GX100/200). So far I’ve shot with the G10 in the San Jacinto wilderness in California, on a bike-mountain tour on Glarnish, sport climbing in Ticcino, and up the Braunwald klettersteig in the Swiss Alps. In general, it works very well for climbing. The battery last forever, even when the temperature drops below zero an I’m shooting sunset shots in the snow. It records RAW files instantly, and I barley have to wait before taking another shot. The manual interface is nice, allowing full camera control, exposure compensation, ISO settings, etc with a few movements of my fingers.

When you’re actually climbing (not setting up shots of other climbers), a camera is really only functional if it can be used with one hand. You occasionally get to use two, but most of the time at least one hand needs to be on the rock or rope belay. This is where the Ricoh still beats the Canon design. The Ricoh GRD can be almost completely controlled with the right hand. Using the custom function button you have full access to file format, exposure compensation, ISO setting, macro focus, flash, metering area, shutter speed, aperture, pretty much everything the camera can do. With the Canon G10, you have the speed wheel, which acts to control shutter or aperture and choose things in menus. Exposure compensation is on a click wheel on the top left of the camera, ISO selection is on a click wheel on right, while flash, macro mode, and menus can be controlled with the right hand using buttons near the speed wheel. From a control layout, the Canon G10 doesn’t measure up to the Ricoh GRD. The Ricoh is king in user interface design.

G10 vs. GRD

The main problem with the G10 interface is that exposure compensation can’t be controlled with the right hand while holding the camera. Further, ISO is controlled by the click wheel, which isn’t as easy to do as with the Ricoh. This is important for small sensor cameras, because if you over-expose the highlight areas, you easily get a blown out image, instead of a properly exposed one. It’s easy to avoid blown highlights by checking the live histogram and dropping the exposure on the Ricoh. But with the Canon G10 you have click the exposure wheel on the top left of the camera body, something which isn’t easy if you’re left hand is occupied holding your body to a rock face. If you have to pick between bodily injury and exposure compensation, you should choose the former, or get a new digital camera. This limitation can be sidestepped by shooting in aperture or shutter speed mode, but I still find it limiting. If the G10 had the ability to press a button and choose these things like the Ricoh does, it would be a much more functional camera in the mountains – and for implementation that’s nothing more but a firmware addition by the Canon people. Still, I’ve very much enjoyed taking the G10 on mountain trips. It’s reasonably small, the picture quality is excellent, and I wonder why people feel the need to buy a Rebel DSLR when the G10 will probably give all the quality and functionality which most people need in a camera.

Macro Goodness

The G10 includes a macro mode, much like every other digicam. In the late spring and early summer the mountain wild flowers take over after the snows melt away, and Braunwald is known as a sort of mountain flower paradise. It’s nearly impossible to walk around the place without killing at least a few violet or yellow beauties with your boots. Naturally I had to stop and take a few generic flower photos. As I had packed light on this trip, I didn’t use any strobes, and instead used the on-board flash for a bit of fill. To take this flower photos I dialed in a an exposure compensation of about minus 1/2 or minus 1 and focused on the middle of the flower patch.  The bokeh from the G10 is actually fairly nice. For these close-up macro type images the blurred background doesn’t distract from the sharp part of the image. The on-board flash does a good job of adding just enough light and not overpowering the exposure, of course, it’s best to control this using the exposure dial. When you have two hands free to operate the camera it’s very easy the intuitive to dial in manual camera settings and fine-tune the exposure, I just wish it was a tad easier to do with just one hand.

Beyond Snap Shots

The mountains beg for landscapes, I sometimes shoot with a GigaPan, but it’s far too bulky and heavy for most of my mountain trips. I sometimes shoot with a tripod and pan, other times I just rotate the camera and guess that I’m keeping the nodal point reasonably centered. I process my panoramas in PTGui Pro, which works equally well stitching two or two hundred images together.

I took the G10 on my climb up the Eggstock in Braunwald. This is a klettersteig climb, you don’t have to worry about having a climbing partner and can cruise up the mountain with ease. I used the G10 to shoot perspective images, document the climb, and take a few landscapes. Generally I had the G10 slung in front of my, and shot with one hand while holding on to the rock with my left. After climbing up the Eggstock klettersteig I continued along the blue alpine route, which follows the ridge of the mountain, eventually leading up to Bos Fulen. If you follow this ridge it eventually becomes as wide as a pair of La Sportiva Trango S mountaineering boots. I took this time, standing on the edge between a moderately dangerous tumble on my right, and a suicide-sure-to-be-dead fall on my left to shoot a quick panorama. Yes I was wearing a harness, no it wasn’t connected to anything which would have saved me (sorry mom). Yes the rock in this area is a tad sketchy, and I soon decided to climb down rather than to continue and risk the rock collapsing under me, hoping I would fall to my right rather than the 600m drop-off to my left. You don’t want to be fiddling with camera settings when you’re trying to take a panorama like this. If you get distracted and forget to balance it’s rather easy to kill yourself, so I was happy that I was able to easily meter the scene using the live histogram, lock exposure with manual settings, and take a succession of shots for the final panorama before coming to my senses and descending.

Aside from the handling and image making capabilities, the G10 produces decent files for post-processing.  The resolution of the G10 matches and exceeds that of many DSLRs, but it’s the ability to manipulate shadows and the textures of life which fascinates me. The post-processing capability of images is where small sensor cameras deviate from DSLRs.  With better rendering of shadows and capturing the dynamic range of a scene.  This is where a camera like the Minolta 7D excels compared with, say the Canon G7. In the first two images featured here, I processed the images in Adobe Lightroom and Photoshop CS3. Generally if you post-process small-sensor images, you can manipulate the shadows a bit, but pushing the exposure too much in Photoshop will blow everything out and you end up with a mess. With the G10 images, I can add a black+white conversion layer to bring out the shadows and the desaturate a bit and kick up the exposure a bit to bring out the clouds.

Happy?

So, is the Canon G10 a sweet mountaineering/climbing camera? Yes, I would say that it is. The combination of functionality and image quality is really fantastic. In the Alps it’s easy to have fantastic weather, and the G10 takes beautiful images when the light is right and you don’t have a huge span from light to dark in your image. The flash works well to balance the exposure when you have a foreground subject in the shade and the background is bright and beautiful. I hardly ever use the viewfinder, and enjoy composing with the LCD, getting the exposure right with the histogram and then snapping a photo. The battery life is excellent, and I have not experienced any battery drain issues associated with cold temperatures, something which is a huge short-coming of my Ricoh GRD. With the Ricoh I have to keep the battery warm in my jacket before shooting, and with the G10 I can just shoot away.

I’m eager to see what comes from the niew micro 4/3 sensor cameras. The new Olympus E-P1 digital Pen camera will no doubt be a serious contender for my next mountaineering camera, likely with better dynamic range than the G10. But don’t count out Ricoh. Word on the digital street is that Ricoh is entering the micro 4/3’s arena with a small DSLR type camera, which will for sure be a sweet climibing camera, especially if they’re excellent user interface deisgn is retained.

There are probably very few reasons to walk through a Swiss train station with a sword slung around your body. Even if you are a Ninja, in modern times the Katana offers little to the needs of a hired killer, except to show-off and behead a target if paid to do so. If you’re a photographer en-route to a Swiss Strobist meetup however, it makes perfect sense, and is even acceptible in some ways, to casually stroll through the Bern train station with a Katana slung over your shoulder and a Kacey beauty dish under your arm. It’s unclear to me, the actual legalities of walking around a Swiss train station with a Katana slung over the shoulder. So it’s best to bungy a light stand to the Katana after wrapping in olive green farbic, now when you’re stopped by die Polizei you can say something like, “Ah, das is nur eine Blitz Stative.”

The Swiss Strobist meet-up in Bern was organized by Mark Howells-Mead. Traveling under the name Permanent Tourist on the net, he’s an aspiring photographer who’s taken some initiative to organize photographers in Switzerland around the Storbist philosophy of location shooting. I know Bern fairly well, but I’d never shot there, and when you’re presented with an option of staying in bed or jumping on a train to Bern with your Katana, the word “Yes” should dominate any other suggestion in your head at 6:30am on a Sunday morning.

Why take a Katana to a Strobist meetup? Mark said he was impressed by the Ninja shots from Chase Jarvis and my Urban Ninja images, and asked if I could swing by with my sword, as he had some idea of executing a modern Jack the Ripper photo on the streets of Bern. It seemed like a reasonable request, so I agreed to head to head to Bern on a fine Sunday morning for the Strobist meet-up. I had other motives of course, for me das Ziel of the day was to fool around with my new fantastic lighting combiation, a Kacey Beauty Reflector with a Sunpak 120J powered by a TR-II battery pack. Beautiful light, power, and long battery life in a mobile configuration. I’d just received a Kacey dish the week before and shot with it in my apartment. I love the light from the Kacey dish, and wanted to try it out on a location. So when my alarm went off around 6:30am, I set about collecting my things for the day. Minolta 7D, Canon G10, Kacey reflector, light stand, Doc Martens, Katana, Bratz doll…let’s roll.

The format of the Bern Swiss-Strobist meet-up was a bit more structured than I’m used to at these things. In the morning we broke up into groups including a model with a leader to run the shoot, then in the afternoon it was a free-for-all with photogrphers shooting models and experimenting. This offered a nice mix, letting some photographers teach, with the option of getting more interactive in the afternoon. The best way to learn with flash is just to do.

The Kacey Dish on Location

The Kacey dish is large. I realized this when a giant box was given to me by the nice woman at my local post office. I had ordered the dish along with the Kacey location bag. I figured, what the hell, if I don’t buy the bag I probably won’t take the dish with me when I leave my apartment, and that would a be a shame. The Kacey dish is marketed as a small-flash beauty dish, ideal for people like myself, who primairly uses small flashes and loves the idea of shooting with a dish.

The Kacey dish is actually very enjoyable to travel with. I took the train from Winterthur to Bern, and then walked around, went on a bus, walked around some more, did some shooting, walked around, blah, blah, blah. At the end of the day I was still skipping along the streets of Bern like a woodland creature from Narnia with my Kacey dish slung over my shoulder. I have no complaints on mobility. Even though the dish looks large and heavy, it’s rather light for what it is and travels extremely well. The Kacey reflector is made from plastic, no doubt some impact resistant formulation formed via an injection molding process. Is it a good idea to mold a beauty dish out of plastic instead of aluminum? Yes, without a doubt. As a Doctor of Science with a Master’s in Materials Science, I have full confidence in the durability and strength of the Kacey reflector, and plan to be using it till I loose interest in photography, or die.

I carried the Kacey dish with the optional bag, as a sometimes avid world travler and mountineer, I’ve developed sort of a bag fetish over the years. My adventure equipment room is stocked with everything from North Face to Lowe Alpine summit packs, multiple Mountain Smith lumbar designs, a Go Lite here, a Mammut there, and my favorite all around climbing/ski touring/mountaineering bags; my Osprey Exposure packs. I know packs, and from a materials standpoint I look for durability in the fabric and robustness in the zippers. The Kacey dish bag is no bullshit, one of the most well-made, highest quiality bags I’ve ever used for anything. The quaility of the $85 Kacey bag is bomb-proof, the stitching is exact, the materials are robust, and the zippers even surpass those on my North Face basecamp duffles.

Swiss Strobists and the Kacey Dish

So, how did the dish perform, how was it received by the Swiss Strobists? Our first shoot was in the Wasserwerk, an industrial site-turned hip nightclub (like many nightclubs in Winterthur, Zurich, and Bern). Mark was trying to light the fully black interior of the club with our model Rahel sitting on a black lounge couch and some Nikon speedlights. Mark had been to the Strobist Cern Workshop, and he started to channel David Hobby, running around the place setting up a flash here, an umbrella there, taking test shots, checking the exposure…then we setup the Kacey dish with my Sunpak 120J (we later switched to one of Mark’s Nikon SB-something flashes so he could use his radio triggers).

I remember Mark saying something like (no, I’m not sure of the exact quote), “Wow, I don’t really need all these flashes, the light is just so perfect already.”

Yes, umbrellas are cheap and great, but nothing beats the light from a nice dish like the Kacey reflector. That’s why people like to use them, they just work, they produce beautiful light without much stress on the part of the photographer. Mark seemed to be impressed by the Kacey reflector, so much so that it was used as the main lighting source on the first two shoots of the day (including his new-age Jack the Ripper shot). He might have used it in the afternoon as well, but I took it back and was able to get a few shots with one of our other models, Sarah before my battery pack died.

Shooting Sarah with the Kacey Dish

In the afternoon we photographers had a free-for-all setting up shots in various places. I chose to work with Sarah. I’d taken a Bratz doll with me (I take at least one every time I pack up my camera gear now) and had some ideas. I keep expecting people to look at me like a crazy person when I pull out a camera and Bratz doll, but everyone on the streets are continually amused at my antics. Sarah and I set up near the Aare, the river running through Bern. We were in a small alcove area, with a beautiful view of the river and some nice graffiti on the walls of the old city. I posed Sarah with and without a blonde Bratz doll. Sometimes I threw it up in the air, sometimes I just posed them against one another.

The Kacey dish was used on a light stand, and I leaned it in closer as needed to fine-tune the light. In the first setup the Kacey dish was acting more as a large light source from above Sarah, and the light here would probably be similar to that of an umbrella. I was able to get some nice light fall-off, lighting both Sarah and the Bratz doll with nice, even light. Soft yet directional, and was able to get a nice exposure on the wall as well, where you can see the fine texture near the graffiti.

I also posed Sarah against the backdrop of the city in the sun, and bumped up the power on my 120J to balance Sarah’s exposure with that of the background. I was able to get that fine type of light fall-off on Sarah’s face that I love, the type where the face has an even exposure and then the shadows just lightly surround the face. This is exactly why I bought the Kacey reflector, to get those fantastically beautiful shadows with the ability to move and direct the light to where I want it. It’s not something I can easily do with normal umbrellas, and is the reason the Kacey dish is now my favorite light modifier. For the post-processing I went with a graffiti grunge feel, high-lighting the natural graffiti of the walls, or combining Sarah with graffiti overlays from Zurich which I had shot earlier.

So, brass tacks – the Kacey Beauty Reflector is light and nimble on location. I love the light from it, use a bare-bulb 120J, or just a traditional Nikon SB (or a similar design), and you just get fantastic light. No mess, less fuss, excellent light and you direct it where you want it. An enthusiastic thumbs-up, a vigorous affirmation of my affection for the Kacey dish. Now I just need to get it mounted for my in-the-mail Elinchrom BxRi flashes. If you ever find yourself in Bern and happen to look down only to find a Bratz doll standing next to a giant magic mushroom, don’t be alarmed, this is simply the natural order of things in the Universe, and if you keep looking, you’re sure to find stranger things along the path in this life or the next.

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Shooting with the Kacey Dish in my apartment Studio

Kacey Beauty Dish Review – Bill Millios

Kacey Enterprises

There are many things that are easy to buy in life. Cameras, lights, guns (in America), pants, Katana swords. And it’s easy to say, “Yes, I have a Katana, and therefore I’ll hold it and logically the resulting picture will be cool.” Why? “Because, I’ll have a sword, and Samurai swords are cool…like guns. So, I’ll just hold it and it’ll be a cool shot.” No my son, you’ve seen too many Tarantino movies. The simple fact that you decided to use a gun or a sword in a photo shoot is not a magic-bullet-express to coolness. Yes, yes, I know, you want to believe that your model can become Uma Thurman from Kill Bill or Bruce Willis from Pulp Fiction – just because they’re holding a highly evolved Japanese decapitation device. I may be daft, but I think that even Angelina Jolie looks awkward and fake with a firearm in her hand. Not quite as foolish as Pamela Anderson in Barb Wire, but not far off either. Good photos come from the imagery of the subject and the message contained within their static forms. It only has to look believable for 1/120 of a second if you’re taking a photo, but it’s easy to come up short. So what goes into creating a cool dramatic image using things like swords and guns as props in photos?

The Emotional Connection

Images and pictures are interesting because the viewer feels a sensation, a reaction to the medium. This is paramount over everything else, and 99.99% of the time your camera doesn’t matter too much. You don’t need a Hassy and a production team to do some cool ninja shots, you just need to get a handle on the visual imagery. Visual imagery? Ok, so where does that come from?

One day I was thinking up image concepts and settled on the Urban Ninja concept. This involved a bit a sketching, lighting design, wardrobe, post-processing, but the most important part was the visual pose of the model. Why is the pose so important when creating a dramatic action image? Because photography is just a fake representation of reality, and the more realistic and powerful the emotional message, the more unique your image will be. The whole point of weapons (swords or guns) is to inflict irreversible bodily harm onto another human being or animal. The purpose is to kill. You can read all the Sun Tzu you want, recite all the Samurai poetry you can remember, imagine valiant soldiers as warrior poets transplanted from killing fields in Scotland and Thermopylae, but weapons are simple extensions of the body, meant to draw blood. The actions from the warrior are pure intentions to kill before being killed. We’ve dressed this up in popular media and comic books, but the point is that the body should communicate a sense of power and desire to inflict bodily harm, to kill someone else. Otherwise, there’s no reason for the sword/gun/weapon to be in the image. And therein exists the heart of the dramatic action image.

The Dramatic Pose

The dramatic pose has evolved and reached a pinnacle of artistic expression in comic books and graphic novels. In these static mediums you have to communicate the dramatic action in just a few static frames, but give the reader a sense of danger and adrenaline. So what can a photographer learn from comics books? Many things my children; color palette, posing, attention to detail. Recently a number of graphic novels have found their way to the silver screen, among these latest attempts, Watchmen and 300 have been the best adaptations, which really capture the drama of a graphic novel in the fluid movement of a feature film. The basic premise when designing the pose of your subject is to ensure that there’s a connection between the weapon and the model. If you hand some random person a sword and say action there’s a very good chance you’ll just get an awkward image of a person with a sword. The Katana is a beautifully curved piece of steel, which needs to flow with, and be a part of (because it is simply an extension of) the body of your model. Portray it in any other way and you end up with something which doesn’t look genuine. It’ll look forced, fake, and a viewer will pick up on that. Something will click in their mind and they’ll think, “no, that’s not right.” If your viewer doesn’t intuitively feel themselves drawn into the image, and don’t believe that they are Uma Thurman wielding a Samurai sword, then the photograph has failed. So what are the specific mechanics of the dramatic pose?

Pose Dynamics

Naturally these mechanics of posing will change for whatever crazy weapon you ask your model to hold, but here are the basics from the comics and my own experiences. Think about a body, think about a body holding a sword and about to decapitate someone. The body moves from the center of gravity, from the Chi center of the warrior. If you don’t respect this notion then your model will look unbalanced, your ninja will look like a drunk Halloween party-goer, and the result will be sub-par. Momentum moves from the center of the body, which is generally taken to be at the center of gravity, near the abdomen. Force is translated to the legs and reaction forces move through the arms, but as any dancer knows (and I a-love-a the techno dance nights) it starts from the center of the body. With a ninja concept, the Katana follows the curve of the body as it moves in space. Therefore, the relationship between the legs, arms, body center, and sword is very important. It seems most dramatic to capture this relationship at the two extremes: when a person is recoiled, ready to explode, or at the end of the action, after the head has been decapitated and is flying through the air. That’s the way they do it at Marvel and D.C. Comics. Let’s look at a few screen shots of 300 and Watchmen to illustrate the concept.

So what do we see? We see King Leonidas of Sparta at the pinnacle of recoil, (bottom image) about to bring down a wicked spear-death on some poor Persian bastard who got send to the front-lines. Look at the lines of the body and the weapon. The line of the legs from the ground to the connection to the spear is very angular, nearly 90 degrees. Look at Stelios (top image), recoiled in a defensive position just after killing the representative of Xerxes. The line of the legs to the spear are very hard (although more difficult to see here) and prominent. Look at the geometric position of Rorschach (shown below) when he’s crouched on what’s left of the Comedian’s window. Actually, the lines are very similar to the Kanji for the Shibuya train station in Tokyo. Coincidence? Yes, of course. There is no magic formula to the Universe. There is no hard rule, but some loose patterns do seem to possibly exist.

I interpret it this way, harder angles generally tend to  communicate a sense of strength and power. If you look at a the lines of two people having sex, the lines of the bodies are all interconnected and chaotic, because that is the point of extreme vulnerability. Think of the lines of a nude image, one meant to express sensuality. The lines of the body in a traditional nude will be very subtle. What do we see from Art history? Lets consider the connection between humanity and God (or whatever the interpretation is) from Michaelangelo. God stretches out in a subtle way towards Man (feel free to interpret as Wo(man) as well). The lines are relaxed and not very hard. You get more a sense of calm (of course the lighting has an effect as well), which is far different from 300 and Watchmen. Even if a Katana were thrown into the mix between Adam and the Creator, it wouldn’t come across as a dramatic expression of rage. I’m not an Art historian or an illustrator, I’m a Doctor of Science, and these are just the patterns my mind has picked up on.

So, if you’re interested in creating a hard-dramatic image, consider the pose first. It will help define the overall tone and drama of the image. From the pose flows the intention of the subject, to love or kill, and if you form a good basis here, the resulting image will better communicate the drama and emotions you originally intended. Or, you could just put a gun in a picture and the result will likely be a generic, uninteresting image of a gun and some person.

I picked up the Kacey Beauty Reflector for various reasons, first I’ve always wanted to experiment with a beauty dish. Second, the Kacey reflector is designed for small flashes as well as for studio strobe use, offering excellent adaptability in a photo world full of too many mounting systems and of course, it looks cool. The Kacey design comes off very similar to the Mola Demi dish, which is also a very cool beauty dish for the studio. However, like many good ideas, the Kacey dish offers an adaptation from a standard design. It was designed for small flashes and made of plastic to be light and therefore more portable for location shooting, hence fulfilling the desires of people like me, who are self-taught via the internet and highly influence by the Strobist movement. The Mola dishes look interesting, but they’re really outside the budget and needs of anyone but a full-time studio pro shooter. Like many photo startups (think RadioPopper) Kacey Enterprises is fulfilling the purchasing desires of a market, which the established companies have not been innovative enough to design and offer products for. Since I have no desire to acquire a standing as a full-time photographer, the Kacey design is the logical choice for me and my apartment studio, stocked with Metz and Sunpak flashes.

My first experience with the Kacey dish was photographing my bookcase, complete with Bratz dolls, DVDs and an assortment of toys from California because, well – I’m a geek. What was I expecting and why did I want a beauty dish in the first place? Well, I like umbrellas for throwing a very large amount of light with spill going in all directions, I started using reflective and shoot-through umbrellas, and they have their place. When you’re starting out with lighting design, it’s the best way to go. Umbrellas are cheap, you can get a combined reflector-shoot-through design and it’s very easy to do basic lighting with an umbrella. But, they then become very limiting when one wants to start doing more precise lighting. To explore beyond the umbrella I bought some small softboxes in order to increase the precision of my lighting designs, because they are much more versatile than my 44in umbrellas. The softboxes can be placed on a boom, to the side, behind, where ever I desire around whatever it is I’m photographing. Umbrellas (at least the large ones I have) are not as easy to place, and give too much light spillage for my tastes. Softboxes can be gridded to further decrease light spill and sculpt light as one desires. However, the softbox creates a more diffused light source. What I wanted to achieve with a beauty dish is the ability to place harder light in a desired position. I like the look of photos I’ve seen with beauty dishes, and really I wanted the ability to place a large, even light source on a boom arm around models (ummm, and I’m generally the model). The Kacey dish represents a milestone for me, because it’s the first light modifier I’ve purchased which wasn’t made in China and bought because it was the cheapest option.

So, how has the Kacey Beauty Reflector fulfilled my desires so far? First, I’ll note that this review is user, not scientific based, and focuses on my experiences using the reflector in the controlled studio environment of my apartment. The Kacey reflector was designed for location use in mind, but light is light and I was most interested in getting an excellent light modifier. Naturally, any light modifier is useless without light from a quality strobe. The Kacey dish is designed with the Speedlite in mind, like those standard uber expensive flashes from Nikon and Canon, which a person such as myself with a Minolta 7D finds to be over-kill. This is all well and good to design a dish for small flashes, but beauty dishes were originally designed with studio strobes in mind, those with bare bulbs instead of a fresnel lens to focus the light beam, like nearly all small flashes have. Nearly all, but I happen to love the Sunpak 120J bare-bulb cult-classic flash, and it fits perfectly with the Kacey Beauty Dish. Here’s why, most small flashes are designed to focus light directly forward of the flash head. A bare-bulb design throws light forward as well to the side of the head. So when you use a normal Speedlite in a beauty dish, you generally would also use a diffuser on the flash, to throw light to the side of the center reflector of the dish. This spreads out the light and would logically contribute to the nice uniform quality of light that beauty dishes are known for. Since the bare-bulb 120J already is throwing light in all directions, and the bulb is extending into the dish, it forms the perfect lighting combination.

The Kacey reflector was released along with a Speedlite bracket. The bracket costs a cool 150 USD, and some controversy has developed around this price. I picked up the dish for various lighting reasons, and I decided not to get the bracket for economic considerations. I figured I would just drill and modify the bracket from my Alzo softboxes. This required the purchase of a drill, which wasn’t that cheap and I don’t drill much stuff in my apartment, so in the end I don’t see how I saved any money. After modifying the adapter from my Alzo softboxes, I’m of the opinion that the Alzo bracket isn’t stiff enough to support the Kacey dish in the long run, and I’ll most likely buy the Kacey bracket, because it makes little sense in getting an excellent dish like the Kacey product and then using a sub-par bracket when connecting the flash. If the bracket isn’t stiff enough the dish will tilt, thus disrupting the light pattern, depending on how the dish is positioned. Plus, as illustrated below, the bracket and the position of the flash will have a very significant (depending on how much you care) influence on the light patterns coming from the dish.

I did a quick comparison between a Sunpak 120J and a standard Sunpak 383. The 383 sports a normal small flash head, and therefore acts more like a normal Nikon or Canon flash, and is perhaps more representative of what people will be using the the Kacey reflector. As you can see from the above photo, the bare-bulb 120J seems to have a wide light pattern, and when you use a 383 with a head-directed light beam, the light spread becomes a tad tighter, especially around the edges, the light fall-off is significantly (depending on how much you care) influenced. Now, there are mitigating factors, the 120J is no doubt putting out more light than the 383 and the light spread shown above would therefore be dependent on the exact exposure of the flash. But the more interesting thing from my viewpoint, is how centering the flash is rather important to the light coming from the dish. Even if I center the 383, since I opted for a cheap mounting adapter for the flash, it’s off-center and I can’t center the 383 to get perfect light distribution with either the 120J or the 383. This concept is magnified on the last picture on the right, where I turned the head of the 383 to the left, and you can see directly how the light pattern changes. What can a perspective buyer gleam from all this? If you want really good light distribution, don’t skimp on the mounting bracket, by all accounts I’ve read the Kacey bracket is top quality and fully adjustable so you can precisely center the flash and support the weight of the dish. For these reasons, I’m looking for a new bracket solution, either from Kacey, or another source.

Test Shots

I ran a few test shots with myself playing the role of photographer, model, and art director, which feeds all the different parts of my creative brain. I wanted to get a feeling for the light I could expect from the Kacey Beauty Reflector both from a lighting and post-processing perspective. The setup was pretty basic, the dish went on a boom with the 120J above me and I setup my Lastolite Tri-Lite reflectors to get some fill. I did a few shots with my Minolta 7D and 28mm lens, Gadget Infinity radio triggers were used as well. I wore a shirt which says, “Enjoy Detroit,” because red is my color when shooting on a green background and Detroit is my city of eternal inspiration. I wore a hat I bought on the beach in San Diego and for some reason decided that the Katana would add a much needed element to the mix.

I did a few shots and then did some editing on them in Adobe Photoshop and Lightroom. The keen blog reader might protest, “No! You have post images straight out of the camera to give an accurate representation of what the dish can do!” Nothing is straight out of the camera anymore, and even with film it never went so smoothly. The truth is, you can try to imagine yourself as a Joey L or a Dave Hill, but if you don’t get the shadows you need from designing your lighting setup with purpose and determination, no amount of Photoshop alchemy will save your tones. I shoot images in raw, adjust shadows in Lightroom to get a good base, and them export to Photoshop to manipulate the lighting and tones in such as way that my art director brain waves stop and say, “That’s it! That’s the look!”

I’ll be blunt, I found the light from the Kacey Beauty Reflector to be nothing short of, exactly what I wanted. The tone and texture of the shadows are simply perfect. The texture of the skin and shirt are unique compared to what I was capturing with my umbrellas and softboxes, simply awesome. Even light distribution across the model, wonderful light fall-off on the edges. The shadows are deep where I want them deep and the transition from proper exposure to background shadow is excellent. This means that I have a very strong base image to work with when I define the final shadows in Photoshop. In the above image, the texture on the shirt has this almost wind-swept-mountain-ice feel to it after adding a Black-and-White layer and blending using Multiply (plus reduced fill on the layer), it’s like ski touring in the Swiss Alps in January and looking at the texture of a wind-swept snow ridge while wearing red-tinted glacier goggles. “Hells yes! I says in my heads.”

In the bottom Katana image, I was interested in getting some nice shadows on the hands and arms. What I love here is that the sword blade doesn’t get all blown out, even though the light is right above it. With my softboxes I would have a defined over-exposure with poor transition to the rest of the body. I’m pretty sure that if I had used an umbrella instead, the sword would have been blown out totally if I had attempted to get a decent exposure on the torso. The hat was another issue, it’s a light yellow tone, but you can see that it still has excellent texture in the weave of the material, the detail hasn’t been lost due to over exposure. And yet, I can still get excellent shadows to work with on the arms. This image didn’t have too much post, mainly just shadow work, some Smart Sharpening, and basic methods of defining shadow tones over the hands and arms.

Am I Happy

So, the inevitable question, is the Kacey Beauty Reflector worth $150? I’m going with a fully confident Yes. In my estimation and experience so far, the Kacey dish rocks, it produces excellent light, and has so far fulfilled my ambitions and desires for a beauty dish. Should you also get the $150 bracket? As I have no direct experience with it, these remarks might be less significant. However, I do wish I had bought the bracket. If you know how to make a decent bracket then be all means do it yourself. I modified a cheap bracket and it shows in the light patterns produced with different flashes. If this means something to you and you have the money, the bracket appears to be one of those high quality pieces of equipment which is sure to out-last your DSLR. I’m looking forward to using the Kacey dish on studio strobes in the future, either from Elinchrom or Alien Bees, depending on which ones I buy. A grid would also be an excellent addition, and I believe one is in the works from Kacey Enterprises.