A couple of weeks ago, I headed out with cyclist Tim Reinbold to grab a late afternoon and try out the PocketWizard Flex TT5 radio triggers.

Using the dramatic sunset sky as a background, I set up a pair of Nikon SB-800 Speedlights and placed them about ten feet to either side, and slightly behind the subject and shot with a telephoto lens from about 50 feet away. No softboxes or other light modifiers were used, except for the regular plastic dome diffusers on the flashes.

This setup gives the dramatic, 3-dimensional lighting effect that you see in the shot above. With the dome diffusers on, the light scatters and ends up wrapping partially around the subject. Placed closer, it would wrap more. Further away, it would get even more directional and cast stronger shadows. Ten feet away seemed to give a pretty good mix of shadows and wrap.

I triggered the flashes with a set of PocketWizard Flex TT5 radio triggers, one on each flash and one on the camera.

Unlike the regular PocketWizard Plus triggers, which only let you do manual flash, the Flex TT5 radios allow you to make use of TTL flash metering from your dedicated Nikon or Canon flashes.

They’re very easy to use; you simply slide the flash onto the Flex TT5′s hot shoe, slide another TT5 onto your camera’s hot shoe to act as a master, and then fire away.

The Flex TT5′s send the TTL, i-TTL, or E-TTL information between your camera and your flash, and automatically control the output of your flash for normal, TTL exposure. You get TTL flash at radio trigger distances. Pretty cool.

The Flex TT5 radios made a HUGE difference here. In fact, they made this image possible, because if I had to do test shots and run back and forth to change the manual light settings on the flash, I would have missed the light.

In this case, they saved me time, and ultimately, in’t that what we want from technology?

Yesterday at the WPPI trade show in Las Vegas, PocketWizard unveiled their brand new radio trigger, the PocketWizard Plus III Transceiver.

I say Game on!! Why? Because unlike some “new and improved” gear that we often see, where things get more complicate AND more expensive, the new PW Plus III are actually cheaper than the old, long lived PW Plus II radios.

AND, they’re crammed full of new features that are packed into a simple, durable design with an easy-to-use interface.

Here are some of the Plus III features.

32 Channels: First of all, the Plus III operates on 32 channels, instead of the old 4. This means that even in the busiest of working environments, (take note event and wedding shooters,) photographers should have no trouble finding an open channel to use. To switch channels, all you have to do is press a button. Fast. Easy. Did I say fast? Oh, and easy too.

Quad Zone Triggering: This is a brand new feature from PW. Remember all that running back and forth you (or your assistant) used to have to do in order to activate or deactivate remote cameras and/or flashes. No more. Quad Zone Triggering allows you to set up 4 separately controllable zones, that you can turn on or off with those four big buttons on the keypad. (See above.)

Auto Sensing Transceiver: The PW Plus III automatically sense whether it’s being used as a Tx or a Rx, and instantly switch as needed. You can also set that parameter as needed and keep it there.

Two-Stage Remote Camera Triggering: Another really cool feature. When using the PW Plus III to trigger a remote camera, (Requires separate cable) the TEST button on the Plus III acts just like the shutter button on your camera. Press it halfway down and it wakes the camera up to meter and focus; press it all the way to take the shot. As soon as the shutter fires, the camera returns to sleep mode, which saves batteries, especially in situations where you have to pre-place cameras before an event and leave them turned on.

Auto Relay Mode: This mode allows you to use 3 PW Plus III radios to trigger a remote camera/flash setup. The radio in your hands triggers the radio attached to the camera. It fires the camera, and then instantly turns to Tx mode and triggers the flash. Pretty cool!

Long Range: In normal operation mode, the new PW Plus III has a range of 500 meters (1,600 feet). Switch to Long Range Mode, and the workable range of the Plus III is doubled. Using Repeater Mode, you can daisy chain multiple Plus IIIs together for extreme distances, at the cost of slightly slower trigger time.

Backwards Compatability: The question we all want answered, will they work with older PocketWizards? Absolutely. The new PW Plus III is compatible with all PocketWizard radios, as well as all other radios on the same frequency.

Price: The best part is that the new PW Plus III Transceiver is priced at only $139. That’s $30 less than the older, but long lasting Plus II! 

An affordable radio trigger with a host of extremely usable features for any professional, working or enthusiast photographer, so what’s the catch? Only that you don’t have a set in your hands right now! Expected availability is the middle of March.

I am SO getting these things. If you do any kind of remote camera or lighting work, you should too. If you’ve never owned a set of radio triggers, now is the time. Just imagine the creativity. For complete info on this great new device, check out the PocketWizard Plus III website.

Preorder the PocketWizard Plus III at B&H Photo.

Be sure and check out the January issue of Trail Runner Magazine; I’ve got a shot in the 2012 Wall Calendar. The photo is of Anchorage, Alaska runner Ryan Sherman tearing up the trails in his five-finger toe shoes during the fall in Far North Bicentennial Park.

I shot the photo with a Nikon D700, 14mm f/2.8 ED lens, a single bare bulb SB-800 Speedlight fixed to a light stand at camera left about 20 feet away from the subject. Exposure info: 1/100 sec at f/5.0.

I celebrate my birthday today with two great professional notes. First of all, I’m the featured photographer this month in the Photoflex Pro Showcase. As someone who’s been using (and sometimes abusing) Photoflex gear for 20 years, I’m honored to be recognized in the same category with so many other talented shooters.

Also, I’m excited to announce that my first lighting tutorial is now online over at the Photoflex LightingSchool. In this lesson, I break down a skate skiing photo shoot that we did last month in sub zero Alaska weather with the TritonFlash battery powered strobe.

See how I go cold and fast with light at sunset while shooting action. See how the TritonFlash performs in extreme winter conditions. See just how much we suffered and nearly froze solid in order to get the shot. The lesson includes nearly every single detail of the shoot, including location scouting, gear selection, setup, specific exposure information, light placement and overall approach for getting the final image.

Ask most people what they want in a good tripod for shooting landscapes and general outdoor photography and they’ll probably say Carbon Fiber. There’s a reason for this, and not just because CF is sexy. Carbon fiber offers excellent strength to weight ratio and good vibration damping, which is why they build mountain bikes and fighter jets out of the stuff.

Of course, the tradeoff is that carbon fiber is more expensive than aluminum, so when it comes to tripods, most of them cost well over three to four bills, sometimes over a thousand dollars if you want a high end Gitzo.

However, you don’t have to melt your credit card in order to get a decent carbon fiber tripod; here are 3 good, budget models that cost under $250. There are other OK models out there, but in my research, these are the best ones that fall into the “affordable but not cheap” category. If you’re looking for an even more affordable, yet quality tripod, check out my review from the other day, 5 Budget Tripods for Outdoor & Landscape Photography.

1. Manfrotto 732 CY M-Y Carbon Tripod

This is the one I use. In my mind, it’s a great tradeoff between stability, weight, size and price; two pounds, (w/0 head) for around $159.

Not too bad when you consider that the comparable Gitzo model, the GT0531 Mountaineer costs over twice that. I won’t tell you that it’s exactly as stable as a Gitzo when fully extended, but for the price, it’s a great set of legs.

The Manfrotto 732CY has four legs flip lock leg sections and a center column that will extend to 53″ and it closes down to 16.7″. Maximum load weight is 7.7 lbs, which is fine for the camera/lens combos that you’re likely to use when shooting landscapes. (For a head, I use the Giottos MH 1302-665 Ball Head.)

2. Manfrotto 190CX3 3-Section Carbon Fiber Tripod

Another offering from Manfrotto, the 190CX3 isn’t nearly as light as the 732CY, but it will hold a heavier camera/lens setup. With a max load limit of 11 lbs, it will steadily support all but the heaviest camera/lens combos.

Derived from the 190XPROB, which won the American Photo Editor’s Choice award, the 190CX3 uses the same Q90 Quick Center Column that allows it to swing into a horizontal position.

The 3 flip lock legs can be arranged in any one of four angles for wide versatility of placement. Weighing 2.9 lbs, the Manfrotto 190CX3 is a great lightweight tripod that offers excellent stability at a very reasonable price. ($249.)

3. Slik Pro 624CF 4-Section Carbon Fiber Tripod

Slik makes great budget tripods; my first tripod was a Slik and I think that they’re great legs for the money.

The Slik Pro 624CF ($229) breaks the two pound mark, weighing only 1.8 lbs without head. It’s listed as holding 8.8 lbs of camera gear, but people say that it’ll hold 11 lbs find. Max height on the screw lock legs is 44.7″, and the reversible center column allows for extremely low angle and macro shooting.

Travel photographers, take note: The Slik Pro 624CF wins the award for “most packable carbon fiber tripod” – It closes down to only 14″ long when folded. That’s about the shortest that I’ve seen in all my tripod review surfing, which makes this an awesome choice for backpacking or world hopping.

You can’t be a great landscape photographer without a good tripod. Period. Ask any top outdoor photographer. Ask all the great shooters who shared their creative insight in this post.

However, a Gitzo does not a photographer make. You don’t have to drop $500, $700 or more in order to get a perfectly good and workable camera support. There are plenty of decent tripods out there that will hold your camera steady enough to let you capture compelling images of the natural world without breaking the bank.

Here’s a review of tripods in the $90-150 range that are geared towards the outdoor photographer. If you’re looking for a good budget tripod that will still get the job done, consider one of these models. Before going too budget though, remember this: nothing beats a great pair trio of legs. Also, check out 3 Great Budget Carbon Fiber Tripods.

1. Manfrotto 190X PROB 3-Section Aluminum Tripod

Manfrotto has been making great tripods for years, formerly offering them under the Bogen name. The venerable 3001 model, has been redesigned as the Manfrotto 190XPRO and given some great new features that the 3001 lacked.

It’s got three leg flip lock leg sections and a center column that extends to nearly 60″ high, it closes down to 22″, and weighs 4 lbs without head. The leg sections open all the way out for low angle shooting. You can also reverse the center column, which allows you to get your camera nearly all the way to the ground for extreme closeups and macro.

The 190XPRO also features a unique center column that extends and swings in to a horizontal position. This greatly increases options for placing your camera in different positions, and it makes for a great light stand for placing remote flashes, especially for shooting outside portraits.

The Manfrotto 190XPRO ($135) is without a doubt, an awesome utilitarian tripod that will serve you for years, (I still make use of my old Bogen 3001s). It’s not the lightest nor the most compact tripod on the market, but for the money, it’s probably one of the best rock solid camera supports that an outdoor photographer could want.

Note: Manfrotto also has the 190DXB 3-Section Aluminum Tripod, which is essentially a budget version of the 190XPRO. It has screw lock legs instead of flip lock and no padded legs. It’s a half pound lighter and costs around $115.

2. Oben AC-1410 4-Section Aluminum Tripod with Ball Head.

The Oben AC-1410 ($119) even comes with a ball head, which makes this even more budget. It’s ready for action as soon as you take it out of the box.

Weighing in at 3.25 lbs, the AC-1410 folds down to 21″, extends to 60.4″ and comes equipped with bubble level, padded carrying bag and leg warmers on two sections to protect your hands form from the cold.

Another nice feature is the hook on the bottom of the center column, which lets you hang a heavy counterweight, like a pack full of rocks of lenses. This greatly increases stability of tripod.

Unlike some tripods, the AC-1410 does not have retractable spikes in the feet. Certainly not a deal breaker, unless you’re shooting on ice and frozen ground all the time. Not having spikes also means that you’ll never accidentally scratch your nice wood floors.

There’s also the Oben AC-1310, ($99) which has all the same features, but only 3 leg sections, so its collapsed size is slightly longer. (24.7″)

3. Slik Sprint Pro II Tripod with QR Ball Head & Case

My very first tripod was a Slik (I think it was the 444 Sport), and it looked a lot like this, minus the padded legs. It served me for many years, in fact it’s the tripod that held my N90 when I made my famous Sunrise on K2 image.

With 4 leg sections, the Slik Sprint Pro II folds down to 19″, which is pretty compact for a tripod of it’s price range. It extends to almost 64″ and weighs just under 2 lbs.

The legs also splay out for low angle shooting, and the center column, (which unscrews into two pieces) can be shortened and/or reversed, which lets you get your camera down to 6.4″ off the ground for macro photography.

A very solid tripod for the money, the Slik Sprint Pro II ($89) is small enough to fit in a backpack and big enough to support most DSLRs. For under $100, it’s hard to go wrong with this one.

4. Manfrotto 294 Aluminum 3-Section Tripod

Want Manfrotto quality in a simple, budget design? The 294 Aluminum Tripod ($119) just might be your bet. Just three flip lock legs and standard center standard column.

The Manfrotto 290 family of tripods was built with functionality in mind. Larger diameter tubing makes the 294 slightly heavier, (3.9 lbs) but it’s a solid camera support that extends to 66.5″ and closes down to 23.6″. Not much else to say, it’s a basic tripod that’s….um… well, black.

Or, for a slightly smaller and more compact version, check out the The Manfrotto 293 ($99) which only weighs 3 lbs and closes down to 21.9″ 3 good legs for under a hundred bucks.

5. Giottos MT-9251B Aluminum 3-Section Tripod

I’ve got a Giottos QR Ball head on my tripod and I love the high quality Italian workmanship of the thing. I imagine that the same quality goes into their legs as well.

The Giottos MT-9251B tripod weighs 3.2 lbs, folds down to 24.8″ and extends to 64.” It has padded, flip lock legs, and will support 11 lbs worth of gear, which is more than enough for most camera/lens combinations that you’re likely to use in the outdoors.

For $119, the Giottos MT-9251B will get the job done without breaking the bank.

With these 5 options, you should definitely be able to find a set of legs that work for you in your photography. If you want something lighter, check out my review of 3 Ultra Lightweight Tripods.

And as with any tripod, it’s not so much the support that makes for better pictures, it’s that using a tripod tends to slow you down. It gives you time to set up, think and reflect on your shot before taking it, as opposed to just skipping by and snapping away frivolously.

Support this site.

If you do decide to grab some new legs, please consider clicking through these links. It doesn’t cost you anything extra and it helps compensate me for the time and effort that it takes to run this site. Thanks! -Dan

]]> http://danbaileyphoto.com/blog/5-budget-tripods-for-landscape-photography/feed/ 3 http://danbaileyphoto.com/blog/shoot-photos-because-you-love-them-not-because-you-can-sell-them/ http://danbaileyphoto.com/blog/shoot-photos-because-you-love-them-not-because-you-can-sell-them/#comments Wed, 08 Feb 2012 20:08:37 +0000 Dan Bailey http://danbaileyphoto.com/blog/?p=7522 What’s this? A non-adventure, non-outdoor rock and roll photo? Are you sure you’re on the right blog? Better glance up and check the URL. Yep, you’re in the right place, or at least you’re here on the Dan Bailey Photo … Continue reading →]]>

What’s this? A non-adventure, non-outdoor rock and roll photo? Are you sure you’re on the right blog? Better glance up and check the URL.

Yep, you’re in the right place, or at least you’re here on the Dan Bailey Photo blog. I won’t speculate as to whether that’s where you should be.

Back when I worked as a stock photo editor, I’d often get asked by photographers, “What should I photograph?” My answer was always, and continues to be: Shoot what you love. It will make you better.

I promise.

Photographing subjects that fill your soul with excitement, no matter what they are, and no matter if you think they’re marketable, will draw you into the process and drive your creativity. You’ll come up with cool new ideas that you can try out later on “more marketable subjects.”

These are photos of one of my favorite bad ass guitar slingers, Chris Duarte from Texas that I took a few years ago. I shot them because I love rock and roll, and I love photography. Even used black and white film, which I NEVER use in my photography business. I thought it would be a cool thing to do, and it was.

My advice today is to fall outside of your own style and stereotypes every once in awhile and shoot something totally different. Or as one reader, Pete Miller put it, “Shoot passionately, not fiscally.”

You’ll have fun. I promise.

Enjoy the shots.

The rumors were true.

After months of speculation and widespread leaks, the official announcement finally came yesterday for the brand new CMOS FX sensor, dual CF/SD card slot 36.3-megapixel Nikon D800 Professional HDSLR Camera.

To date, this is the world’s highest megapixel digital camera. Image quality is simply outstanding. Take a look at these examples on the Nikon website to see the unbelievable amount of smooth detail, texture and shading levels that this beast is capable of producing.

Of course, as an action adventure photographer, my initial reaction was based around the fact that the D800 only shoots at 4 fps in FX mode. With my D700, I’m used to shooting at 5 fps.) Compared to the new Nikon D4, which shoots at 11 fps, 4 is pretty slow. I was even quoted on Twitter last night as saying, “Where’s the Nikon love for us adventure guys?”

However, I now realize that I was just cranky, hungry and tired. After a good meal and a full night’s sleep, I now have a new perspective on the D800, which is that I simply MUST have this fantabulous new device. After all, I did fine for years with only 4 fps, which is all the Nikon N90 had, and besides, for me, it’s often about moment, and not just frame rate. Also, if you look at the specs, you’ll see that the D800 is actually lighter and more compact than the D700, which indeed makes it the ideal fast and light adventure camera.

However, this is all back seat stuff. What really matters is not a few ounces shaved on the housing. Nor is it the exact number of frames that I’ll be able to capture of the mountain biker as he flies past me, nearly careening into me and sending us both into the trees because I got just a hair too close in my drive to get the ultimate shot.

No, what really matters, for me and for you, is the absolutely stunning image quality that the D800 will produce. We’re talking about a level of sharpness and detail that has never before been seen on a 35mm camera. We’re talking medium format quality in a box that you can take out on the trail with you. We’re talking game changer here. Hello future.

Of course, to be honest with you, I’m a little scared terrified by the D800. Why? Not because I’ll have to start buying more hard drives to store 36.3MP RAW files, but because this will be the first HDSLR that I will own in my life.

The D800 does 1,930 x 1,080 Full HD movie capability with stereo sound, and I’m scared that I’ll like it. I’m scared that I’ll be good at it, and since I already have a degree in audio engineering and music production, as well as the tools and inspired creativity to potentially write music and score video, I’m completely and utterly afraid of the amount of time that I know will be required to even begin to dabble in that sort of thing. I fear the ideas that I know will start flooding into my head as soon as I pick up the camera because I already don’t have enough time to do everything I like to do.

However, I refuse to worry about that right now. To me, what matters is that the D800 is an incredibly powerful, next generation image making machine that will do everything the D700 does, only better. Except for the frame rate thing, of course. I see this thing being the total ultimate camera for outdoor photographers who want the best quality from their work.

I plan to get one as soon as they’re released, and can only begin to speculate about how the complexities of brilliant, forceful, end of day sunset light and the gentle palettes and smooth transitions of diffused softbox light will look in 36.3 megapixels. And as far as the fps thing goes? Well, I’ll just have to wait, or else buy a D4. Wouldn’t mind having one, just don’t want to hike with it.

I can’t wait. Street price on the D800 will be $$2,999.95 and it will be available in late March. Just in time for Spring.

Check out my friend Photo John’s writeup and detailed D800 feature list at PhotographReview.com.

Want one? Pre-order your Nikon D800 at B&H Photo here.

So what’s the best lens for shooting portraits?

That’s like asking what’s the best day of the week for eating dessert. Sure, there are hard and fast rules about this kind of thing, but if you’re like me, you scoff at rules and throw them out the window, because you believe that they don’t apply to you.

The short answer is, of course, all of them.

As with any photographic technique, which lens you should use to photograph people largely depends on a few important factors: Your own creativity, how you want to show your subject in relationship to the environment, what lens you happen to have with you at the time.

Wide Angle Lenses

I’m a huge fan of shooting portraits with wide angle lenses, as are many pros. They allow you to get in close to your subject, and still include a large amount of the environment and setting around your person. Wide angle portraits are about telling the story, not just showing a person. They’re also great for shooting portraits inside, or in confined spaces.

In fact, if you were ever to take a course called “How to shoot environmental portraits,” the first thing they’d tell you would be to break out your wide glass. While I’ve used my Nikon 14mm f/2.8 quite a bit for portrait work, my 24mm f/2.8D probably sees the most use for wide angle people shots. It’s small, compact, light and is pretty light on distortion at the edges.

Normal Lenses

Normal lenses rock for portraits, because they’re light, fast and have a very shallow depth of field. (Also great for shooting inside.) They make your subject pop against a slightly sharp background. Notice the difference in focus between the aviation portrait above and below. The 50mm lens gives the background just a little bit of softness to help isolate the subject.

Even the kit lenses that come with many cameras fall into this category. They might not be as fast as something like a 50mm f/1.8D, or the new Nikon AF-S 50mm f/1.8G lens, but with the same range of focal length, they can certainly give you good results.

Short Telephoto Lenses

Traditionally, the short telephoto lens, (around 85-105mm in range), has always been considered the ideal lens for photographing people, because it does two things:

With an inherently shallow depth of field, it gives you an even softer background which helps to isolate your subject in sharp focus from the rest of the subject matter in the frame.

Also, the telephoto lens slightly compresses perspective, which renders the human face in a very appealing way. As it was explained to me years ago in a workshop, our ears are too far back on our head, and a short tele flattens our features just enough to make us look good. My short telephoto of choice these days is the Nikon 85mm f/1.8, because for a lens of that range and speed, it’s exceptionally lightweight and compact. Nikon also has their new AF-S NIKKOR 85mm f/1.8G Lens, which gets very high marks from users who love its faster, silent wave motor autofocus capabilities.

Long Telephoto Lenses

As much as a short telephoto isolates your subject from the a soft focus background, a longer telephoto does it with even more drama and effect.

I actually use my 80-200mm f/2.8 lens a great deal for portrait work, because it lets me fill the frame with the subject from a longer vantage point, and because, frankly, that’s what I often have on the camera at the time when I’m shooting action and sports.

So, go ahead. Break the rules. Exercise your creativity and try shooting portraits with all of your lenses.

How’s this for a deal?

Right now you can get ALL 3 of my photography eBooks for only $17.

I’m offering this limited time deal through PhotoWhoa.com, who has bundled together all three of my books at a 48% discount off of the regular price.

This offer is only good through February 7, and it will likely happen again, at least not any time soon.

How to Become a Pro Photographer

You want to take the next step from amateur to pro, but you have no idea how you can start earning a living from photography. This e-book answers many of your questions about the industry and the business-side of photography.

With this e-book, you will learn the ins and outs of the photography business. This book isn’t about how to take better photos, it’s about taking your hobby into a full-time career. This is the book to read if you need to know about the business and logistics side of a photography career.

Making the Image

Making the Image is a conceptual guide to have you thinking outside of the box so you can start creating beautiful images. With this guide, you’ll be able to learn how you can take beautiful photos in order to create true emotional impact with your audience.

Bailey utilizes beautiful imagery from his own portfolio so you can easily grasp the concepts that he’s teaching. For your convenience, the book is horizontally formatted, making it easily readable on computers and iPads.

Going Fast with Light

Going Fast with Light teaches you the nitty-gritty technical details so you can properly use your tools to take better photos. Specifically, you’ll learn about using off-camera flash in outdoor settings, where even the best photographers have trouble against the elements of nature.

With the techniques used by Dan Bailey, you’ll be able to efficiently take control of lighting situations even when you face great challenges such as the sun, and you’ll be able to do it without having to lug cumbersome, heavy lighting equipment.

Click Here to Get All 3 of These eBooks for Just $17

Again, this offer ends on February 7. Consider signing up for my Adventure Photography Blog Newsletter to stay informed about future deals and get exclusive content delivered right your inbox.