Last weekend, the theme in our Facebook group was “Monochrome.”  I asked our members to comment about their feelings on Black and White photography.  Here are a few of their responses:

I love the timelessness of B&W.  It strips away any pretense and you’re left with the raw subject, in all its glory. I am a lover of colour but I am in awe of B&W imagery, when it is well done.  — Lori Maloney

I love B&W. They are all about the light and composition. I find that you can convey so much stronger emotion with B&W. Color can distract easily. Though I do find that my clients and fans tend to like color images more.  — Jamie Head

I prefer working in B&W as I find it gives me more options in post, especially if you push the lighting further by changing contrast or adjusting what colours go to light and dark shadows. — Gary Antcliffe

I have a fast growing love for B&W. You cannot hide anything in B&W. There is just your subject and the light.  — David Caldwell

I feel that B&W/monochrome is best for showing the more dramatic works of portraiture to allow the viewer to focus on the art without getting distracted by colors. — Marlene Lebel

Personally I find B&W great to remove the distracting stimuli from the image; it leaves just your focus and intention in the result. Get it right and it sings.  — George Turner

When I want to create something dramatic, I always think how it will look in B&W. I love B&W and especially grainy.  — Michael Healey

I would be happy shooting in B&W forever. I love it. Monochrome just seems to have a mysterious mood to it that speaks to me.  — Martin Howard

Color surrounds us each and every day, it races by us on the freeway and highways, it’s plastered on billboards, it’s on every uniform of our favorite teams. Then nothing stops me in my tracks, like seeing an Ansel Adams B&W or the “Kiss” in Times Square. The stark shadows of a Film Noir-style portrait or “Old Hollywood” Glamour.  B&W packs a punch, in the world of color of our daily lives. B&W photography has impact, of a era gone by, that stands the test of time.  — James Shortridge

It is interesting to ask ourselves whether color is essential to the success of the image. Sometimes it is not, and a conversion to B&W will present a more powerful story. Other times, color is part of the story. I always shoot in color to have both options available in processing.  — Jeff Kauffman

Michael Zelbel returns with his new book, The Art of Baby Belly Photography, in which he covers the popular topic of maternity portraiture.  If you’ve been doing family portraiture and/or weddings for awhile, you’ve probably been asked about this.  In fact, my boudoir photography clients often returned for maternity portraits, then newborn, then baby and family photos.  You can start exploring the maternity market, or learn more about it with Zelbel’s new book.  Why would you need a reference for this type of portraiture?  Zelbel makes a very good case for it:

A photo shoot with a pregnant model is not something you can wing and conduct by trial and error. There are a lot of things to keep in mind: the comfortable and uncomfortable poses, ideal lighting setups, the model’s limited endurance (ever tried to carry a baby in your belly?), flattering and unflattering clothes and so on. You need to know what to do about all of the elements described above before you can breeze through a shoot with confidence.

If you try to make it up as you go along and approach the creative process like you would any other photo shoot, you will most likely do a poor job and endanger the model’s health. She can’t afford to stand or move about while you figure out the latest posing or lighting trick you want to try; she’s pregnant, remember?

The Art of Baby Belly Photography doesn’t just offer solid lighting tips, but also provides some insight into preparation, the pregnant client’s concerns, the choices  you’ll make in your approach, posing, clothing, and cliché vs. creative shots.  If you’re a fan of Michael Zelbel’s teaching style, you’ll really appreciate this one.  I should mention, just as he does on the info/ordering page for The Art of Baby Belly Photography, this book does contain some nudity, and isn’t for everyone.  You can find out more here >>

(This is a promotional blog entry.  Ed Verosky receives a portion of the sales for this product.)

My new book, Basic Lighting For Portrait Photography, has just been released.  I believe this is an important learning guide for any photographer interested in better lighting.  It’s been designed to quickly walk you through several lessons which will allow you to create sophisticated lighting from day one, and you’ll learn more each step of the way.  You can start from anywhere in the book and use any of the setups right away, but I suggest going through each chapter in order, learning a fundamental technique and building upon it as you progress through the book.

Each setup, each example adds more to your understanding of professional photographic lighting.  The text is straight to the point without the verbiage and discussion of lighting theory of other books.  The lighting diagrams I’ve created are so easy to understand you’ll get it the moment you see it!   More info is available here:  Basic Lighting For Portrait Photography.

Lots of helpful diagrams.  I believe my 3D diagrams are among the best, and easiest to understand, in photography instruction.

I’ll show you how to use simple light to get impressive results right away.

You’ll see what works, and how to create it yourself.  Straight, out-of-camera examples.

Get more info at: Basic Lighting For Portrait Photography.

If you’re into the retro look, but not into/don’t have access to film, this just might be your camera. It’s traditional look hides its sophisticated electronics, which includes a 16 MP sensor, hybrid optical and electronic viewfinder, and full 1080p video ability. It also boasts a much-improved manual focus over its predecessor, the X100.

Rent it here.

I’ve been following this guy on Instagram for quite some time.  I’m constantly amazed by his work. Scott Strazzante, street photography hero.

Here’s a video piece MediaStorm did on Strazzante in 2008 >> Common Groud

Just wanted to share this with you.  There are so many self-proclaimed photo gurus out there pushing their workshops and books and blogs and “critique shows,” but have they really earned the hero-worship bestowed upon them?  That’s for you to decide.  As for me, I’d rather listen to a true artist like Frank Okenfels talk about anything photography.  This is where it’s at.  Thanks, camerabag.tv, for making this available.  Still love watching this.

I’m proud to announce that I’ve recently co-authored and released a new book for the hugely popular David Busch series of photography guides.  David Busch’s Guide to Canon Flash Photography is a comprehensive reference for any photographer interested in working with the Canon flash system.

The book is available through all major booksellers and online at Amazon.  David and I cover everything you need to know to get up and running with Canon flash, from the basics of using your flash on- and off-camera, to lighting theory, to detailed information and instructions on several of Canon’s most popular flashes.

Table of Contents:

1. Canon Flash System.
2. Quick Start to Canon Flash.
3. Shooting Modes and Flash Modes.
4. Flash Theory.
5. 270EX II.
6. 320EX.
7. 430EX II.
8. 580EX.
9. 580EX II.
10. 600EX-RT.
11. Flash Gear and Accessories.
12. Wireless Flash Basics.
13. Using Wireless Flash.
14. Indoor Flash.
15. Outdoor Flash Photography.

To see more about this new book and for ordering information, you can click this link to Amazon.  Or pick up a copy at your local Barnes and Noble.

As photographers, we like to think we bring a certain personal creativity and style to our approach.  Finding your own way of doing things, your own way of seeing, is definitely something to strive for.  At the very least, you should get out of the way when it’s happening.

But rarely is a unique approach totally unique.  It might be unusual, or unpopular, or hard to reproduce, but it’s probably been done before.  Much of the most creative work we do is simply a matter of taking what’s come before and re-inventing it, building upon it, maybe just paying homage to it.  After all, what makes much of art so great is the fact that we can relate to it somehow.  Those things that have been seen before, in our own lives and the dramatizations of our lives, (what we recognize and associate with our own personal experiences) give us a reference point, if not just a feeling of familiarity and connection.

Recognizing the Potential for Exploration

Danielle, a young actress, and I had a discussion about some of the characters of the Blaxploitation genre of the 1970s.  When I mentioned Foxy Brown and Cleopatra Jones (who happens, by the way, to be the subject of a mural on the entire southern wall of Two Boots Pizza, a joint I frequent on the Upper West Side), she looked at me like I must be confused.  “You mean Foxxy Cleopatra from that Austin Powers movie (Goldmember, 2002)?”  I explained that Beyoncé’s character in the film was a sort of parody of the bad-ass women of a certain movie genre way before her time.

I also mentioned Quentin Tarantino (currently riding the success of his Spaghetti Western inspired, Django Unchained) and his previous references to various film genres which include characters reminiscent of stereotypical 70s film heroines.  A few days before, I’d heard an interview with Tarantino on NPR’s Fresh Air with Terry Gross.

He spoke about his early introduction to African-American culture:

“[My mother's] boyfriends would come over, and they’d … take me to blaxploitation movies, trying to, you know, get me to like them and buy me footballs and stuff, and … my mom and her friends would take me to cool bars and stuff, where they’d be playing cool, live rhythm-and-blues music … and I’d be drinking … Shirley Temples — I think I called them James Bond because I didn’t like the name Shirley Temples — and eat Mexican food … while Jimmy Soul and a cool band would be, you know, playing in some lava lounge-y kind of ’70s cocktail lounge. It was really cool. It made me grow up in a real big way. When I would hang around with kids I’d think they were really childish. I used to hang around with really groovy adults.”

Anyway, talking about these types of characters and how they’ve been depicted and re-depicted got us to experiment with how they might translate into today’s look.  A few shots later, we had some idea.  A little post-processing and there it was; our combined effort to reference a genre and make something of our own.

Where commercial portraiture is concerned, I can understand how important it is to essentially reproduce the look of your own recent work, and in many ways, the work of other contemporary portrait photographers.  A client commissioning you for a family portrait isn’t expecting a surprise or some interpretive representation, at least not usually.

But hopefully, you’re not limiting yourself to the demands of your clients, or anyone else.  Experiment with other points of reference, with other visuals and perceptions.  Explore through your subjects’ and your own imagination.  See where this process takes you.  What you find could transform your work in general.

Direction & Quality of Light:  Your Key to Better Portrait Photography Anywhere (Amherst Media) is now available!  My good friend Neil van Niekerk’s newest book has hit the shelves.  Here’s the official description of what this new one’s all about:

Providing readers with a study of learning how to turn poorly lit images into finely crafted, masterfully lit photographs, this guidebook instills photographers with the self-confidence to think on their feet and photograph any portrait subject anywhere. Acclaimed photographer Neil van Niekerk presents seven distinctly different lighting scenarios—available light, exposure metering, a touch of flash, bounced on-camera flash, off-camera flash, video light, and hard sunlight—to show readers how to manipulate the direction and quality of light, the subject’s and photographer’s position, and numerous other variables so as to turn a bad image into a stunning, professional-level portrait. Packed with dozens of instructional, full-color photos, this work also features 10 sample photo sessions, allowing readers the opportunity to see the seven lighting scenarios put to practice.

Make sure to also check out:

• Off-Camera Flash Techniques for Digital Photographers and
• On-Camera Flash Techniques for Digital Wedding and Portrait Photography

• Lori Maloney of Bella Faccia Photography shares her experience with self-portraiture.
• And to continue with this topic, 101 ideas and inspiration for unique self portraits. Also good if you need to update your Facebook profile picture.
• Some beautiful pictures from the celebration of the Lunar New Year.
• This is an article from Cambridgeincolour.com explaining the differences between a camera lens and our eyes. A very interesting read.
• An interview from a while back with Joel Grimes, a fashion photographer who’s “off camera lighting techniques are fearsome, mind-blowing, and just pure awesome.”
• For anyone interested in having a little fun with a Holga.

• An interview with Peter Reed Miller, a Sports Illustrated Photographer talks about how he got into sports photography and what’s in his bag!
• An in depth, over-analysis of From Here to There: Alec Soth’s America.
• Photographer Carra Sykes’ fun ongoing project exploring the bond between mother and daughter; a little inspiration for new projects.
• Just for fun: How to turn your smartphone into a photo projector for $1
• Pretty Girl Shooter discusses some cons to shooting with pro gear.

One of the things photographers often struggle with is the challenge of creating a reliable off-camera flash setup.  If you’re reading this, you’re probably already aware of the benefits of off-camera flash photography versus using only a flash that is mounted to the hotshoe of your camera.  In this article, I’m going to briefly discuss some of the methods used to trigger remote/slave flash units.  If you’d like to read more about setting up your flash units on light stands, using light modifiers, and proper positioning for portraiture, please grab a copy of my free eBook, Mini-Guide to Off-Camera Flash (also available when signing up for my free newsletter).

There are several ways to trigger one or more remotely positioned flash units. However there are big differences between each method with regard to effectiveness and functionality.  For example, one thing that often comes as a surprise to photographers who are new to off-camera flash is the fact that through-the-lens metering (TTL) and automatic flash output control aren’t available in every scenario; some of these solutions require you to use manual camera and flash settings.

Here’s a breakdown of the major off-camera flash syncing methods:

E-TTL II and i-TTL
If you use either the Canon or Nikon flash system you’re probably familiar with their respective versions of automatic flash exposure control (E-TTL II and i-TTL/CLS).  Essentially, these systems allow the camera and flash to work together to maintain proper flash output.  Each time the shutter release button is depressed, and just before the shutter is released, an almost imperceptible preflash is fired allowing the camera to calculate the flash output necessary for the actual exposure.  When the flash is mounted to the camera, the camera sends communication signals to the flash via electronic contacts located on the camera’s hot shoe and on the foot of the flash.

What’s great about these systems is that some of the flash units can, aside from their ability to fire a preflash, also send E-TTL II or i-TTL control signals to remote flash units via flash pulses.  This means that higher-end flash units and some built-in flash units can serve as “master” flash controllers to remote “slave” flash units.  These systems can work great in normal shooting situations, especially indoors, but can suffer from spotty signal reception where there are line-of-sight obstructions or very bright daylight conditions to compete with the signals.  What’s also interesting to note, is that even though these system were designed to make automatic flash output control possible with remote units, they can be used to trigger flash units set to manual mode giving the photographer more precise, direct control over flash output.

Canon and Nikon have other ways to control remote units using their proprietary flash systems, including dedicated sync cords, special transmitter units and Canon’s new radio transmitter/receiver capabilities of the Speedlite 600EX-RT and the ST-E3-RT unit.  Radio options eliminate the line-of-sight limitations of the standard E-TTL II and i-TTL light pulse communications between master and slave units.  Although Nikon does not currently have an integrated radio solution, as you’ll see later, other companies have provided work-arounds for native optical transmission.

Canon’s ST-E2 is only one way optical wireless transmission can be achieved for E-TTL II communication between camera and remote flash units.  Built-in flash (integrated Speedlite transmitter), and the 580EX, 580EX II, and 600EX-RT can all control remote units.  Similar solutions are available with Nikon.

Radio Triggers
Although Canon has a new radio transmission solution to the line-of-sight problem associated with the optical wireless transmission of E-TTL II signals, third-party radio solutions have been available for quite some time.  RadioPopper, PocketWizard and others have come up with ways to capture and relay the proprietary signals from Canon and Nikon cameras to their Speedlite/Speedlight units.

But if you’re less interested in automatic flash output and exposure control, and would like to focus more more on manual flash shooting, there are plenty of good solutions out there to make off-camera flash really work for you. These solutions won’t allow you to use E-TTL II or i-TTL to manage your flash, but they will allow you to trigger flash units from the camera position. Of course, you’ll have to manage flash output via the flash units themselves (this is possible with flash units that allow you to adjust and set their output levels).  Things like lighting ratios and other elements of flash exposure will have to be managed by you, but it will allow you full control over your lighting, which can ultimately produce amazingly consistent results.

There are many basic radio triggering solutions available for non-TTL applications, including the PockeWizard Plus II, and other PocketWizard models, and many low-cost triggers from other manufacturers.  One note of caution:  before investing in a set of radio triggers, make sure you do your research and look for models with good reviews.  A lower-priced set of radio triggers might sound like a bargain until you’re having to deal with frustratingly unreliable flash syncing.

PocketWizard Plus II attached to a hot shoe adapter.  The flash unit will mount to the hot shoe adapter and will be triggered when this PocketWizard receives the “flash” signal from the matching PocketWizard mounted to the camera.  The umbrella bracket shown is what I typically use to mount my flash to a light stand.

PC Cords
While not a wireless solution, and certainly not E-TTL II/i-TTL compatible, the PC cord (having nothing to do with “personal computers”) is a quick and easy way to sync your camera to a manually set flash unit located somewhere away from the shooting position.  If your camera has a PC connector terminal or a hot shoe adapter that provides this type of connection, you can plug a PC cord into it, and plug the other end to a flash with a similar connector or adapter.  PC cords with the screw lock feature are less prone to accidentally detaching from their terminals than their more basic counterparts, but they still have a reputation for unreliability.  This, and fact that they’re a wired solution, makes them less flexible and more prone to accidents and failure. Also, it’s not always possible to reliably hook up more than one flash unit at a time using PC cords.  The one advantage a PC cord (or any simple cord connector) has over optical wireless transmission is that there is no line-of-sight signal problem to contend with.

Canon Speedlite 580EX II with PC cord (locking screw type) connected.  If your flash does not have a built-in PC terminal, you’ll need a PC cord adapter that mounts to the foot of the flash.

Optical Slaves
If you’re looking for a very simple low-budget wireless solution for syncing any number of manually controlled flash units, optical slaves might be a good option.  These are typically small units that connect to your flash, either directly or via a hot shoe adapter.  An optical slave flash trigger is  essentially an “electronic eye” that responds to the flash burst from a “master” flash by sending an electric signal to the flash it’s connected to, causing that flash to also fire.  So, when you take a picture and the flash connected to your camera fires, each remotely positioned flash, equipped with an optical slave, will also fire.  This happens instantaneously so all flash units contribute to the exposure.  There are a couple of important things to be aware of when using optical slaves:

1. Do not use E-TTL II/i-TTL or any automatic feature that creates a preflash or otherwise uses a connected flash for anything but the actual exposure.  Since any flash-type pulse of light will trigger a standard optical slave, the remote flash will likely fire during the first pulse it sees. In the case of preflash, the optical slave will react to the preflash, causing the remote flash to fire and end milliseconds before the shutter opens. Of course, this means the remote flash won’t fire during, or contribute to, the actual exposure.  Some optical slaves are designed to take preflash into account, ignoring a first pulse, and triggering on the second pulse (presumably the flash of the actual exposure). These however, have received mixed reviews from users.  It’s just best to set the camera for manual flash when using optical slave triggers.
2. Make sure your use an optical slave that is compatible with your specific type and/or brand of flash unit.  When using Canon Speedlites, for example, it’s recommended that you attach optical slaves that are explicitly compatible with the EX series of flashes.

Canon Speedlite 430EX II mounted to a PC connection adapter with Sonia brand optical slave attached.  This optical slave is compatible with EX series flash units.

Of course, there will still be a line-of-sight limitation, as with any optical wireless transmission/reception solution, but, again, you won’t have a problem with most close-quarters indoor shooting because even if your optical slaves aren’t directly in-line with your master flash, they’ll likely pick up the light pulse as it bounces off other surfaces (i.e. walls).  Outdoors during bright daylight, might be more of a challenge.

The method you decide to use for triggering off-camera flash units for your work is going to depend on your budget and working style.  Naturally, if you are not comfortable or willing to work with manual flash and camera settings, you’ll have to use a method and gear compatible with your system’s automatic flash control.  However, I encourage you to explore manual off-camera flash solutions, too.  These will not only help you gain more control over your lighting, but also give you the option to use basic triggering should a more sophisticated method fail.

You can read more about these technologies and their applications in the new book I co-authored with David Busch, David Busch’s Guide to Canon Flash Photography.

Podcast (Audio only):

Interview with Rico Elvina, a photographer and photo assistant in NYC. This is a very honest and candid interview about what it’s like to start your career as an assistant. Subscribe to download our podcasts on iTunes.

What we talk about:

• The roles of various professionals on a shoot
• The challenges of getting in
• Is assisting a good place to start?

A photograph by Rico Elvina

One of the things you’ll often have to deal with when using flash is the color temperature difference between your flash and other light sources in the scene. At slower shutter speeds, ambient light sources will show up in your images, so you have to make choices about how, or if, to handle them. Household tungsten lighting (in the 3200 range of the Kelvin scale), for example, is much warmer than standard flash (closer to 5500 K).

In a scene where you’re mixing indoor ambient light with flash, the ambient light can tend to appear orange. If you like that as an effect, you can leave things as they are, but if you’d like to balance the colors of the flash and ambient light, you can do this by placing a Color Temperature Orange (CTO) gel over your flash head. There are several ways to attach a gel to your flash head; including a simple solution by Ian Pack.

Ian sent me a couple of his Gel Clip products to review and I generally like the simplicity of the design. The Gel Clip is a molded piece of clear acrylic that can hold a gel in place over the flash head. The accompanying literature suggests using the Rosco Strobist Filter Kit but keep in mind that those gels are about a centimeter shorter than the face of the holder.  If the gels are not positioned in the just the right way over the actual face of the flash head, or if the filter slips a little, a part of the flash illumination might not be covered by the gel.  I found that the process of securing the Gel Clip to a flash head to be a bit clunky and it feels like the attachment might easily slip off, but in actual use, it’s very unlikely; it stays on unless you slip it off intentionally.  Finally, you should be aware that the Gel Clip is best used with standard-sized flash heads.  It won’t fit well over smaller units.

The Gel Clip and Velco-style strap.

Gel Clip attached to a Speedlite 600EX-RT flash unit.  Note the orientation of the Clip.

Gel Clip attached to a Speedlite 320EX flash unit.  This is about the smallest size flash head the Gel Clip will work with.  But notice I’ve had to mount it upside-down in order to secure it to the flash head.  You can also see the difference in size between Rosco filter and the Gel Clip face.  Gels are available in other sizes, of course, and can even be cut to fit the entire face of the Gel Clip if necessary.

Ian Pack wanted me to tell you about two resellers who are offering special discounts on the Gel Clip:

• Jack The Hat – shows price in US Dollars, will need to use discount code VRK9NU
• EOS Magazine – prices with discount applied. a very good custom set of colored Rosco gels

Just the other day I received a letter from woman who said she was offended by some of the illustrative (example) images in my book, 100% Reliable Flash Photography.  It’s not the first time I’ve received comments of protest over my photography, or discussion of it, and I’m sure it won’t be the last.   But one thing I’ve learned over the years is that people tend to see what they tend to see; or what they expect.  Whether it’s an ink blot test, or a photograph, or the expression on someone’s face, the world is open to interpretation.

Case in point:  After I mentioned this woman’s criticism and asked anyone in my Facebook group if they had any thoughts along these lines, I was informed by one woman that these two images (below) might stir up bad feelings with any female photographers who’d been raped or tortured in the past, and that my using them in the flash instructional was possibly a bad move.  Uh, you can imagine how that might have made me feel.

The first one had been described by the critic as a women in a blindfold who’d been tied up/bound.  The second as a women who’s being attacked and trapped.  In the critic’s defense, I think she was trying to play Devil’s Advocate, looking for a way to “see” the original critic’s point of view.  But I was surprised, probably because I saw these two images as I do most of the images I make featuring women; I feel I’m creating images showing strong women in control of their own bodies, their own sensuality.

The first image above doesn’t contain a blindfold, but a length of lace fabric the model and I thought of as an impromptu “mask.”  The pose, to me was more reminiscent of Madonna’s True Blue album cover than someone in peril.  The second image is supposed to come off like a performer being “caught” by the paparazzi; a statement on how a star often pretends not to want to be photographed when her “people” probably called the photographers in the first place (yes, this happens).

Here’s another shot from the same lace mask set.  This one definitely comes across as a woman in control of her own situation to me, if not about to be in control of her counterpart, too.

I realize that while I may be a little uncomfortable with some of the ways that some of my work is viewed, I can’t do much about it except stop working.  Of course, I’m not going to do that.  That’s like telling me to stop talking, or breathing.  As a matter of fact, much of my work is intended to get a reaction or make people question something about themselves or the world around them.  I guess it’s just a little off-putting when I’m accused of being insensitive in the context of my instructional material.  And as one supporter put it, as I am reaching an ever-wider audience, I’ll inevitably hear from the fringes.

Overwhelmingly, I’ve received positive comments from both men and women.   I’m glad that 99.9% of the people get it.  Thank you.

Here’s an iPhone shot from earlier today.  I think I like it for how ambiguous, and open to interpretation, it is.  This one’s about artistic expression.  In this context, you can accuse me of whatever you want.

That elusive quest for one’s own photographic style, it’s not easy to find it looking forward, in my opinion.  But there are plenty of people willing to sell you the idea that you can forge it through some kind of effort, where style is a marketable goal.  If by “style” we mean a recognizable signature; a look that represents your own personal vision of the world through images, I don’t believe it’s something you can simply create.

I’m guessing most of the iconic photographers I’m drawn to never really considered developing their style as much as recognizing it after some time went by.  I believe a constructed or deliberate approach can result in a recognizable look, but just as you have to let go of what you think other people expect out of your work, maybe you have to let go of what you expect in order to find your true style.

Your photography is a record of your living, for anyone who really sees.  You may see and be affected by other people’s ways, you may even use them to find your own, but you will have eventually to free yourself of them.  That is what Nietzsche meant when he said, ‘I have just read Schopenhauer, now I have to get rid of him.’  He knew how insidious other people’s ways could be, particularly those which have the forcefulness of profound experience, if you let them get between you and your own vision. — Paul Strand

Profound experience, is one thing, but even some young photo gurus who’ve yet to discover themselves or what life is really all about are often charismatic enough to sell you on the idea that they’ve got the answers to your photographic vision quest.  My advice, learn your technique, practice by recreating work by others, then shoot what feels right to you.  This process takes a few years, but at some point your style emerges.  If you’re true to yourself, that style will be distinct and undeniable.

Image:  My friend, Holly.  Taken 20 years ago with a second-hand 35mm film camera.  I couldn’t imagine developing a style back then, but I can certainly see one emerging over time as I look back.  I see common threads even in my recent work.  Is it especially distinct from others?  I don’t know.  But I feel that if it’s not, it’s probably because I haven’t completely let go of whatever it is that’s holding me back.  So, I feel that letting your style shine through is about listening more to yourself than anyone else.

Check out Taking Your Portraiture to the Next Level.  I think I’ve offered some good advice on this subject there.

Michael Zelbel’s got a new issue of Good Light Magazine available for download. And I’m featured in a spread that provides a rundown on several of my free video tutorials (including embedded video clips). You can download this latest issue for free as an app for your iPad.

I have to say that I was blown away by this latest issue. It’s packed! I’ve always been into ebooks, but I’m not a big “magazine on my iPad,” kind of guy, but this one started turning me around. Even if you don’t think this kind of thing is for you, at least check it out to see what you think of the medium and the articles. If Newsweek magazine has decided to go this way, I think this is probably the future, and Michael Zelbel’s got a good handle on how to present magazine content through iTunes.

Follow these steps to claim 3 months of free access, which allows you to download the current issue free of charge. This free subscription does NOT turn into a paid subscription or obligation of any kind.

Please note that in order to download the app, you must do so on your iPad or your computer (not on your smartphone):

1. Go to the magazine’s page in the iTunes App Store: http://GoodLight.tv
2. Install the free magazine’s app
3. Open up the magazine in your iPad Newsstand & click on ‘Subscribe‘
4. Tap on ‘Current Subscribers‘ & type in this current subscriber code: glmag856 (the second character is a lower-case “L”)
   

The free subscription terminates after 3 months, so if you are fast and you do it right now, then you can download the current and also the next issue of the magazine for free.

Good Light Magazine featuring Ed Verosky tutorials and embedded video clips.

Film, filters, chemical processing, and paper used to be the determining factor in the overall look and texture of an image.  Digital changed all that so long ago that even many of us old pros don’t make the comparisons between the old darkroom and the digital one anymore.  The look of our images is determined initially by our choices during the actual photography, then altered in substantial ways by our post-processing in Lightroom, Photoshop, or some other image editor.

Like so many others, I’ve been through phases where one or another basic look or effect appealed to me so much that I used it regularly, but eventually started to get bored with it or grew to dislike it.  An eventual backlash will happen when something is overused or becomes cliché.  Digital punch and crispness can only be appealing as long as it’s new.  And Instagram effects are cool until you see the same ones used over and over until the nostalgia they elicit simply becomes the latest vintage effect that gets old and boring.

I’ve decided to take a recent image and create some examples of a few of the post-processing techniques I’ve used over the years.  Actually, it’s fair to say that I still use these to some degree but I’m just not as obvious about it anymore.  And maybe that’s the lesson; subtlety and moderation can go a long way when it comes to post.

Image #1:  This is the image that I am happy with.  Basic retouching for skin and flyaway hair.

Image #2:  A basic black/white conversion in Lightroom.

Image #3:  Selective color is something I really do not like.

Image #4:  The vignette is my vice.

Image #5:  Yes, you can bump up the saturation with ease.  But should you?

Image #6:  Super-saturated, glowy overlay.  The lazy skin fix.

Image #7:  Heavy retouching.  Too plastic for my taste, but I used to do it often.

Image #8:  White vignette and over-exposing the skin to blow out the details.  Meh.

Lately, I’m much more interested in subdued colors and sharpness without the bite.  I don’t want my images to look necessarily like film photography, but I don’t want them to scream “digital” either.  So, I continue to refine my personal taste and execution.  Moving back and forth, looking for that balance.  That’s part of the discovery process.  We outgrow the things we get too familiar with, but we never outgrow the classics and the fundamental aesthetics that we seem to always go back to.

A reader wrote to me to ask about light drop-off when using umbrellas as described in my ebook, 100% Reliable Flash Photography. Although the topic of drop-off isn’t really covered in the book, it’s a good one to discuss. The question had to do with how I was able to avoid lighting up much of the environment (especially the background) while getting plenty of light on my subject.

Because many of the examples shown in the book were created using large (approx. 43″) shoot-through umbrellas and powerful flash, you’d think that the light would spread and bounce all around the room. The thing is, it does. But that doesn’t mean everything in the room gets the same amount of illumination or exposure. As distance from the light to an object increases, the intensity of that light drops-off dramatically. The principle is explained in this video. And that’s why, in photos like this, you don’t see the subject and the background with the same amount of brightness:

Of course, even if you decrease the distance from the light to the background, it can still appear darker even though there’s actually more light hitting it. How? Well, as long as you you decrease exposure, for example by using a smaller aperture (higher f-stop number), and don’t move the light close enough to the background to make up the difference, you’ll force the background to become under-exposed; it will look darker.

In our example below, as I move the light closer to the subject it becomes more intense on the subject. This means the subject will require a smaller aperture for a proper exposure. Again, the subject gets a brighter burst of flash, so we need a smaller aperture.

And although I’m also moving the light closer to the background at the same time, it’s still too far from the subject (where the accurate exposure is happening for the aperture in use), to get a proper exposure. The background is getting under-exposed.

Take a closer look at the photos, settings, and distances shown to understand how this works.

All images were shot using the following settings:
ISO 200, Shutter Speed 1/125, Flash output 1/8 power.

Above: Aperture is f/5.6. Light is 4 ft from the subject and 8 ft from the gray seamless background.

Above: I moved the light approx. half the distance from the subject, so the aperture had to be increased to f/9 for a proper exposure on the subject. Light is 2 ft from the subject and now 6 ft from the gray seamless background. Because of the smaller aperture, the background is further under-exposed. Note that here it might look darker than in the original image.

Above: Next, I again moved the light to approx. half its previous distance from the subject. Aperture is f/13. Light is 1 ft from the subject and 5 ft from the gray seamless background. Although we have the proper exposure (aperture/ISO setting) for the light at this power and this distance from the subject, the background is 5X the distance from the subject so it goes pretty dark at these settings.

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Here’s a new video tutorial from the Photography in 3 Minutes series.  In this episode, I demonstrate how to setup a flash on a light stand, with an umbrella modifier.

Podcast (Audio only):

Podcast on Video:

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Interview with Neil van Niekerk, a photographer and photography book author who works in and around the NYC area. Lots of example photos in this video. Subscribe to download our podcasts on iTunes.

Check out the video and images for this episode and all podcasts at:  YouTube

What we talk about:

• Wedding photography workflow
• Best practices for avoiding problems
• What makes a good second shooter

Related Links:

• 8 Tips on Improving Your Photo-shoot Workflow
• Tips & Advice for Second Shooters at Weddings
• Tips for 2nd Shooters – Improving Your Technique

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Here’s a new video tutorial from the Photography in 3 Minutes series.  In this episode, I demonstrate how to quickly create a colored background and avoid contaminating it with the main light used on your subject.  Model:  Danielle

Podcast (Audio only):

Podcast on Video:

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In this episode, an interview with Chicago-based photographer, Joe Asencios. Subscribe to download our podcasts on iTunes.

Check out the video and images for this episode and all podcasts at:  YouTube

What we talk about:

• Sacrificing for your photography
• Joe’s lighting, settings, and post-processing methodology
• Finding and working with great models

Related Links:

• Joe Asencios’ website
• Joe’s Flickr

Photos by Joe Asencios: