Having fun with personal photography, to learn and grow

Having fun photographing people and their crazy hats during the Easter Parade and Bonnet Festival on 5th Ave, Manhattan.

This year I challenged myself in photographing portraits at f/2 only, using the Sony 28-70mm f/2 lens (B&H / Amazon) … and I purposely looking for compositions that worked with the bright overhead sun … still taking care to not lose important elements in the blown highlights. Those constraints did limit who and what I photographed, but I do like the results. I feel that doing this – setting some artificial limitation on the gear I use (or techniques I use), stretches me a bit, and I have to think more about how I approach the topic, and how I photograph any subject. Doing this regularly, helps the entire creative process as a photographer.

I often do this when I have the luxury of not shooting for a professional reason – where I don’t have to deliver to a client’s spec or brief. Where I don’t have to photograph “everything”. For example, two years ago I photographed this same event – the Easter Bonnet Parade, but with only a fish-eye lens.  It makes me look for photo opportunities in a different way.

Camera gear used during this photo session

• Sony A9ii
• Sony 28-70mm f/2 lens (B&H / Amazon)

Related articles

• Photography as meditation
• Photographing with available light only
• Inspiration: Be cool, be prepared, be professional
• Photographer friends, we have work to do, and art to create!

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Dance photography – studio lighting setup

Before we even start discussing this specific studio lighting setup, I might need to quality if by saying this is but one lighting setup of many, many possibilities. The consistent idea behind this (and other lighting setups), is that the lighting should be dynamic — and have that interplay between light and shade that really flatters the dancer, and enhances the mood of what you are trying to capture as the photographer. Ideally you don’t want your lighting to be flat – for me, there has to be at least a little bit of drama to the lighting.

In this photo is Arya, a young ballet dancer, photographed in my studio. She was wonderful to work with, and so athletic. It was one of those times where I got the sense that the person I am photographing will be quite prominent one day.

We used several different lighting setups, to offer her variety in the final images she could select from. I changed the lighting for every outfit she changed.

The lighting setup

Four Profoto D1 flashes (B&H / Amazon) in gridded softboxes, as well as a Profoto A2 and Clickbox on a boom arm above her for, you know, more light.

• The light on camera-right, is a gridded Profoto 1’x6’ gridded strip-box  (B&H / Amazon), set at an angle from above.

• Two Profoto 1’x4’ gridded strip-boxes  (B&H / Amazon) from the side behind, for rim lighting.

• The light on camera-left is a gridded Profoto 3ft Octa Softbox  (B&H / Amazon), on a boom arm.

• The light from above, which was quite necessary even with all the other lights going on, is a Profoto A2 flash  (B&H / Amazon) with a Profoto 2.7 ft Clic Octabox  (B&H / Amazon)

The grids on the softboxes help contain the light so it just hits our subject in a controlled way, and doesn’t spill everywhere.

Something to note — even though we shot on a white paper backdrop, because there is no direct light on the background, it drops to grey. That is something that newcomers to studio photography don’t immediately (and intuitively) grasp — that white background can be all the way from white to white, and every shade of gray in-between … depending on how much light you throw on it.

Camera settings, and camera gear used

• 1/200  @  f/5.6  @ 200 ISO
• Sony A1  (B&H / Amazon) … because, you know pixels and responsiveness.
• Sony 24-70mm f/2.8 GM ii  (B&H / Amazon) … because of general awesomeness.

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Review: Canon RF 24-105mm f2.8 L IS lens

For me, 24mm-105mm is a perfect general range for so much of photography, whether you photograph corporate events, weddings and headshots. That 105mm focal length is perfect for portraits!  Lenses with this range is pretty standard for every brand as an f/4 option … but with events, we are often working in low light … and that faster f/2.8 becomes somewhat of a necessity.

Now that Sony has its own superb version of the modern legend by Canon – the 28-70mm f/2 lens — here’s another lens that I think Sony needs to have in its line-up … the Canon 24-105mm f/2.8 stabilized lens.  (B&H)

I love my f/2.8 zooms exactly because of the extra light-gathering capabilities over f/4 optics. For the same amount of light, you can have a faster shutter speed to help stop action or camera shake … or you can use the extra stop to have a lower ISO setting. With that, I immediately eyed the Canon 24-105mm f/2.8 RF zoom (B&H) when it was released. My friends at B&H kindly loaned me this lens for review purposes.  And here we have it … the Canon 24-105mm f/2.8 … it is a stellar optic. And expensive. Currently selling for $3,000

I’m a fan of zoom lenses, especially for photographing business events and events such as weddings. Your movement might very well be limited and a prime lens will limit your framing. With a portrait session with a client, you can more easily work with a prime lens … but for events, a zoom is preferred.

Example photos

Check the video for lens test charts shot at f/2.8 to see how sharp this lens is to the very edges.

Specs & features of the Canon RF 24-105mm f/2.8 L

• internal zoom! zoom ring moves easily because the lens isn’t pushing a lot of air in and out. So it won’t be sucking dust into the lens every time you zoom.
• internal focus! Same considerations then for fast focus
• even then, the specs say the lens features good protection against moisture and dust
• tripod foot
• 82mm filter thread
• stabilization – specs have it as 5.5 stops of stabilization.
• Minimum Focus Distance : 17.7″ / 45 cm
• de-clicked aperture for video
• videographers will appreciate the good correction for focus breathing
• Weight : 2.9 lb / 1.3 kg
• it’s a big lens! It’s as tall as my Sony 70-200mm f/2.8 GMii

Summary

I am very impressed!  This is genuinely as close to a do-lens for the type of work that I do. It is also a lens that is perfect for any videographer that shoots with Canon. Seriously, this is the lens you want.

• more reviews of Canon gear

• For videos, follow me on Vimeo / YouTube

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Off-camera lighting – continuous light or flash?

When we think of off-camera lighting, we usually immediately think of off-camera flash. But there is another option: off-camera continuous lighting. One main advantage that continuous light for portraits has over flash is the WYWIG aspect – what you see is what you get. It is easier and faster to position the light to better effect for your portraits. This of course is only viable when working in relatively low light. In brighter light, you’d obviously be better of using proper flash photography.

With a photo session in New York, with a model, Lisa, I decided to use the Profoto B10x flash  (B&H / Amazon) as purely a video light.

The Profoto B10x is a fantastic little portable studio flash — it is compact, yet powerful. For me, the main advantage over the previous B10, is that they increased the maximum continuous light output by 30% …. so now it’s not just a versatile flash unit, it is also a viable continuous light. The main advantage working with continuous lighting, is that you see exactly what you’re going to get.

I met up with Lisa and my assistant for the day to get a series of portraits of her around dusk, and deeper into the evening. Because the continuous light of the B10x has variable color balance from 3000K to 6500K – like many currently available video lights – I could more easily match the existing light sources. With flash, you might have to resort to using filters to match (or enhance) the existing color balance. So that’s another advantage to using video light / continuous light.

Oh, and the B10x is bluetooth connected to an app with which you can control and change your settings on the unit.

With this photo session, I decided to use a small umbrella instead of a softbox. Mostly because an umbrella collapses much quicker than most softboxes.

The one disadvantage to an umbrella in this situation would be that umbrellas tend to scoop wind. It is harder work for the assistant to hold the flash and umbrella on the monopod.

The photos has only had minor skin retouching because I wanted to show what was possible directly out of camera, or rather, directly out of the RAW processor … because I do correct the WB and some exposure inconsistencies where needed.

I used the Sony 85mm f/1.4 GM lens on a Sony A9 camera, and the Sony 24-70mm f/2.8 GMii on a Sony A1 body. (I don’t like changing lenses.)

Lighting gear used in these photo sessions

• Profoto Deep Small umbrella  (B&H / Amazon)
• Profoto B10x flash  (B&H / Amazon)

Related articles

• Using the Profoto B1 modeling lamp as a video light
• Tips for posing your subject during a photo session

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How to dramatically change your studio lighting with a gridded stripbox

I have posted before about one of my most favorite light modifiers in the studio – a gridded Profoto 1’x6’ strip-box  (B&H / Amazon). It is a surprisingly adaptable light source in how you can swivel it and tilt it and rotate it. This tall stripbox gives a soft light, but highly directional.  Once you realize you don’t have to use stripboxes in a strict vertical position, a lot of options open up.

For example:

• Using a gridded stripbox as the main light  (model: Claudia)
• Profoto: How to use gridded strip boxes as the main light (portraits of kids)

Creating a more dramatic look for Stephanie and Alens, as if there is a stage-light on them, or maybe simulating a light shining from above from a lamp-post … I used a gridded Profoto 1×6 stripbox. It gives that interesting light fall-off from the top to the bottom, with the light simultaneously dramatic yet soft.

The pull-back / BTS shot will how how the stripbox was used.

You can see the tall Profoto 1’x6’ gridded strip-box  (B&H / Amazon) with a Profoto 50 degree soft-grid (Amazon), titled at an angle, with the top angle close to the canvas backdrop. This way the light shines down on them, and there is the conical shape to the way the light spills on the backdrop.

Camera settings, and photo gear used

• 1/250  @  f/8  @ 125 ISO
• Sony A1  (B&H / Amazon)
• Sony 24-70mm f/2.8 GM ii  (B&H / Amazon)
•  Profoto D2 flash (B&H / Amazon)
• Profoto 1’x6’ gridded strip-box  (B&H / Amazon) with a Profoto 50 degree soft-grid

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Detail photographs with controlled on-camera bounce flash

A detail photo from a recent wedding — a fairly uncomplicated ring shot. This is straight out camera, sent directly to my phone. No manipulation or editing at all, except for a mild crop to center the image. The light on this ring is entirely on-camera bounce flash, using the Black Foamie Thing. This on-camera flash modifier acts as a flag, and allows me to better control the direction of the light from my bounce flash. I want to bounce my flash into the direction that I wanted the light to come from.

That is one of my key decisions when deciding how I want to bounce my flash – I want to bounce the flash into the direction I want the light to come from. In this case, I wanted the light to come from in front of me, to skim back across the surface of the rings. This then leaves the area of the ring closest to the camera, somewhat in shadow, giving a kind of three-dimensional quality to the photo.

I’m still impressed with how subtle you can make on-camera bounce flash appear, with some careful thought about the direction of your light.

The awkwardly held selfie-BTS photo will help explain how I bounced my flash.

Related articles

• YouTube – On-camera bounce flash – the really really big tutorial 
• The simplicity of on-camera bounce flash
• On-camera bounce flash for beautiful portrait light
• Impromptu portrait with bounce flash
• Short lighting with on-camera bounce flash

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On-camera bounce flash for beautiful portrait light

Here are several portraits of a model, Koko, taken during a workshop in my studio last week. She was phenomenal with her posing. Just on all the time. I will post her IG account lower down. The lighting — notice how soft and even it is, but with a gradual contrast to the one side of her face. No hard flash shadow. Just big, soft, directional light in the studio.

All achieved with on-camera bounce flash. Just the one light. No Fong Dong! No MagMod boob! No Rogue Flash bender! Seriously calm down with that unnecessary stuff. You don’t need any of that when there are light-colored bounce-able surfaces around you.

I did use the infamous Black Foamie Thing to control how my light spills, and that there is NO direct flash on her. Just .. dare I say it again … soft, directional light. (Tutorial linked below.)
This is where simplicity and beautiful light intersect — properly bounced flash. It could not be simpler.

• Video tutorial: On-camera bounce flash photography

The bounce flash technique here (as explained thoroughly in that tutorial) is based on the consistent idea that you want to control the direction that your light comes from. Ideally not from your camera & lens axis. You want the light to come from an appropriate direction. With that in mind, you bounce your flash into the direction that you want your light to come from.

Photo gear used in this photo session

.. but really, pretty much any camera and portrait-y lens, with a decently powered flash could have done it. This is all about the technique!

• Sony A1  (B&H / Amazon)
• Sony 24-70mm f/2.8 GM ii  (B&H / Amazon)

• Profoto A10 flash  for  Nikon / Canon / Sony  (Amazon affiliate links)
• Profoto A10 flash  for  Nikon / Canon / Sony  (B&H affiliate links)

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On-Camera Flash Photography – revised edition

This book is explains a cohesive and thorough approach to getting the best from your on-camera speedlight.

Particular care was taken to present it all with a logical flow that will help any photographer attain a better understanding of flash photography.

You can either purchase a copy via Amazon USA and Amazon UK, or can be ordered through Barnes & Nobles and other bookstores. The book is also available on the Apple iBook Store, as well as Amazon Kindle. Also check out the Amazon Kindle store.

Learn more about how the cover image was shot.

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Camera and flash settings : high-speed flash sync & off-camera lighting

I recently had the pleasure of photographing a remarkable young dancer from Slovakia, Sara Sobolova, who was visiting New York on a 2-week long training event for ballet dancers. Her mom arranged for a photo session in New York since this is her first time here, and because, let’s face it, New York is a big deal! This is one of my favorite images from the sequences we shot in various spots in Manhattan and Brooklyn.

Below is the pullback shot to show the lighting — a Profoto B10X flash  (B&H / Amazon) on a monopod, held aloft by my assistant. The light modifier is the new collapsible Profoto 1×4 strip softbox strip  (B&H / Amazon). I chose to work with this tall / narrow softbox for two reasons … I knew most of the photos would be vertical images. Also, I have worked in New York before on similar photo sessions, and the narrow profile of the softbox makes it easier to handle on the busy sidewalks, and when going through doors or up stairs.

When I work with a dancer, I always ask for a first example of the movement they intend to do, so I have an idea of the framing.  I don’t want to be too wide, or unexpectedly cut the dancer off at the wrists. The next few photos are the test shots to get the exposure correct, and to balance the flash and available light. Then we start working!

Before someone complains about this photo — I took this on 6th Ave where they had blocked off the street for the Saturday morning market. I moved the one police barrier a bit so I could get a clean shot of her down 6th Ave. So no one was inconvenienced or in danger.

Camera settings and camera gear used

• 1/1000 @ f/2.8 @ 160 ISO

• Canon RF 24-105mm f/2.8 L IS  (B&H)
• Canon R6 mk2  (B&H)

• Profoto B10X flash  (B&H / Amazon)
• Profoto 1×4 strip softbox  (B&H / Amazon)
• Gitzo tall monopod (75″)  (B&H)

Decisions about camera and flash settings for off-camera flash

I prefer using a softbox over direct flash when working outside. For this reason, especially when working in bright light, I need a stronger flash than just a speedlight. Then I can use a softbox and not just bare direct flash. Here I used the Profoto B10X flash  (B&H / Amazon) because it is so compact and light-weight. I had the flash set to full power in manual … because I was using high-speed flash sync.

The flash was on full power, because that’s generally how you beat high-speed flash sync with a softbox in bright light. (The global shutter on the Sony A9iii changes all this though.) Setting the flash to full power immediately in this situation gave me the best working distance between my subject and the flash. With lower power, the flash would have had to be closer to her. That’s generally tough to work around. So, full power! Max distance.

With a consistent distance between the flash and subject, manual flash is easier. And of course, I would have bumped my ISO higher if I needed a faster shutter speed (or more DoF).

I needed to be in HSS because I wanted the fast shutter speed. With that decision, the shallow depth-of-field of f/2.8 followed automatically. This combination worked in our favor though.

A neutral density (ND) filter would have given me shallow DoF, but the intention with an ND filter is to bring the shutter speed down to max flash sync speed (usually 1/250). But that shutter speed would most likely not have frozen her movement. So I needed that fast shutter speed that HSS would allow me.

Because HSS kills around 2 stops of light, I immediately went to full power so that I had a decent working distance.

Another photo from the same day. Here is Sara flying across 5th Avenue. Sunlight. No flash, because no one is running across the street with a softbox.

Camera settings: 1/3200 @ f/3.5 @ 500 ISO
Note the fast shutter speed.  Even though I was panning my camera with her movement, I wanted that fast shutter speed to freeze motion.

• Sony A9ii  (B&H / Amazon)
• Sony 70-200mm f/2.8 GM ii  (B&H / Amazon)

• For videos, follow me on Vimeo / YouTube

Related articles

• Video tutorial – High Speed Flash Sync (HSS)
• High Speed Flash Sync : Tutorial on Youtube
• When to use high speed flash sync (HSS)
• Most versatile flashes – the Profoto B10 series
• Other articles on dance photography
• Sara Sobolova : Instagram
• Dance photography, NYC / NJ

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Dramatic and dynamic lighting for group photos

This group photo appeared as part of a sequence of images, for a story on the CEO for a financial magazine. The group photo was a composite of a number of photos of the individuals. For a first attempt though, I took a safe shot first of the group with two Profoto B1 flashes bounced into the hallways behind me (photo shown below) … but it kinda looked dull in comparison to the final collage image which the client much more preferred.

For this collage / composite photo, I had my assistant light each person individually with a Profoto A2 and small Profoto Clic softbox (on a monopod), and then blended them together as layers in Photoshop. You can see my assistant holding the light up on a monopod in the BTS compilation photo. (Click through to see a larger photo.) Everyone was told NOT to move for 2 minutes.

I had my Sony A1  (B&H / Amazon) on a very firm tripod. The huge file size (50 mpx) of the Sony A1 actually makes the editing easier since there is more info to work with.

The camera settings were f/8 @ 400 ISO @ 1/30th. The slow shutter speed was to allow the background light to still show.

Here is the comparison photo, not used, where I bounced two Profoto B1 flashes into the hallway behind me. This gave soft lighting, and without massive reflections in the glass panels behind the group that umbrellas or softboxes would have given. But … it is bland. The photo at the top, while more work in post-production, just looks so much more dynamic and interesting.

Camera settings and camera gear used

• 1/60 @ f/8 @ 400 ISO

• Sony A1  (B&H / Amazon)
• Sony 24-70mm f/2.8 GM ii  (B&H / Amazon)

• Profoto A2 flash  (B&H / Amazon)
• Profoto 2.7 ft Clic Octabox  (B&H / Amazon)

• Photo gear you need : a very sturdy tripod

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Compact, portable off-camera lighting : Profoto A2 flash & Clic softbox

Very often when I use off-camera lighting on location, I’m not among for dramatic lighting, but rather using the off-camera lighting to enhance the existing light. I want to get a cleaner, slightly more punchy look – but one where the use of flash might not be that immediately obvious. To this end, I love using light-weight portable off-camera lighting. Something compact that is easy to carry, and easy for my assistant to hold up. When working in Manhattan, the use of a light-stand might get you in trouble in some places – you have to make sure that your “footprint” is small, and that you are mobile. With this, the Profoto A2 flash  (B&H / Amazon), and the Profoto 2.7 ft Clic Octabox  (B&H / Amazon), have become a standard lighting kit.

As a special treat for Kennedy and her sister Bailey during their first trip to Manhattan, their mom had me photograph them in their ballerina outfits, showing off their moves. Here is Kennedy!

I really like the architectural design of this alcove in front of the New York Library — it makes for an interesting but non-intrusive background. To punch up the lighting a bit and make it a touch more dynamic, I had my assistant hold up a Profoto A2 flash and Profoto 2.7 ft Clic Softbox Octa high up. Check the pullback shot. The effect of the lighting is subtle and doesn’t draw attention it itself, but does add to the impact of this photo. I

camera : Sony A1 (Amazon / B&H)
lens : Sony 24-70mm f/2.8 GM ii  (B&H / Amazon)

Camera settings and camera gear used

• 1/400 @ f/4 @ 800 ISO

• Sony A1  (B&H / Amazon)
• Sony 24-70mm f/2.8 GM ii  (B&H / Amazon)

• Profoto A2 flash  (B&H / Amazon)
• Profoto 2.7 ft Clic Octabox  (B&H / Amazon)

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