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Tangents

across the river …

June 29, 2008

[ click on the photo for a larger image ]

This was the view from the top of the Hyatt in Jersey City this afternoon as a storm rolled in over Manhattan from the West.  The photo doesn’t do it justice – you just had to see Manhattan slowly being engulfed in mist, followed by hard sudden rain.  You can actually see the streaks of rain in the photo.

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flash and tungsten lighting

June 26, 2008

flash and tungsten lighting – gelling your flash for incandescent lighting

Flash, for me, is an essential tool in sweetening the available light and improving the quality of the existing light.

I often see comments on the photography forums to the effect that with cameras like the Nikon D3 or Canon 1D mk3, where you have exceptional high-iso noise performance, that you don’t need flash.  The crucial point that is missed though, is that flash is not merely there just to use when the light is so poor that you can’t stop any motion blur from your subject, or stop camera shake spoiling your photos.

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photographing in hard sunlight, with or without flash

June 13, 2008

photographing in hard sunlight, with or without flash

This is one of the toughest lighting conditions to deal with. Where I can, I try and position my subjects so that they are in shade, or at the very least their backs are to the sun. This way they are looking away from the bright light and less likely to squint and frown, and they will also have more even shaded light on their faces, with rim lighting around the sides.

But where you can’t position people and you have to deal with the lighting situation as it is, you have a few options:

You can get lucky with the angle so the features and details of most of the people are shaded, providing you with fairly uniform light on the essential parts of what you want to capture. Some parts of the scene will blow out, but hopefully nothing really relevant.

With this photograph, no flash was used. However, I did work things in my favor by shooting in the RAW format so that I have much more control over the image in post-production. I can more easily hold detail in the highlights while bringing up detail in the shadow areas.

(The examples in this posting assume that you are a solo photographer without the team of assistants to hold up large scrims and fill lights, but that you have to make do with what you have – a camera with a speedlight mounted on it.)

But if you’re stuck with full sun where part of the subject is in shade and the rest in sun, you have two options:

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spotlight interview

June 8, 2008

Every week James Robinson features an interview on his blog with a photographer that has caught his attention.  And this week the privilege is mine – and you can read it here:
spotlight interview – photographer Neil van Niekerk.

And for no other reason than to spruce up this quickie post, here is one of my favorite images from a destination wedding I photographed in the Bahamas recently.

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a solution to a persistent Bridge CS3 problem

A few days ago I posted on an online forum (DWF) about a persistent problem I’ve been having with Bridge CS3.  The problem arises when I open Bridge and navigate to a folder, in that Bridge doesn’t show any thumbnails but will just show a blank grey right-hand pane.

Just a few hours later, one of the most knowledgeable photographers on the forum, Brian Tao, came up with several possible causes and solutions.   Since I believe that the problem is quite prevalent, and the solution not obvious at all, I thought that it would be of benefit to a lot of Bridge CS3 users here if I posted the solution here.

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a raw element of style

June 3, 2008

During the portrait sessions with my couples, I try to maintain a fluid style of photographing them.  Instead of rigidly posing I try to direct only a little, adjusting my position and my composition.  I really want as natural looking and flattering portraits as I can, while getting a variety of images.  For these reasons I move around a lot while shooting … and I often try to get some lens flare on purpose.  I love the way the image warms up and the flare creates pools of light within the image.

This is an unpredictable effect, but when it works, I feel that the flare adds something to the mood of the image – perhaps an image that is more romantic because it is drenched in light.   

I shoot in manual exposure mode since I don’t want my composition to affect my exposure and because I want as fast and efficient a workflow as possible.  But then I sometimes get a few frames that blow out completely because of the amount of flare …  

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