One of the frequent topics on the various forums is the Canon vs Nikon debate … and one of the usual replies is that Nikon is better in certain ways, and Canon is better in other ways. And the common wisdom that Nikon’s flash system is superior to Canon. And this seems to be accepted as one of those general truths.
Now, having shot primarily Nikon for a few years (D100 / D2H / D2x), and then Canon (mk2 / mk2N / 5D / mk3), and now Nikon again (D3) … I have this observation about Canon’s flash system vs Nikon’s flash system … they are different.
Disregarding wireless TTL flash, where Nikon is ahead in simplicity of operation and how much control you have – if we just look at TTL flash in various situations – I honestly can’t say the one is better than the other. Just that they are different. So I have to go against the common wisdom there.
But they are different in ways that aren’t easy to quantify. Where I’m used to Canon’s TTL flash responding in a certain way during different situations, the Nikon flash needs different flash exposure compensation. So it responds differently, and I have to get used to it again.
This is going to be a long post and I’m afraid the point of what I am trying to say might get lost along the way. So here it is right at the start already: When it comes to any particular TTL flash system, just become familiar with it. You can then make it work.
As simple a point as this … get used to how your particular camera and flash respond, and adjust your technique accordingly.
In blending flash with available light, I am often after that delicate balance where the flash is just barely perceptible. This can be with flash as an equal partner to the available light, or with flash as a subtle fill-flash.
But what I’ve found with my Nikon D3 bodies, when used with the SB-900, that the fill-flash flash is still too much, even when turned down -3EV on the flash exposure compensation. I’ve found similar with the various Nikon D300 and Nikon D700 bodies that attendees to my workshops use. In other words, this isn’t just my cameras – this is repeatable with other cameras too.
Here’s the set-up:
With the model close to a window, and positioning her so that we have the typical window-lit portrait, our light is great. No flash needed.
[ Nikon D3; Nikon 24-70mm f2.8 AF-S; no flash ]
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Now, the moment our subject looks at the camera, we have strong contrast, with one side of her face being much darker. If the room was less bright and reflected less light on her, the difference would be more stark. The image here isn’t too contrasty, so it will still work .. but I would still prefer a touch less contrast and more light on the shadow side.
The first series of workshops for 2009 took place in California – one workshop in Dana Point, and two workshops in San Francisco. Having lived a while in the greater Bay Area a number of years ago, it was great to visit San Francisco again. This just added to the pleasure I had this week of meeting everyone who attended the workshops – and as always, seeing those aha! moments kick in at various times. Thank you to everyone who made these workshops a success, incl our three gorgeous models, as well as Fundy and the kind people at ProDPI.
A few images of our models at the workshops in SF:
This image was taken during the practical session where we worked outside in the early evening light. We practiced bouncing flash off the outside walls of buildings, to add enough light to the models. This next image shows what the available light looked without flash, and give you an idea of just how much the simple application of flash helped.
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And from the session earlier on, with each of us using our on-camera speedlight to flood the large lobby area, to give soft light.
I recently photographed Seregon again, but this time on location in Manhattan.
The lighting was simple - a beauty dish that was held up by my assistant …
I’m proud to announce that ProDPI, one of the premier photo and press labs, will be a sponsor of the workshops I’ll be presenting this year. Everyone who attends one of the flash photography workshops will get a $50 voucher towards prints at ProDPI.
For more details about the qualtiy service that ProDPI provides, check their website and their blog.
Andrew Funderburg, who has deservedly been getting some attention on the forums for his Fundy SOS – Solutions on Steroids software, has been kind enough to be a sponsor of the flash photography workshops that I am presenting this year. Anyone who is registered for one of the flash photography workshops will receive a free copy of Fundy iGotActions, and can also get a massive 25% discount on any of the other Fundy SOS software pieces.
In addition, Fundy is also offering 10% discount to any readers of the Tangents blog. Use the code ‘planetneil’ when checking out to get the 10% discount on any of the software.
Fundy Album Builder- the beauty of this album design software is that it frees you from the restrictions of template-based album design software. Instead of spending time to find a template that matches the number of images you’d like to place on an album page, you can now create a lay-out based on those images. In that sense the Fundy Album Builder is the anti-template album design software. Even better, you can use any of your Photoshop actions on any of the images inside the page design. .
Fundy Album Proofer- lets you create an online flipbook for your client to view the album design. They can also tag the pages, which gives you a visual reference of any changes that they would like. It also allows you to embed the album design in a webpage or blog. .
Fundy iGotAction- allows you quick access to your entire actions palette in Photoshop. This is a huge help if like many of us, you have a myriad of actions available to you in Photoshop. .
Batch-o-licious - a fast batch script to run multiple actions in Photoshop in one go.
This website has expanded into a sprawl over the course of a few years. So much that even I have to use the search button to find stuff when I reply to emails. The entries on this blog are grouped together in different post categories in the right-hand column, and the flash photography Category is a good starting point for anyone who wants to get to more postings on flash photography here.
I’ve also added topics relating to digital imaging and workflow, exposure metering, camera settings and some equipment reviews. But since the Tangents blog has entries dealing with a wider range of topics, there is still more to explore for anyone new to this website. Thanks!
Some sayings in photography are thrown out there so often that they’ve achieved a life of their own, and become truisms that are summarily accepted and then perpetuated.
Here they are - the 10 most annoying platitudes in photography …
Actually, I was going to name this post clichés in photography, but that would imply visual clichés. But tastes differ too widely, and I wouldn’t want to be the Style Police and dictate to other photographers which subjects and approaches are deemed cool. Besides, I think the world could always use more photos of pretty girls sitting on train tracks.
So here they are – things that make me grind my teeth:
1. ”you have to know the rules to break the rules”
2. “the camera is only a tool” / ”it’s the photographer, not the camera”
3. ”zoom with your feet”
4. either / or debates
5. circular reasoning in order to rationalise something
6. “fake it until you make it” / ”but everyone started somewhere”
7. the superiority of film because of some mystical qualities
8. B&W = art
9. ambient light purists
10. “don’t worry how it looks now, just fix it in Photoshop later”
