using tele-converters: extra lens compression for tighter portraits
One of the techniques to have your subject really stand out from the background, is to use the longest focal length on your 70-200mm telephoto zoom. One of the first things I do, is to zoom to maximum focal length, and then step backwards to find the composition … and then only zoom wider if necessary. Doing it this way, forces you to use the longest focal length. This compression focuses attention on your subject by creating separation from the background.
To extend the range of my 70-200mm f/2.8 lens, I always keep a 1.4x teleconverter in my bag. This extra 1.4x boost in focal length gives me reach, or as in this case, that extra compression to help with my photograph’s composition:
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screen protectors for your camera’s LCD
I try not to bang my equipment around, but there’s also a limit to how ultra-careful you can be with your gear. A number of years ago – actually, decades – I knew a keen photographer who had top-end everything. He had swapped out his mint Nikon F4 for a mint Canon EOS-1n. He kept his cameras and lenses mint by not using them much, and keeping them wrapped in chamois. But that’s the sad part to this story – he rarely used his gear.
Especially now with digital photography where your camera is essentially a computer with a lens – it really depreciates fast. You have to get your cameras out and use them. Get your money’s worth in awesome photos. But, I do like my equipment to work problem-free, and cosmetically not look like they’ve been through a war-zone. Well, that’s aside from my speedlights. My speedlights work hard.
To stop my camera LCDs from scratching from normal use, or rubbing against my clothes when I hang the camera strap over my shoulder, I use Expert Shield screen protectors. And that’s what I’m showing in the photo above … although, you can’t really see it. But that’s the point – they fit so well.
The Expert Shield screen protectors (B&H) fits snugly on the LCD without needing to be cut or trimmed, because you can order them for your specific camera. Sweet! No struggle. They are also fairly easy to put into place without those annoying bubbles appearing underneath.
You can order these screen protectors from expert shield screen protectors from Amazon;
or directly from the manufacturer as well. Their site has a lot more info on them.
Expert Shield (USA) / Expert Shield (UK)
dual or triple speedlight / flashgun mounting bracket
I use a multiple flash mounting bar during workshops where I need to have a diverse number of setups running simultaneously, but something more compact is also useful. In that article, I listed other flash mounting devices that allow multiple speedlights to be hooked up on one light-stand. Since then, I’ve discovered this triple flash mounting connector – RPS Lighting Triple Flash/Umbrella Mount (vendor) - and it is superior to others that I’ve tried.
What sets RPS Lighting Triple Flash/Umbrella Mount (vendor) from other similar devices, is that the flash cold shoe can be rotated. This doesn’t seem like much, but when you try and add wireless flash transmitters like the PocketWizard TT5, then the bulk of those wireless transmitters get in the way. By rotating the flash trigger by 90 degrees, you can more easily accommodate two or three wireless triggers and the speedlights. You then simply rotate the flash heads to have the flashes point in the correct direction – into your umbrella.
It’s a simple tweak to this kind of device, but it makes all the difference when using multiple speedlights with wireless triggers, on a single umbrella.
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Dream Strap – comfy sheep-skin lined camera straps
Dream Straps are sheepskin-lined camera straps that are super-comfy. Just as importantly, is that they are strong, finely crafted, easy to attach and adjustable from 34-58 inches. All the good stuff we expect from camera straps.
Sheepskin fibers provide breathable, luxurious comfort that synthetic materials just can’t match. Weight on your shoulders or neck are eliminated because the weight is more evenly distributed due to the dense for and the width of the strap.
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how to mount multiple flashes / speedlites
Quite often, a single speedlight just isn’t enough. You need more! You might need a smaller aperture than the single speedlight would provide (even at full power), or you might be battling very bright ambient light. High-Speed Flash Sync doesn’t help you in that case. Then you need to add another speedlight.
The mount / bracket that I settled on is the RPS Light Bar with Four Accessory Shoes RS-3102 (vendor). It is a bit unwieldy, especially when you have 4 speedlights mounted. But when you need it, you need it. It is this bracket that I use when I’m shooting family groups with speedlights, as described in this article: wedding photography: positioning your flash for the formals.
I’ve used this setup for some of the photography workshops that I’ve presented, where I need to simultaneously have Canon and Nikon speedlights. I have also at times mounted both PocketWizard and RadioPopper triggers. This bracket allows me the flexibility to choose my setup, and to do multiple setups with different systems.
Now, the reason why I settled on this device, is that none of the other devices that I’ve seen, have enough space for either the PocketWizard TT5 units, or the Radio Poppers.
While these are all ingenious solutions to the problem, they just don’t have enough space around for the base of the radio trigger, whether the RadioPopper or PocketWizard. Others that I’ve seen that do allow for this, just don’t seem as sturdily built.
The RPS Light Bar with Four Accessory Shoes RS-3102 (vendor) is quite sturdy, as you might see in this detail image of the hot-shoe mount:
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Canon EF 8-15mm f/4L fisheye zoom lens
I got my hands on the brand-new Canon EF 8-15mm f/4L fish-eye zoom (Amazon) today, and I just had to try it out. And what better place than Times Square in Manhattan. Enough tall buildings and billboards to fill the frame of a lens that gives a 180 degree view! Now, before I continue, I have to admit that even though I have a fish-eye lens in my bag, (the Nikon 16mm f2.8), I only occasionally use it. I feel that a fish-eye lens can be over-used very quickly when it draws too much attention to the distorted view that the lens gives, rather than the photograph’s content. That said, I haven’t had this much fun with a new lens in a long, long time!
[ updated: review of the Canon EF 8-15mm f/4L fisheye zoom ]
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photo session with the Fuji X100 – camera review
First of all, for those who haven’t heard of the Fuji X100 (vendor) yet, it is a beautiful retro-looking rangefinder-mimicking 12 megapixel digital point & shoot camera (with a fixed 35mm equivalent f2.0 lens), that gives remarkable image quality. That about sums it up.
For all those reasons, quite a buzz developed around this camera. Quite unlike anything since … oh, the Leica X1. Or the Olympus Pen EP-2. Or the Sony NEX-5. There was greater excitement building up around the Fuji X100 though than other cameras, specifically for its looks initially. And then when news hit about the incredible image quality, the excitement and interest became more substantial. It’s a hot item right now, and for good reason.
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[ edited to add: This review was for the original Frio, but it has now been improved with an updated version. ]
The Frio is such an elegantly simple device – ready-made for those times you need to attach a speedlight to a light-stand or umbrella bracket. What makes it so neat is that you don’t have to tighten a twisty knob to attach the flash. And neither do you have to un-tighten that same over-tightened knurly knob when you want to release the speedlight again.
Where the Frio really shines is with the modern speedlights that have a pin & lock system. This make them nearly impossible to seat securely in some coldshoes. With the Frio’s way of clipping the speedlight into position, that’s not a problem any more.
The Frio has a unique way of keeping the speedlight secure – it just slips in, and then the clip at the end holds it in position. To release the speedlight, just push down on the end of the clip, and the speedlight is easily shuffled out. Simplicity itself, with no risk that the speedlight can accidentally wiggle loose over time.
Since the Frio is made of a hard plastic, it can shatter if knocked too hard. I’ve lost one of them that way. But I see this as an advantage in that the Frio gives way; not my speedlight’s hotshoe. I can more easily replace the Frio.
The Frio can take anything that has a male hotshoe connector, such as a microphone or an LED video light. So that gives it a certain flexibility in use, and an easy choice to just have 2 or three in your camera bag anyway. It’ll find a use, somehwere, someday.
buy the Frio
The Frio is available as a single Frio, or a 3-pack, or a 5-pack.
how to carry your camera over your shoulder
An interesting comment came up in the article on choice of lenses for wedding photography. The observation was that the photographer, Lou, felt like he was the proverbial bull in a china shop when he carried two cameras over his shoulder. With the lenses protruding on either side, it was tough going through doorways without knocking something.
There are numerous camera strap solutions available on the market – rapid straps and holster systems. Most of them work well. I still like the old-fashioned camera strap on the camera. One thing I should mention here is that I really got to like the way the Canon bodies work. Attaching the strap to the bottom of the camera makes absolute sense. Then the camera dangles vertically, and it is easy to swipe the camera to the side under your elbow when it hangs from your shoulder.
I liked this so much that I got the Camdapter plate (vendor) to attach to the bottom of my Nikon bodies. This allows my Nikon cameras also to dangle vertically from my shoulder. Perfect. If I had to choose from scratch again, I’d probably settle for the Kirk plate. This too has a place for the camera strap to loop around, at the bottom of the camera. Perfect.
Now, it might not be immediately obvious when you pick the camera up and hoist it over your shoulder, but there are two ways to sling the camera …
You can have the lens dangling outwards, catching on everything, and knocking stuff over, and smacking little kids in the face … or you can turn the camera around, and tuck it behind your body under your elbow. Out of the way. Simple, and less of a hazard to people around you, and less of a danger to your own equipment.
using a macro lens for a photo session of a newborn
I had the pleasure of photographing the newborn baby of Jen and David recently. (David regularly follows the Tangents blog!) Aside from photographing the proud parents with their little one, I also needed to get detail photos of the baby.
With detail images, you see even more clearly just how small this newborn baby is, when you show the scale. A tiny hand clasping a finger. Tiny toes gently flexing against her mother’s hand.
For this, a macro lens is an essential part of my camera bag …
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