New Jersey family photographer

photo session: adding off-camera flash to bright daylight

Someone emailed me to ask a few technical details about this family photo session. How did you expose for the family photos? Was a soft-box used? Or did you expose for the shadows and use fill flash? For those who regularly follow the Tangents blog, the thought-process here should be familiar. Let’s take a walk through the process.

As described in the article, controlling bright daylight w/ direct off-camera flash, when trying to over-power the sun with flash, the best algorithm is usually:

– maximum flash sync speed,
– lowest ISO,
– find the aperture for your brightest area that you want to expose correctly for,
at that specific shutter speed and ISO.

Because the sun was hard, and high up already, the best start was to have their backs to the sun. This ensured no one would be squinting, and that I’d have a fighting chance with a single speedlight inside the Lastolite EZYBOX 24×24″ softbox (vendor) as the light-source I could directly control.

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how do you meter for TTL flash & ambient light?

In taking these kinds of candid images, I set the camera so that there is enough light recorded on the test shots without flash. No real metering technique, but I judge by the LCD to see that there will be enough detail in the background. It is kinda the dragging the shutter technique, but not as specific perhaps. I just want some ambient light to register.

Then I simply use TTL flash to expose correctly for any subject which is turned away from the main source of ambient light – the window. Without flash, these kids’ features would be in deep shade relative to the rest. But the TTL flash lifts the exposure to where I want it to be … with everything well exposed.

It really is that simple, and this technique allows me to shoot fast, and get great candid shots by concentrating on the photography and not the specific settings all the time.

I used the Black Foamie Thing ™ to flag my flash and not hit people behind me in the face with a strong burst of flash.

The back-ground is quite well-lit, because in bouncing flash behind me, the background inevitably opens up a bit. Again, this is the inverse square law helping us out with bounce flash photography.

camera settings: 1/125th @ f4 @ 1250 ISO  (FEC not recorded.)

So back to the question, how did I meter for the ambient light here? I didn’t. And I certainly did not meter for the white tones via the histogram method. The reason is – I don’t want to expose correctly for my ambient light. The light levels are too low – ie, I won’t get enough depth-of-field, at a good shutter speed, at a useful ISO … with good quality light on my subject. So I purposely want to under-expose for the ambient light. And then I add TTL flash. The TTL flash here is a dominant light source, and not mere fill-flash. Hence, carefully metering for the ambient light here isn’t all that useful.

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studio photography – creating sun-flare images

One of the sequences I photographed of Anelisa for the video clip of a photo session in the studio, was to create this kind of sun-drenched flared image. I wanted it to look bright and airy and summery.

There was a studio flash behind her to (partially) create the flare. I had to keep adjusting my movement just so that the flash-head wouldn’t be entirely hidden, or entirely revealed.

There was a total of four flashes used, and the pull-back shot shows their positioning.

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timelapse photography – a complete introduction

When I got my Nikon D4 and found that it made the compilation of time-lapse clips so much easier, I was hooked. It’s a fascinating niche in photography. Here are some of the time-lapse clips I created.

However, as with everything in photography – or as with everything in life really – there is a learning curve. Then you have two options. You can reinvent the wheel, and figure it all out from scratch by yourself … or you can do some homework and study what people before you have done. There are several websites that are loaded with information – and then there is this book by Ryan Chilinski. Everything you want to know about Time-Lapse Photography, neatly encompassed.

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advice for photographers from models – how to work with models

An article by UK model, Jen Brook, caught my eye. She wrote a long piece where she gives advice on how models would like to be treated during a photo shoot – Dear Photographer – kindest regards, Model. xxx

You’d think that this advice is just common sense, but from my own experience, I have realized that some photographers just lack people skills … or disregard models and don’t realize that a photo shoot really is a collaborative process.

This also reminds me of something that Ulorin Vex said about how a photographer that had booked her, wanted to not pay her for the time she spent prepping for a setup. I had to wonder how the photographer hoped to get amazing results from an unhappy model because of his antagonistic stance. You know, you’d think that it would be common sense. But, apparently it’s not.

I asked a few models that I’ve worked with, if they had anything to share with us, elaborating on the article by Jen Brook. Here’s what they had to say …

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when you need extreme bounce flash to photograph the wedding processional

As mentioned in the article on photographing the wedding processional, in my opinion, the wedding processional in the church is likely the most challenging part of the day in terms of our technique. People are moving towards you – admittedly at slow pace, unless the bridesmaids are nervous. Then they can easily just zip right up to the front! The light levels are low, and the light is most likely uneven. Adding flash to this is a reliable way to get clean open light on your subjects, but bounce flash can be a bit of a challenge.

As an example, with this wedding in Temple Israel of Lawrence, in New York, the light was really low. Not just that, the temple itself was cavernously huge. Yet, a few test shots showed that I could get the kind of light that I like, using just on-camera bounce flash.

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Planet Neil

April 3, 2013

Planet Neil gets a make-over

A few years back, I moved the Tangents blog over from the PlanetNeil domain to the new domain, neilvn, to keep it in line with rebranding my site and my photography. I know, PlanetNeil is a quirky name and memorable, but it also sounds like something a 12-yr old would’ve come up with. That says a lot about my general state of mind perhaps. Perhaps.

Since that time, the PlanetNeil domain lingered as just a splash page with a link through to the Tangents blog. But I also noticed that a huge number of people seem to have still kept it as a bookmark, and enter the Tangents blog via that link. With that, I thought it might be cool to update the PlanetNeil intro page into something less bland.

So there it is, PlanetNeil had a make-over, with more images and a list of the most recent blog entries. A bit of window-dressing for the long time followers of this website. Thank you for having stayed on for this journey!

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review: Fuji X100s

April 1, 2013

review: Fuji X100s

One of the most compelling cameras in recent years, was the Fuji X100. It had a slick retro look, solid build, and some interesting features such as the hybrid optical viewfinder. The camera looked quite sexy slung over your shoulder, and felt great in your hands. But it had a few flaws. Sluggish handling at times, and more crucially, erratic auto-focus. It tended to grab the background when focusing in low-contrast light. I loved my Fuji X100, but eventually sold it because of these frustrations.

Well, the Fuji X100 was updated with the Fuji X100s (vendor).
To sum it up: the Fuji X100s is what the original Fuji X100 should’ve been!

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studio lighting: smaller light source = harder light = more dramatic light

When I first started exploring bounce flash, and then off-camera flash and then progressing towards studio photography, my tendency was also instinctively towards softer light. A large light source gives you softer light, and it is more forgiving in terms of how you position your subject and yourself in relation to the light. A large light source is easy to work with. Soft light is flattering. It is a forgiving light source. But it soon became obvious that I was missing out on that dramatic element that attracted me to other images, and what I saw in movies. While soft light is flattering, it tends not to give dramatic results. (Of course, this depends on how you position your light.)

Working with video light in photography, I quickly got to love the light fall-off and the way that you only light a specific part of your subject, instead of just flooding your subject with light.

Working with just a speedlight in bright sunlight, we mostly have to get used to working with a harder / smaller light source … and make it look good! As an example, here is the photo of Molly K, taken during an individual workshop in New York, where we worked with direct off-camera flash.

In the studio as well, selectively lighting part of your subject, or just using a smaller harder light source as a single light, gives you more opportunity for different looks than just using one large light source. In photographing Anelisa recently for the promotional video clip for my studio, I used smaller light sources for several of the setups. This image above then, is from one of those setups. Here I used the Profoto 50 degree Magnum Reflector (vendor) to concentrate the light, but still give a wide enough beam.

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video clip: photo session in the studio w/ Anelisa

To promote my studio as a rental photography studio here in New Jersey, I created this video clip. It’s not quite a behind-the-scenes clip since my intention was to show some of the diversity that is possible in the studio. Using different lighting, and different backgrounds and setups, the final photographs look quite different.

gallery of images of photo session with Anelisa, and other models subsequently.

photography studio rental NJ

The specific sequences will appear as distinct articles here on Tangents, as to how the specific looks were created, incl lighting setups and camera settings and the usual stuff. We’ll come back to this!

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