off-camera flash with a small softbox

Most of the images shot as part of the Sigma 35mm f/1.4 DG lens review, were with available light only. But for one sequence, I used off-camera flash. I didn’t intend carrying a lot of equipment, so I stripped it down to the minimum. That meant forgoing my usual softbox, the Lastolite EZYBOX 24×24″ softbox (vendor). Instead, I opted for the much smaller Lastolite 8.75″ speedlight softbox (vendor). And instead of a light-stand, Nicole’s friend, Andrew helped out on the day by holding the softbox and slave speedlight.

In getting to the final image, the thought-process was similar to that described in this article: off-camera flash for that extra bit of drama (model: Olena).

So let’s run through the sequence of images …

Learn more inside…

{ 10 comments }

review: Sigma 35mm f/1.4 DG HSM wide-angle lens

I have to admit upfront that I am a lens snob. Not so much for a lens being esoteric or collectible, but rather that I have a particularly strong preference for the name brand lenses. When I shot with Pentax way way back, I only used Pentax lenses. Similarly, I only have Canon lenses for my Canon bodies, and Nikon lenses for my Nikon cameras.

Part of it is that the styling of the lens and camera is more consistent. Yes, I do like my cameras to have a certain aesthetic appeal. I know, I know … how pretty a lens looks has no real correlation to how spectacularly it performs. But actually, there is a correlation of sorts. The spendier equipment (which performs well), tend to be designed to look good. But I digress.

The main reason though why I keep within a certain brand, is that the top names tend to have the top lenses. A recent test I did between the Sigma, Tamron and Nikon 24-70mm f/2.8 zooms, showed once again that the Nikon optic had the edge: photography: how good do your lenses need to be? Therefore, most often, it is a simpler choice to just get the lens which has the brand name, and forego a lot of testing. Of course, there is always the possibility of an expensive disappointment. But generally, staying with the big camera brands is a decision that can be made with confidence.

My interest was piqued though by the news that Sigma is releasing new lines of lenses, and tightening up their quality control. From Sigma’s website: “all newly produced interchangeable lenses from Sigma will be designed for and organized into one of three product categories: Contemporary, Art and Sports. Each line has a clearly defined concept to guide shooters in the selection of the right lens for their photographic interests”.

One of the first lenses to be released, is the Sigma 35mm f/1.4 DG wide-angle prime lens, and I was able to get a copy for review purposes.
Sigma 35mm f/1.4 DG (for Nikon) (vendor)
Sigma 35mm f/1.4 DG (for Canon) (vendor)

The lens has a noticeably different look than Sigma lenses in the past, and actually looks quite sleek and modern, but this all wouldn’t mean much, if the lens didn’t perform spectacularly, and was at a more affordable price point than the Canon and Nikon equivalents:

Learn more inside…

{ 27 comments }

off-camera flash photography essentials – video tutorials

I would like to remind everyone that the video tutorials – Off-Camera Flash Essentials – that were created for the ClickinMoms as a Break-Out Session, are still available for purchase.

It’s essentially a flash photography workshop – 90 minutes of video tutorials for $60.

The first section is a 45 minute video seminar where, with the help of images, the basics of flash photography and off-camera flash photography are explained. The final 45 minutes are divided into different sections, including a section where we work on-location.

Learn more inside…

{ 7 comments }

going for that classic look in a photo – lighting & posing  (model: Elizabeth)

When I saw the beautiful architecture of the Court House in Denver, CO, I knew that I wanted to use this as a backdrop for part of the mini photography workshop in Denver. In terms of composition, the imposing pillars and leading lines of the steps would simultaneously make a simple and classic background. Our model, Elizabeth, fortunately had this simple, yet elegant black dress as part of her wardrobe. For me, this photo comes together with the way the model (with her own style and styling), and the chosen location, complements each other.

That’s all a long way to say that I really like this image.

So while “having some kind of idea what you want to do” at the start of a photo session, is always a help, the success of any resulting photographs are most often a result of all the other choices coming together as well – posing, composition and lighting.

The composition is fairly straight-forward. But do notice that I shot slightly upwards towards her, to accentuate her legs. Shooting down would’ve created a strange fore-shortening effect. The focal length on the zoom lens was 38mm – wide-ish. If you’re photographing people with a wide lens, it is best to shoot from belly-button height with the camera – exactly where an old twin-lens reflex camera would’ve been held. This way you’re not shooting down, nor shooting up. So spatial distortion is minimized.

Then there’s also that touch of serendipity which brings some unexpected magic. In this image, her shadow was what helped pull the image together. Suddenly it isn’t just soft lighting – now it looks like a bit of sunshine sneaking through a thin layer of clouds. And the image pops!

The specific look to this B&W image was done via a recipe I created in Radlab.

To get that dramatic light on her, we used undiffused off camera flash. In other words – hard direct off-camera speedlight. Since this is a small light source, you have to be very specific in posing your subject. Posing “into the light” usually works best. You have to be careful though not to get weird shadows, but to have the light from the bare flash still be flattering.

The way the shadow fell behind her, was an accidental little bonus. I’ll take it when it comes.

More about the lighting and the camera settings ….

Learn more inside…

{ 14 comments }

ISO comparison – Canon 5D mkII, 5D mk III, Canon 6D, Canon 1Dx, Nikon D4, Nikon D600

I had a number of people ask about more details about the Canon 6D and whether I would recommend the Canon 6D (vendor), or Canon 5D mark III (vendor). It’s tough enough to give advice at best of times, since the decision to buy a top-notch camera is a nuanced one. There are so many factors that come into play – your budget, weight of the camera; ergonomics; features & specification. Everyone has a different requirement of their camera gear.

So when I was able now to get my hands on a broad enough selection of Canon cameras (Canon 5D mark II / Canon 5D mark III / Canon 6D / Canon 1Dx (vendor) simultaneously, I decided to also add the Nikon D4 (vendor), and Nikon D600 (vendor) into the mix. One would expect that the Canon 1Dx would beat the Canon 5D mark II hands-down since there is a generation difference in technology as well as a massive difference in price. Similarly, one would expect the Canon 1Dx (vendor), and Nikon D4 (vendor) to compare favorably to each other.

Now, as I said, the choice between cameras depend on a number of factors – but one of them that becomes important in certain areas of photography, is high-ISO performance. Instead of relying on my say-so, and a few 100% crops, I decided it might be interesting if everyone does a bit of homework for themselves, and scrutinize the relevant RAW files. This would help in making the decision a personal one. Download the RAW files from here.

Learn more inside…

{ 22 comments }

photographers: how scammers are trying to rip you off

In a previous article on how e-mail scammers are targeting photographers, the question came up exactly how the photographer is going to lose money. What exactly is the system in place where the photographer is going to be out of pocket?

In short – the scammer books you but overpays, and then asks you to pay the difference to another vendor. So you send money to the “other vendor” (who is actually the scammer). The transaction where you got paid the money turns out to be fraudulent, and the bank removes that money from your bank account … but the money that you paid to the “other vendor” (ie, the scammer) is a real transaction and you lose that money.

You’ll encounter different versions of this, but there are numerous tell-tale signs. These have even cropped up now as scammers texting you! But it follows the same pattern, with the same tell-tale signs that it is a scam.

Learn more inside…

{ 69 comments }

Fuji X100s – best manual focus camera

As mentioned in my review of the Fuji X100s, they really did improve the AF compared to the X100. Paradoxically enough, just as the AF speed and accuracy of the Fuji X100s gets glowing mention everywhere – it’s just as exciting to discover that the changes they made to the manual focus mode, turns the Fuji X100s (vendor) into possibly the best manual focus camera there is.

Now some will say this camera’s AF is so good that you don’t need manual focus. I’m not convinced of that. The AF is pretty good, but there are times (such as with strong back-lighting), where even my Nikon D4 struggles. Then manual focus can be a huge help. And it makes sense to be familiar with the manual focus options on your camera.

Anyway, here is why I think the way that they implemented manual focus on the Fuji X100s, is so good …

Learn more inside…

{ 5 comments }

comparing maximum flash sync speed – 1/250 vs 1/200

A comment that was posted in the photo gear section, asked about the relative merits of 1/250 max flash sync speed, vs 1/200 max flash sync speed.

Hi Neil, thanks again for Tangents, & your books which I refer to a lot. You have a gift in teaching and your passion is contagious. You’re probably my no 1 reference out there amongst the myriad of info now available. That’s why I’d like your opinion on the D600, particularly the 1/200 sync speed factor. I just bought one. Do you think it’s a big issue. Mr Hobby considers major enough to dismiss buying one. I couldn’t bear the thought of processing 36mp images from the D800 & couldn’t afford the D4. I got an ND filter hoping that would make up for it! What do you think about the camera other than that. Thanks again.

My first instinct will always be to go for the camera with the higher flash sync speed. It is especially valuable when working in bright light, to make it easier for a speedlight to match that bright ambient light. But it also helps with a (slightly) shallower depth-of-field when you can take the shutter speed higher.

But just how much of a difference does that 1/3rd stop difference in shutter speed make in the grand scheme of things?

Learn more inside…

{ 20 comments }

Tangents – a new look

June 21, 2013

Tangents – a new look

As you may well have noticed, the Tangents website has had a major overhaul. Two of the changes that will be immediately obvious to the regular visitor – the horizontal images are now larger. Yay! Also, the navigation has been tweaked.

It’s still an ongoing process, but if there are any glaring problems, or ways I can improve the site, drop me a note here.

The image at the top is from a concert I attended recently – The Heavy, during their show at Webster Hall. Electrifying! (But I decided to hang out from the balcony area since I hurt my foot, and wasn’t ready to be trampled in the crowd yet.)

It was shot with the awesomely awesome little Fuji X100s.

{ 2 comments }

exposure metering for a backlit subject, using the histogram  (model – Olena)

When our subject is backlit, we have a number of options:

  • expose for the background, and then either:
    — go for a (semi) silhouette,
    — add light to your subject to balance their exposure with that of the background.
  • expose carefully for our subject, and let the background blow out. This is the “ambient-light-only” option.
  • anything somewhere inbetween those two choices, where *we* decide how we want to balance the exposure between our subject and background.

Exposing for our subject, very often gives us this kind of ethereal look as the strong light from the background causes internal lens flare.

Learn more inside…

{ 8 comments }

1...10...1819202122...30...83