Photos in the alleyways.  

 

 

This past week my friend Jo McAvany asked me if I would be willing to help her with using off-camera flash in daylight. I like controlled studio lighting, but I’ll admit that balancing flash lighting in the bright daylight is much more fun.

She texted me saying she had asked her friend Heather to be our subject. My question was “where do you want to do this”. I think I held my breath at that moment hoping she wouldn’t suggest wandering around in the woods to photograph our young model. If she had I probably would have feigned an attack of the flu or something just to get out of spending a boring day doing what every beginning photographer seems to be doing now days. However, Jo said, “I’d like to go downtown.”   My response was, “Great lets pose your friend in the alleys”.

I am not sure if it was because of the shopkeepers or random artists, but the alleyways in downtown Kamloops are damn colourful. There are murals, wildly painted back entrances and large brightly coloured signs that fill complete walls. One might expect to find trash, discarded store goods and rusting garbage bins. But nope, it was as if someone had said, “Hey, there might be a photographer or two that want photograph our alleys so lets make ‘em nice.”

We went from coloured wall to coloured wall, posing our ever-patient subject in doorways, against brightly decorated enclosures and behind fenced walkways. I think this was Heather’s first time posing for photographers, or at least having two cameras pointed at her. And yes, she had to endure my constant discourse about balancing light, shadows, exposure and off-camera flash.

Sunday was a good choice. Other than the cold breezy November day, it was quite pleasant. Well, except when the wind caught the umbrella that was attached to the flash and stand and sent everything crashing to the ground.

There was no traffic zooming down the ally and other than some fellows sitting out of the wind behind a building and a street cleaning machine quickly scrubbing by, we had the alley to ourselves.

The three of us ambled up and down the alleys. There were so many places that demanded Heather to pose for us in front of. We even tried adding her into one of the large murals that looked like a walkway into an Italian villa. There was a small green door that someone had painted, and both Jo and Heather agreed that it would be like Alice in Wonderland if Heather reached down for the doorknob. We could have spent the day wandering the alleys photographing Heather, but eventually the cold crept in and we decided it was time to finish photo session talking and warming up at a coffee shop.

We had a good day. We discovered a new place where we can do photography and we all worked together to produce some interesting photographs.  Heather is leaving town for a job in the fast paced coastal city of Vancouver, and our photos will surely give her some great memories of the city she has been living in for some time now.

I think Jo and I might invite a few photographers and models to join us another time to do a bit more exploring around the back alleys.

 

 

 

 

 

Light the Portrait workshop part two.                                              

 

 

 

The second of my two day off-camera lighting workshop is now over and I am pretty sure I have converted a few more photographers to using off-camera flash indoors and out.

The session we just finished was all outside. I would have been happier with a warm, sunny day that had deep shadows and harsh light, but what we got was a cold, slight overcast day instead. Oh well, at the end of the last session I told everyone (yes, our model too) to come prepared for a cold wet day.  As it was, the rain came at night with a wind that dried things out by morning, so all we had to contend with was a cool October, and fortunately, windless day.

Whether one is shooting under a bright sun or overcast conditions, the goal should be to balance both the ambient and the light from the flash. The subject shouldn’t look like a deer-in-the-headlights and the background shouldn’t be unusually under or over exposed.

I began by discussing TTL flash and how to set up and use high-speed sync. Then progressed to demonstrating manual flash lighting. I will say that TTL is wonderful for fast moving events and high-speed sync allows the photographer amazing control over ambient light.

Our first location was in the middle of a field where I had set up a backdrop and two flashes. The 15X15 foot backdrop was a well-used old painter’s tarp that I had found when sorting through the garbage at a house vacated by some tenants who snuck out during the night to avoid paying rent. A drag for the landlord, but an excellent find for me.

Painted backdrops are expensive, especially if they are large and seamless. However, for budget conscious photographers I suggest purchasing a painter’s cloth from the local hardware store and dying it grey. All those that want to be creative need to do is work on the dyed cloth with some spray paint or a large sponge dipped in paint. Instead of spending the extra cash on a seamless cloth, one just employs the cloning tool on the seams in post-processing.

After using different light modifiers at the backdrop location we moved to the edge of the meadow with it’s colourful background of fall leaves. Then we all carefully climbed down into the deep shadowed creek for some photos. After that our model, Sarah wanted to pose against a discarded Cadillac resting in the field. That Caddy was caked up to its bumper in mud from a spring flood that washed out the bridge and almost damaged the studio. From there we posed our model against an old rail fence and finished with a setup using flash and reflectors in a large open barn.

I know that between the very active day and all the handouts I gave those in attendance everyone was dealing with a bit of information overload. Hopefully they will review their notes and remember how we set up the pictures they have on their memory cards. After a few days and a bit of practice everything will come into focus. Pun intended.

Light the Portrait workshop        

 

 

This past weekend I lead the first day of a workshop titled “Light the Portrait”. My goal during the two sessions was to help photographers understand how to use light, indoors or out, when they photograph people.

Fear-of-Flash has always been a topic of discussion for photographers photographing weddings, and portraits both indoors and out.

American photographer and author of the Strobist.com blog David Hobby said,  “…You hear a photographer say, “I’m a strictly available light photographer, I’m a purist.”  He continues, ” What I hear is, I’m scared of using light so I’m going to do this instead. Well, for me lighting was a way to start to create interesting pictures in a way that I could do it.”

It’s with those words that I began the workshop that would discuss using both studio lights and speed lights. Adding that personally, I always use a flash when I make a portrait of someone inside or outside. I don’t care if the ambient light is bright or dim.

My goal is to not only help photographers gain an understanding of off-camera lighting, but to also convince them that using flash will separate their photography from those that rely on natural or as I prefer calling it, “ambient light”.

The first session was about the big studio lights and accompanying light modifiers like, umbrellas, softboxes and reflectors, to name a few we employed during the day.

Those of us in Kamloops British Columbia are fortunate to have a local portrait studio that is not only large enough for a class, but also is packed with all sorts of lighting equipment, backdrops and change rooms for models. The portrait studio, Versatile Studio, also comes complete with a kitchen and dining area. And there are all sorts of props for posing.  All I needed to do was write up my lesson plan, print some handouts, book the studio, hire a model and show up in time to start leading participants into the exciting world of off-camera lighting.

I enjoy leading; I like that word better than “teaching”. I know to teach “is to show or explain to people how to do something”, but most of those that attend know a lot about photography and have already been shooting portraits for some time. All I need to do is build a bridge for them between what they already know and what I am presenting.  And as I stand with them in the studio/classroom I get watch that quick tightening of shoulders, widening of eyes and smiles when they suddenly get it. When that happens I can’t help but smile too.

Well, the first day is over and, as usual, they tired me out. However, I am already looking forward to next week with those enthusiastic photographers (and our energetic model). I wonder if I should begin next week’s session with the words of legendary filmmaker from the 1920s, D.W. Griffith. “Lights camera action”.

 

 

 

 

 

 

 

 

 

 

 

 

 

Photographing a late summer garden.   

 

I woke up to a wet day.

There was a light shower overnight, not the strong rain everything is dying for here in the southern part of British Columbia, but it did dampen things down the most since those rainy weeks last June. However, any rain is good and if I had better hearing I surely would have heard happy sounds coming from the garden outside my door.

The drizzle ended and as I lazily finished my morning coffee, like any serious photographer, I knew there was an opportunity waiting.

Many photographers that are excited with all the brilliant colours of spring ignore the dry plants at the end of summer. Sure the reds, blues, purples, bright yellows and greens have mostly gone, but there is still an abundance of colours if one just takes a moment to look.

I like photographing the garden. As that well-worn quote attributed to Mark Twain goes, “ I don’t know much about Art, but I know what I like”, I admit that I have no memory for plant names, but I like all the flowers, trees and bushes one finds in a garden.

With me, it’s not really the colour as much as it is the shapes. My approach to a spring, summer, fall and winter garden is much the same. I search for the shapes, differing tones and, of course, the light.

My favourite accessory for rainy days is my ring-flash. As I would with any portrait, person or plant, I always use flash. I usually operate my flash off-camera using light stands and light modifiers. Sometimes just holding my flash at arms length works at the end of the day. But after a rain I like the sparkling direct light a ring flash produces.

The ring flash is a flash that fits around the front of a lens instead of on the camera. I prefer keeping the flash at some distance by employing longer focal length macro lenses. My macro lens, a true macro, is a 200mm. That lens keeps me out of the garden ensuring that I don’t step on other plants.

I photographing the garden, spring, summer, fall and winter, calming. Maybe that’s because I am looking into and at the small details of a landscape ignoring the world around me

When my wife and I photographed the garden together her final images were about space, design and how all the bushes and flowers fit together and how the colours interacted. Linda’s visuals discussed the landscape rather than individual flowers. Mine are more intimate. As I wrote, I am always, “looking into…at the details” when I wander our garden.

As with any portrait, I am rarely satisfied with natural light and almost always add light from a flash. And during those hours of low light as the storm slowly drifts away adding a bit of light to makes a normally flat subject come to life.

That garden just outside my door is always waiting. I never ignore it and am always looking to see what it offers.

I found this quote by the famous Canadian nature photographer and writer Freeman Patterson, “Seeing, in the finest and broadest sense, means using your senses, you intellect, and your emotions. It means encountering your subject matter with your whole being. It means looking beyond the labels of things and discovering the remarkable world around you.”

Garden photography during the first days of summer          

 

 

 

Last Wednesday was the first day of summer here in Canada and I finally made time to wander our garden for my monthly photo session with the flowers growing there.

I had photographed the garden in May and although there were some early blooming roses and tulips, not much was going on.   However, since then the cool spring days here in the interior of British Columbia lengthened and warmed and the summer heat is coming.   Everything was in bloom and waiting for my first-days-of-summer photographic expedition.

The sky clear with a slight breeze as I walked around in the cool morning.   It was comfortable, but neither worked for me. I was hoping for some clouds and didn’t like the breeze at all, so I waited.

About 2pm slight clouds started gathering and the breeze quieted.  I attached a flash on a lightstand, mounted my 70-180mm macro on my camera and started searching the garden.

It doesn’t matter if I am photographing a person or a flower, I like to use an off-camera flash.   Sure there is nice natural light once in a while, but it is so much easier to control the light with a flash then to hope and wait for the sun to be just right.   Normally I like using an umbrella, but there was that intermittent breeze that didn’t bother my waiting subjects too much, but the tiny gusts could easily blow my flash over with the large umbrella, so I left the umbrella on the porch and instead employed the diffuser that came with the flash.

A flash lets me control the ambient light using the shutter speed and I stop down my aperture to disguise background distraction by under exposing or open up the aperture to reduce depth of field.

I thought about getting in the car and driving over to the pond to check out the geese, or maybe make an attempt at photographing a nearby waterfall that I am sure was loudly crashing into Chase creek. Those are more exciting subjects than flowers, but I promised myself I’d get a good record of the flowers this year. Anyway the afternoon garden and the surrounding neighbourhood was quiet, the plants were patiently waiting, and I was too lazy to go for a drive.

Summer is here and the flower’s bloom won’t last long. The mountains around here have ticks, snakes, and maybe hungry bears (well, probably not hungry bears and I haven’t seen a rattler in years). The water is to high to get good shots of the waterfalls and anyway if one waits another week I expect there will be plenty to photograph on Canada day.  So for now I suggest one more leisurely and safe foray, with camera and flash, into the garden before summer’s heat takes the bloom’n colour away.

Flowers as Portraits   

Easter is about a month away and I expect a few readers will be getting flowers from someone or giving flowers to someone. Those flowers will be a great photo-opp.

A portrait photographer’s studio set-up usually includes a backdrop and lighting equipment. The lighting, from small, or large flash units, is controlled by an array of modifiers that can include reflectors, umbrellas and softboxes. And the backdrop is chosen not so much because it is a flat surface but because it is a background to flatter the subject seated in the foreground.

The lighting illuminates the subject and separates it from that background as well as creates depth and dimensional form.

When producing an outdoor portrait most experienced photographers will begin by placing their subject in front of a neutral background or sometimes erect a backdrop and use either flash, or reflectors, to control the light on their subject and create depth and interest.

However, if I asked those same photographers to make me a good picture of a plant they would likely just kneel down next to some pretty flower and snap the picture with little thought to background or lighting.

After years of doing just that to lazily document some plant that caught my eye, I decided that I wanted more from my images. I realized that it was the shapes and plant forms that drew me to gardens.

During my quest to make my plant and garden photos more than flat, lifeless documents, I discovered the flower photography of Robert Mapplethorpe. His portraits of flowers are always posed and include the kind of dynamic lighting one would expect in photographs of beautiful people. His spectacular and thoughtful compositions of flowers, like orchids and calla lilies, convey moods that to me reveal more with each viewing.

When I photograph people I try to be both creative and flattering with my lighting, remembering that a good portrait should have lasting power. I want future generations to see a portrait of their parent or grandparent and still like it. If one gets too edgy, or trendy, the portrait will not stand the test of time and be discarded when trends change.

I have come to think the same way about photographs of plants. Flowers, of course, are so much easier to photograph than people, especially potted plants. Select a good location, turn the pot until the pose looks good and add light. Plants don’t get tired, nervous or jittery. Maybe that’s why I like photographing flowers, they (almost) always cooperate.

Photographing a plant in the garden or in a pot should be more than quickly pointing a camera at that flower in a garden or a windowsill and releasing the shutter.

Put that boring iPhone away, and take the time to make it more than just a repetitive, unimaginative record. Don’t be in a rush; take time to develop a plan, don’t take the lighting for granted, work with it, and above all, be creative.

 

 

 

 

 

 

Modern TTL Flash    

ttl-flash-camera

Attaching a flash to one’s camera has been, and still is, a hot topic of discussion that was going on long before I got serious about photography in the 1970’s.

I remember being confused, well actually, really confused, and read everything I could find trying to understand how a flash attached to my camera’s hotshoe worked, and how adding light from a flash (on and off camera) could be used to enhance my photography.

Early flashes produced a constant amount of light no matter how close the subject was, and over or under exposures were common. The most frequent way of controlling flash power was to use exotic technology like a white handkerchief, a translucent soap holder, or attaching a white bounce card to the flash.

Later technological development included light measuring sensors in the flash that read the light reflected back from the subject and shut off the flash when a predetermined amount was reached.

Then TTL (through-the-lens) flash came along and small computers in the camera controlled the flash. The reflected light was read by the camera, making the lens focal length, the aperture, and the distance all part of the exposure equation.

Today’s hotshoe connected flash is nothing short of amazing, and there is absolute control over the flash.

Subtracting light intended for the subject no longer needs some translucent material placed over the flash head.

Using devices like white cups, and bounce cards with a TTL flash have become all about softening or diffusing the light instead of only reducing it.

The latest flashes easily control power output, and can be comfortably used with wireless off-camera technology. Alternatively, the flash can also be connected by a dedicated cord and still remain off-camera allowing the photographer to point the flash toward the subject at flattering angles without time consuming calculations.

A photographer can, while shooting, easily select the exposure in camera, or dial the flash power output up or down. It is now so simple to reduce or increase the ambient exposure while maintaining or brightening the subject alone for more natural looking photographs than it was with early flash photography.

When I began using a flash many years ago it changed the quality of my photography. It became just like the image change I gained by using different focal length lenses.

I no longer had to rely on ambient light and I began to notice my subjects had more “pop” than those without the flash and I was pleased at being able to fill unflattering shadows coming from overhead lighting and reduce deep shadows caused by sunlight.

The modern speedlight (hotshoe) flash gives a photographer control over the quality of light and using a flash (or several flash units off-camera) when photographing people is more than just brightening up subjects in a darkened room.