Photographing dogs and using flash outdoors.  

When my friend Jo McAvany told me she wanted to do something the combined her love of photography and love of large breed dogs I was intrigued. She said she was planning to make a photograph book of big dogs that live in the Kamloops area.

Jo intends to spend the next year photographing the dogs in all seasons and at different locations throughout the year.

For the past two years that I have known her I’ve been pushing her to use lighting when photographing people indoors and out. She began by attending my lighting workshops and eventually became my ever-helpful teaching partner.

I guess I shouldn’t have been surprised when she said. “Will you help me with the lighting on my project”. I readily said I would.

Flash technology made quite a leap from the manual settings we once used to when Nikon added TTL in the early 1980s. That was when I sold all my Pentax and Canon equipment and “jumped” to Nikon. (I am pretty sure all modern cameras have TTL flash capability)

Flash took another large step when digital cameras became the norm. TTL was already almost foolproof and digital technology offered added control. Then it again matured and “High-speed Sync” was introduced and mastery over light in any environment and condition became easy.

Manufacturers began offering portable wireless units that, unlike the dedicated speedlights a photographer usually purchases with their camera, are much like those powerful units used in serious studios.

For readers that aren’t familiar with flash, High-speed sync means a photographer is no longer limited to the normal 1/200th or 1/250th second flash sync most speedlights use. HSS allows a sync speed up to 1/8000 of a second.

When I teach workshops on Flash I tell participants that the Shutter controls the ambient light and the Aperture controls the flash power. And remind them that increasing the shutterspeed allows us to widen the aperture.

When Jo walked out in the white, painfully reflective snow on a bright cloudless day to photograph those dogs this past week the contrast between the shadows and highlights were enough to ruin the pictures. However, I added flash and moved around to change the direction of the light fell on her subject. All she had to do was reduce the ambient light by increasing her shutterspeed and change the flash brightness by stopping down or opening up her aperture. Our goal was to balance the light on the dogs as evenly as possible without Jo’s final image showing that a flash was even employed.

Jo worked with the owners to pose the dogs. She’s very precise when it comes to how she wants them to be for the photograph. My job was to pay attention to the flash-to-subject distance and keep checking to make sure the light wasn’t to bright or to dark.

Confining oneself to only natural light means there will be elements beyond control. Natural light limits when and where one can shoot during the day. With the sun high in the sky at noon, there will either be a backlit silhouette, or the bright light will blind the subject and create black shadows. And if it starts snowing or raining, there usually won’t be enough light to shoot indoors.

Flash gives a photographer 100% control over the lighting. Whether completely doing away with the ambient light in the studio or adding flash with natural light outdoors, the photographer is in charge and can get the light to look exactly the way he or she wants it at any time of day.

The first Flash-How-To workshop of 2019    

I had planned to write about photography in the snow. After all it’s January here in western Canada and it should be snowing.

There isn’t much snow in my neighbourhood and it isn’t that cold out. So instead I’ll write about what I did on my first weekend on the New Year.

I decided that a good way to begin another year of photography would be to host a Flash (speedlight) workshop to help those photographers that are planning to photograph people in 2019.

While I was preparing for the class I found an article by California based photographer Jason Shelton tilled, “5 Reasons to Use Flash”. He continued, “Flashes are more than just Fill….Reason 1: Flash is Awesome. Reason 2: Flash is Awesome. Reasons 3, 4 and 5: Flash is Awesome.” Although I absolutely agree with Mr. Shelton, I needed a bit more to tell the photographers in attendance than that.

So many of today’s modern photographers have become lazy with the amazing camera technology we have. Without a thought about controlling the light, it’s direction, or the light’s quality. They point their cameras and hope their cameras will make good pictures.

The one-day session I lead was about speed lights (hot shoe type flashes) and how to use them on and off-camera.

This class filled up so quickly that I almost forgot how hard it is to convince photographers that a flash isn’t only for darkened rooms. When I passed handouts about using flash to everyone I watched people begin to read and some even nodded as if agreeing with what they were reading.

I use handouts so participants don’t need to take notes.

For those that didn’t have their own flash I had several lying on the table. There were also flashes with wireless receivers mounted on light-stands topped with umbrellas ready and waiting around the large room.

I began with my thoughts on why I think everyone should have a dedicated TTL flash and how we can balance the light in a room without giving our subjects that “deer in the headlights” look.

I moved on to high-speed sync and after everyone set his or her cameras up we moved outside to give that exciting feature a try. When I tell people their cameras can sync at 1/8000th of a second I always get looks of knowing disbelief because camera and flash manuals usually show a sync speed of 1/250th or slower.

After that, lets call it “awakening”, I gave everyone triggers to place on their cameras and we moved to the light-stands and spent the rest of the day using off-camera flash.

Although I talked a bit about posing, I was mostly interested in showing participants how to position the light.

It’s gratifying to have a group of photographers sit listening to one’s lecture on any subject, that’s great for the ego. But what makes me smile and reinforces my desire to continue is the excitement in the room.

In this case it was when 8 photographers, all competent at using their cameras, suddenly discovered how wonderful and creative using flash instead of natural light is, They may have bought a flash because the salesperson said they’d get a good deal if the purchased it with the camera. Or possibly they worried their camera’s ISO might not go high enough and needed a flash at a friend’s wedding reception.

As I was showing a quick, easy and flattering way to pose an uncomfortable subject I realized that the room was noisy with loud talk. I stepped back while a photograph was taken using an off-camera flash and I listened to the many excited discussions.

I realized I had a room full on converts.

Santa Photos with dogs 

 

This past week my friend and photographer Jo McAvany phoned to tell me she had volunteered to do photographs for a local business called the “Brazilian Dog Guru”.

The owner, Fernando Silva, had a great idea to photograph people’s dogs with Santa Claus for donations to support a local dog rescue organization.

I wasn’t surprised when Jo said she jumped at the offer to be the photographer. As well as an avid photographer, Jo has opened her home to a lot of rescued dogs over the years.

I was delighted that she would be doing that, and wasn’t surprised when she first asked if she could borrow some of my lights and second, suggested that I come too.

I thought it would be an unusual and fun way to spend the day. After all, I like dogs and they usually like me, so there we were at 11am on the following Sunday setting up lights in a small room while saying hello to Santa.

Soon excited people and their best friends were lining up outside waiting for the elves to take them inside for their photographs.

During the Christmas shopping days I sometimes like to watch the Mall Santa photographers as they work. The technology has changed over the years. Its digital cameras tethered to computers so that parents can instantly see the pictures, make their choices, pay and walk off with a matted print.

For a few years I set up the photography for local malls. Although that was back in the 1990s, not much has really changed much. However, back then instead of the digital camera and computer, the photographer would take the rolls of film to the one-hour processing lab at the end of the day and parents would have to return to get their pictures.

Most of the dogs and owners that came for Jo to photograph with Santa were well behaved. Although like some of the children I saw at the mall’s Santa booth, they weren’t having anything to do with that stranger sitting on a bale of hay.

The owners would bring them in to meet Santa and their eyes would roll and they would almost pull their person over trying to get away. More than once that meant finding a human that wasn’t wearing a red costume. Sometimes the dogs ran back to their owners, but more than once Jo almost was knocked over when they chose her as a safe refuge from the scary man that was grabbing at them from high on a bale of hay that probably seemed dangerous when it moved under their feet.

After setting up the lights I had nothing to do but pet all the dogs and be entertained by the goings on in the room set aside for Santa and my friend Jo. (A tough job, but someone had to do it)

By the end of the day I am sure Jo not only had a sore back from bending over, (we decided a tripod might get in the way of dogs and dog leashes) and although she didn’t mention it, she probably had a bruise or two from the big dogs that thought she was there to jump on.

What a fun way to spend a day.

Dogs and photography, it doesn’t get much better than that, unless one includes that this event was for a very good cause; collecting donations for the “Pom and Pals Country Rescue” dog shelter.

Oh, and there are now over 50 dogs that have a picture of themselves with Santa. I think some people are going to get some great Christmas cards this year.

Home studio Lighting set-ups for Beginning Photographers      

 

I am always pleased when I know that someone has actually read my articles.

Twice this past week I was visited by different aspiring photographers, that had read my last article on using lights and stopped by to ask advice on setting up home portrait studios.

For them and others that missed my past article on setting up a home studio, here it is again:

In each instance the photographers were quite troubled by the kind of lighting equipment other photographers were advising them to purchase and how much it was going to cost to get large and expensive studio lights.

They complained that they would have to wait till they had the money before a home studio lighting situation could be set up. I believe they were paying attention to those that included expensive manufacturer’s names for their studio type lighting setups.

One might be able to locate used studio lights with a bit of searching online. However, there will be shipping costs, plus there is a chance that they will arrive not working.

There usually isn’t lot of quality studio lights locally, and to confuse new photographers more there will be lots of those cheap, inadequate, constant light kits that were purchased by other unsuspecting beginners for sale.

My opinion is they don’t really need to go to the bank just yet, and would be better starting out with the smaller speedlight type flashes.

With the money they save by not purchasing those big studio type lights they could buy a couple inexpensive light stands, umbrellas and maybe even a softbox and backdrop.

Most small home photography studios are in the basement with equipment stored to the side until the photographer quickly sets up for a portrait session.

And if the room is less than twelve feet high, thirty feet long and only used for children, small groups or single person portraits, those big powerful and expensive studio lights may be overkill, and a real hassle when one wants to soften the background by shooting a wide aperture because there is just too much light power for small spaces.

Photographers intent on setting up small home studios for portraits and small groups don’t need to go to the expense of the brawny, studio type lights. They can easily, and without much initial cost, set up a studio with what I personally use, and call my “portrait kit”.

My portrait kit is four older hotshoe type flashes, each with it’s own wireless receiver and two stands. I can choose a shoot-through umbrella, a reflector umbrella, or once in a while a softbox, and might include a reflector. It’s an inexpensive and easily stored “portrait kit” that I would recommend for most first-time, home studio photographers.

Wireless senders and receivers come in all sorts of inexpensive incarnations, and it’s the same with lightstands and flash to umbrella mounts.

All of this is much less expensive, and a lot easier to store and/or move around than the big studio-type flash units.

Even if there were a wad of cash burning a hole it your pocket, my advice would be to proceed slowly, and learn how use light to best photograph a person first.

I have been using multiple flashes off-camera since the 1970s. I prefer inexpensive used units that I can cheaply replace if they get knocked over or I wear them out.

Hotshoe type speedlights off-camera will be perfect for that educational process, and when they are no longer a good fit with one’s creative growth, the choices as to the next step in lighting equipment will be educated decisions.

Outdoors flash photographer’s workshop        

Last August I wrote about setting up an outdoors studio in the meadow on the south side of my home for my friend Joleen McAvany. Readers will remember that Jo wanted to do a “Disney Princess” session with some of her friends.

Jo posted her studio-like photographs from that day online. Her photos were so successful that I decided to offer another how-to workshop.

I limited participation to four interested photographers and Jo easily talked two of her friends into braving the cool October day to be our models.

I like flash and never pass by an opportunity to introduce photographers that normally would only use flash in dimly lighted rooms, to the advantage of employing flash in the daylight.

Jo and I set up both a white canvas backdrop and a painted blue/grey canvas backdrop. I had purchased the painted canvas, but the white canvas was formally a large painters ground cloth spattered with paint that I got for free.

I attached several older 1970 vintage flashes on light stands with umbrellas. All were connected to wireless receivers and I gave a trigger to each photographer.

My lecture was about balancing the light from the flash with the ambient light. The key light (main light) that modeled the features of our ever-patient subjects, Morgan and Cora came from the flashes, not the sun.

Jo gave a posing demo using a 60mm, then a 70-180mm and finally a 400mm lens as she positioned each model in turn. Then after showing everyone how effective the long lenses were, and how easily it is to control the flashes, I positioned each depending on the light.

I then let the attending photographers experiment and learn as I showed them how great their photos could be using flash in the daylight.

Most had seen some of Jo’s “Princess” photos and I reminded them that she had originally asked me, “can I do this out-of-doors and still create flattering studio kind of light portraits?”

Now I have introduced four more photographers to using flash as a creative tool instead of just something that brightens a dimly lighted room or gives a flat light on some subject’s face that is standing in the shade.

I am left wondering if they will start using flash. It is so easy to be lazy and leave the flash at home on a sunny day. However, the resulting photographs where one controls the light and is able to place it to flatter and model a subjects face should be enough to convince any serious photographer.

I would like to think I was successful in convincing those four photographers that adding the light from a flash will make their photographs stand out among photographers that depend on the inconsistent light from the sun.

Note: Photos by Joleen McAvany

 

 

 

 

 

 

 

 

 

 

 

 

 

 

An outdoor studio for photography     

 

 

 

 

 

A couple of weeks ago Jo stopped by to tell me she and 8 friends wanted to do a “Disney Princess” shoot. She came up with that creative idea and posted a call for women that wanted to do modern interpretations of those cartoon characters from the Disney movies.

Her question to me was, “can I do this out-of-doors and still create flattering studio kind of light portraits?”

Absolutely! was my reply. Sure one could go through the expense and trouble of renting a studio, but it’s pretty easy to duplicate the indoor studio type lighting out-of-doors.

Gosh, the movie people have been doing it for years. I jumped at the chance to show Jo how easily it is.

We hadn’t had rain for almost a month so I decided to create an outdoor studio in the meadow on the south side of my home. The “princesses” would be showing up just after noon so I chose a location to set up the backdrop that had shade from several tall fir trees. I also planned to put up a canvas gazebo with a table for the makeup artist to work.

“The best laid plans”.

Actually, those aren’t the words I used as I looked out my bedroom window at the rain the morning of the event. The local weather reporter had suggested there might be some spotty rain in our area, but the pounding deluge outside my window wasn’t what I expected.

However, because of the possibility of rain Jo and I had set up one of my backdrops under my canvas carport the night before.

I got a “good morning I’ll be right over” text from Jo as I sloshed out to set up the lights under the carport. The rain was a hindrance that dampened the yard (and I am sure the spirits of the soon to be princesses) but “Light is Light” and all I had to do was balance my off camera lighting.

The larger backdrop we had set up was for blocking the wind, rain and what limited daylight there was. We then erected a black paper background and I used two lights mounted on stands with umbrellas to model our subjects.

I am sure there are those that would have just upped their camera’s ISO and hoped for the best on that dismal flat day. But I like the modeling, depth and control over a subject’s features a flash adds. Heck, we might as well have been in a dimly lighted room. The ambient light was that good for adding flash.

When Jo’s subjects arrived they turned my house into a makeup and change room. There were costumes and clothing everywhere. I just stayed out of everyone’s way and concerned myself with the outdoor studio except for an occasional quick trip to my kitchen for another coffee.

The rain lightened a bit, but never really stopped all that much. Nevertheless, those excited Princesses were all about creating a modern day reality or personal version of the Disney character they were supposed to be. There was a lot of laughter and running back and forth along the bushy wet path from the carport to the house.

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 to say, ” 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.”

I will add that I have, personally, always felt that photography is a series of problems to be solved, and rain or shine it’s really the goal of flattering portraiture.

I think that many people viewing the pictures Jo took outside on that rainy day will, unless told, think that the portraits were made inside a well-equipped indoor studio. I guess it doesn’t really matter where they posted for their Disney Princess portraits, only that they are good.

In all the commotion I forgot to begin the day with the words of legendary 1920s filmmaker, D.W. Griffith as Jo pointed her camera on that rainy day, “Lights camera action”.

 

 

 

 

 

 

 

 

 

Photographing a July garden.  

 

I waited all day for the bright harsh sun to dim. It was just after 8PM I was finally able to walk into my garden with camera and flash to photograph the July flowers.

June was, as usual, pretty wet and full of bloom, but I was waiting for the hot summer to present a change in the plants and flowers so I could continue with my photographs of the garden in all seasons.

I am not so much impressed by flowers as I am by the shapes of them. To me the colour is only part of what I want to capture with my camera, and I don’t really care if I am photographing in the spring, the summer, and fall or in the cold of winter. Dry, wet, or covered with snow. It’s the shape and plays of light that intregues me.

I don’t like bright, contrasty sunlight. I prefer overcast or, at the least, the lower light at day’s end.

I wandered out with my camera, macro lens attached, tripod, light-stand and flash fitted with an umbrella in the still bright, but certainly not as glaring as mid-day or early afternoon light.

Regular readers know that I always employ a flash. The flash gives me control over direction and intensity of the light. Some photographers my say they prefer “natural light”. I will just say, “naturally, I add light.”

With digital came high-speed sync. High-speed sync gives me the opportunity to increase my shutter’s speed dramatically when using a flash. Even up to 1/8000th of a second. That increase in shutter speed means I can use a wide aperture even in the direct sun.

It also means that I can control flash exposure with the shutter speed instead of the normal way photographers control their flash power, the aperture.

I choose my well-used old 200mm macro. It’s from the time of manual cameras and doesn’t have the option of auto focus. I like it because I can select any point along its focal length when photographing flowers.

My flash was a big 800w battery powered, wireless off-camera strobe. I use it in manual power mode and, of course, High-Speed sync.

I under exposed the ambient light 4 or 5 stops so the proper illumination would come from my flash.

The garden, designed by my wife when she was alive, continually blooms from spring to fall. It colours, shapes change with the season.

All I have to do is choose what interested me all year long.

I have never talked to my neighbours about all the photography I do in my yard, but I wonder what they must think about the bursts of light coming from my bushy property at all times of the year.

My garden photo session ended as the light dropped at about 9:30, but by that time I had wandered all over and photographed shapes of flowers, some alive and some only memories of their glorious and colourful spring blooms.

The hot, drying July heat is now with us and I wonder what will survive till next spring for me to photograph.