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.

Photographing a November garden   

 

For years I have made sure to wander my garden with my camera in every season.

I know most photographers are only interested in the bloom of spring or glorious colours or fall, but to me it’s as much how the yearly changes shape the plants as it is the colourful presentation of spring and fall.

I like to walk around the garden that hides my home from the country road that borders my property. Spring, summer, fall or winter. I enjoy it.

It was on a late afternoon just after 4PM. I walked out on my porch to listen to the coyotes serenading the neighbourhood. Or maybe they were complaining loudly that the wet cold weather was making it hard to find food that normally scurries in the meadows.

Friends have commented that it must be nice to live away from the noise of the hustling city. However, at that moment it wasn’t only the coyotes that were disturbing my supposedly quiet rural life. Three roosters, fourteen chickens and five ducks were all making sure I knew they were as important as the coyotes in their forest home.

As I lazily kicked some fir tree branches out of my path I thought about how the cold plants looked interesting and decided to get my camera.

I mounted my 200mm macro on my camera and attached the ring flash and walked along the little pond to take some pictures. After about five not-so-sharp captures I chastised myself for being lazy and returned to my house to grab a tripod.

A photographer I met that worked for a couple magazines once asked me, “What is the difference between using a tripod and not using a tripod?   “The shot with the tripod is the one the editor chooses for the cover.”   I am not sure if that’s always true, but I am sure using a tripod (and a flash) when photographing plants and gardens give me more keepers.

The ring-flash creates a smooth direct light that is very different from the flash mounted top of the camera. There is a sparkle to the subjects.

I always use a flash for plants.

I begin by metering the ambient light as if I were about to photograph the flower without a flash. Then I stop the aperture down to under expose the picture. In the low, bright November light I wanted to darken everything but my subject.

Sure one could open the aperture to reduce the depth-of-field and soften the background. But the closer the lens is to the subject when doing a macro or close-up photograph the less the field of focus in front of and behind the subject will be anyway.

I want as much sharpness as I can get around the flower. So instead of relying on the aperture to separate my subject from a busy background, I reduce the ambient light.

My ring-flash is set to manual so all I need to do is experiment with flash distance. I move forward and back to give the plant the light I want.

The ring-flash has a diffuser and I use a 200mm macro lens. The magnification is the same as with a 50mm or 105mm macro. I just get to be further away and that distance is more effective for the ring-flash.

There isn’t much more relaxing photography than garden photography because the subjects usually cooperate.

December has just overtaken me and I have no doubt that festive Canadian month will bring a totally different garden to photograph.

 

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.

Photographing behind the scenes for a movie.

This past week I was again asked by writer and director, Cjay Boisclair if I would be the “stills photographer” for another movie she was directing.

Ms. Boisclair was this year’s winner of the WIDC (Women in the Director’s chair) “short award”. That award allowed her to hire a cast and crew for her latest movie called, “Stood Up”.

When I wrote about my experience as a movie stills photographer last June I said that I drew on my background in Public Relations photography. PR photography is physically active, with never a chance to sit and where one must to constantly be looking for animated subjects to be successful.

So at 7:30AM I was lurking at the edge of the action voyeuristically capturing behind the scenes activity, and documenting the interaction and hard work of the people in that were making that movie happen.

I like tight shots that force the viewer to get involved with the subjects. I also like my subjects to be well lighted. I see no use in wide shots that have dimly lit people in the distance.

The beauty of my full-frame, large mega-pixel, camera is I can shoot wide and decide how the action and subjects are cropped in post-production with out any loss in detail or image noise in my final photograph.

I stay with a 24-70mm lens because I don’t get the edge and corner distortion of wider-angle lenses.

Modern TTL flashes offer the opportunity not only to bounce the light in any direction, and also allow one to increase or decrease flash power depending on the environment and proximity of the subjects.

When I give beginning wedding photographer’s advice on photographing receptions in large low lighting rooms, I always tell them to slow down their shutterspeed to increase the ambient light. Those “deer-in-the-headlight” type photos that are painfully common in beginner’s photos are so easy to correct by just moving the shutter dial to 1/125th or even slower.

Its that technique I used when photographing the behind scenes action. Indoors I would shoot wide with a slow shutter and outside I use the high-speed sync feature to increase the shutterspeed as needed to balance the flash in the daylight.

As with the last time I photographed for the movie’s director, I am after those classic images I have seen in the old newsreels of the Director in action. Pointing, talking to the actors, or working with the cameramen.

Photographing on a movie set is certainly entertaining experience. I have always thought that movie people were a special breed, and again this time, my first hand experience with the actors and the crew as they creatively worked, more than proved that to me.

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

October 1st Granville Island photography wanderings       

As luck would have it my second Granville Island visit this year was again on a rainy day.

I suppose any Vancouverite would tell me I shouldn’t be surprised. Rain is normal in both spring and fall in that part of the province.

One could rationalize and say, “well, the colours are deeper on wet over-cast days”.

That is so true, but I still worried about getting my little Panasonic mirrorless camera wet as I strolled with wet hair between the colourful buildings, dodging people clad in rain coats and hiding under umbrellas.

My friend Laurie and I spent previous day at the Vancouver Camera Show and Sale. Laurie had brought a camera that needed repair and we were waiting till after 1’oclock for a camera technician to return home.

There was no discussion for a photographer; Granville Island rain or shine was the prefect place to kill time and wander with a camera.

Buildings filled with expensive artwork, a food fair, farmer’s market, artist studios and, of course the Emily Carr University of Art and Design, are all great places to take pictures. Laurie was forever loosing site of, and then catching up to me as I meandered only thinking about the next photograph.

Heck, I knew where our truck was and was sure he’d find his way there when we both were tired of getting wet in the constant drizzle.

But I did have my camera.

I always find a reason to go there before or after the camera show. It’s also a grand place to shop if one has money in their pocket. And in spite of the sometimes-long wait, buying lunch or breakfast and relaxing among the excited and busy throngs of people from all over the world are fun.

I searched for some info on Granville Island, and the city’s info page says that Granville Island draws 10.5 million people each year. And the island’s architecture, much of which comprises remodelled warehouses, still show the island’s industrial past.

“Granville Island is a peninsula and shopping district in VancouverBritish Columbia. It is located across False Creek from Downtown Vancouver.”

“The peninsula was once an industrial manufacturing area, but today it is a hotspot for tourism and entertainment. The area was named after Granville Leveson-Gower, 2nd Earl Granville.”

That is great trivia, but for me, the lure of the place is photography. Sure, I enjoy an early morning coffee and bagel, but the urge to keep photographing the place doesn’t allow me to sit for long.

I think the famous American photographer Annie Leibovitz describes my wanderings in Vancouver’s Granville Island when she said,   “The camera makes you forget you’re there. It’s not like you are hiding but you forget, you are just looking so much.”

Another Vancouver Camera Sale & Swap Meet   

Vancouver is famous for it’s rain.

Pounding Vancouver rain was what greeted my friend Laurie Patmore and I as we rolled our loaded carts into a large room filled wet shouldered people that were arranging all sorts of camera gear on their tables for the Vancouver Camera Show and Sale.

It was 7:30AM and we had two hours to say hello to long time friends and get our equipment ready for an excited crowd of photographers anxious to exchange their hard earned money for the shiny items on our table.

Laurie, as always, disappeared and left me readying the table. Selling stuff is fun, but searching for and finding treasure is way more fun.

This time I had lots of old manual zoom lenses that I just wanted to get rid of any way I could and I wanted to organize my cameras so people would see them first.

Those zooms lenses were prized and sought after back in the 1970s and early 80s, but now they have lost their allure and aren’t even used as paperweights. Nevertheless, I keep trying to sell them. Actually, “get rid of them” are much better words.

Every show I go through the guessing game of what will sell. Last time anything from the 1970s was popular and digital equipment was totally ignored. However, this show there was little interest in the old manual equipment. It was mostly digital equipment that attending photographers were interested in.

What keeps me coming back year after year? Well the people, of course.

The large, bustling, international, coastal metropolis of Vancouver British offers almost anything one could wish for, and events like the Vancouver Camera Show are always a great excuse to spend time there.

The advertisement says. “ Antique, vintage, digital, and everything else for photography, new and used. Do not miss this opportunity to the fascinating world of photography”.

I agree. What an opportunity to enjoy the exciting and fascinating “world of photography”.

I enjoy the people.

Of course looking at, touching and discussing some precious piece of camera equipment is darn fun, making pictures is stimulating, exciting and a rousing force.

I know we all can hardly wait to look at our latest picture on the computer screen as soon as we depress the shutter and making those pictures is all consuming. But talking with other photographers is exhilarating.

The Vancouver camera show and sale is over for 2018 and I’ll have to wait till the spring of 2019 for the next show. I am more than satisfied knowing that I have already planned a couple more photography excursions for this year.

I found this fun quote by the famous Canadian singer Celine Dion,

“I don’t know if the camera likes me, but I do like the camera”.