When, like me, you have been using a single product successfully for over twenty years it is normally out of a mixture of boredom and curiosity that you have to try out the next “new idea” when you see it. That happened to me a few weeks ago. Having owned and used several of the venerable Manfrotto 029 Lite-tite brackets for so many years I thought that I’d give their new Snap Tilthead with hotshoe a go. For my purposes they will do pretty much the same job: hold a Canon Speedlite flash on a stand with a folding umbrella on those jobs where using other lights isn’t so much of an option. I know that there are dozens of other brands out there but I’m a sucker for certain makes – (more…)
Anyone who follows this blog knows how much I like using the Elinchrom Ranger Quadra system for a lot of my work. Next week I have a job coming up where I need to be able to pack light and rush around and I have been perfecting using the Canon radio slave system so that I can just use my Speedlights and a couple of tiny stands on the job. Whilst playing around I thought that I’d see how easily I could attach an old Elinchrom Portalite softbox to the Canon and the answer was “frightningly easily”. The Canon Speedlight 600EX II-RT comes with a diffuser cap and just popping that onto the flash after the flash tube section had been pushed through the plastic Quadra mount held the softbox rather well. I could easily add some foam tape or some velcro but this will stay in place unless I shake it around. It’s a bit smaller than I’d like a softbox to be but it is supremely light and so I’ll just have to get it that bit closer to the subject.
The Portalite folds up really small too and so I have another choice when I’m shooting. I will probably use a Westcott double folding umbrella most of the time but it really does pay to have options. Best of both modifiers work absolutely brilliantly with the Canon wireless remote set up with the ST-E3-RT transmitter and the RT flash. From testing today the recycle times on the 600EX II-RT are better than any Speedlight that I’ve ever used before and because of that I’m more than happy to work this way for this specific job.
A few weeks ago I bought some more Elinchrom Ranger Quadra kit and after a short while lugging my gear around in multiple bags and cases I decided that it was time to get myself one big case to take most or all of my Quadra gear. My rationale was that I am pulling one bag on wheels and carrying two or three others so why not make it one on wheels with the lighting and one smaller bag with cameras and lenses riding on top of it or over my shoulder as required? There’s quite a bit of choice on the market but all of my experience with Think Tank bags told me to start my search there. They make lots of rolling bags but only three specifically designed to lug large amounts of kit. My benchmark was that I had to be able to get at least two of my Manfrotto 156 stands plus a couple of Manfrotto 001s in there along with two or three packs, three or four heads, spare batteries, cables, light modifiers and plenty of accessories.
I had previously seen a colleagues Location Manager 40 case and so I wanted to check out the Logistics Manager 30 because on paper it appeared to be just about perfect. The internal dimensions were listed at 70cm length. (more…)
When I get a new piece of kit worthy of mention, I usually write a first hand account of how it is working out and go into details based on using it on a few jobs. I bought an Elinchrom Quadra ELB HS kit a couple of weeks ago and I thought that it was about time I gave some first impressions on this blog. Sadly, I haven’t used it for anything particularly interesting and I certainly haven’t stretched it beyond what I would normally do with my old Quadras (some executive portraits and a quick location shoot) but I can already see a lot of small but amazingly significant changes from the original system.
Those of you who read this blog regularly will know that I was very impressed with the Quadra when I wrote about it in my “32 Months On” and was further impressed when the Lithium Ion batteries came out. The differences between the ELB and the Quadra for most jobs aren’t huge but everything about the new kit tells me that the designers have listened and that the manufacturers have allowed their engineers to implement some great changes. For me, the positive changes with the pack are:
- Far better display
- Vastly improved menu system
- Ability to recondition flattened lithium batteries
- Better cable port covers
- All of my old Quadra bits and cables are compatible with the new pack
I have the new High Synch head too which brings one key improvement which is the ability to synch with my cameras at shutter speeds right up to 1/8000th of a second using the EL Skyport Plus HS Transmitter and I’ll talk about these a bit further down the page.
Let’s talk about the menus: (more…)
Not long after I took redundancy from my staff job at The Times Educational Supplement I spent several days putting together a collection of possible portfolio pictures. I was a long task as I’d been there for over fourteen years and when I eventually published my folio on line I had cut a couple of hundred photographs down to thirty. Whilst I was looking for something else today I came across that folder of 223 pictures and had a good root through.
Like most adventures down memory lane it reminded me of things that I’d forgotten and the story behind this picture immediately jumped into my mind. The lady in the portrait is a blind sculptor originally from Iran who was by this time married to a British teacher and living in south-west London. I have posted a portrait of her on this blog before when I discussed two surprisingly similar portraits that I’d made. This frame from the set has some of the harshest lighting that I’d ever used and it jumped out at me when I was looking today because I rarely use that kind of light any more. I guess that’s partly due to the nature of the clients I work for now – PR and corporates who don’t want anything as edgy as this was – and partly because my first instinct isn’t always to get the lights out any more. Even when I do light portraits I don’t mess around with the light as much as I once did. This goes with my Twitter #PWOTD which is TESTING
Techie stuff: Canon EOS1D MkII with a 70-200 f2.8 L IS lens at 70mm. 200 ISO 1/250th of a second at f8. Lumedyne flash.
Every time I post one of my old technique examples I get a massive spike in the visitor figures for this blog. Despite some of them being fifteen or more years old they still seem to attract quite a bit of attention. This one is being re-posted after a specific request from a reader and I’ve added a second photograph at the bottom for a little ‘added value’.
I was inspired to share the “how” for this picture because of a comment from a colleague who said that I had been “lucky to find such a nice pool of light”. I was amused, annoyed and complimented all at the the same time because I created this light and he obviously thought that it looked as if it was a natural effect. Much of the best lighting looks as if it were not lit… so how was this one achieved?
I had been asked by the picture editor to get a good range of portraits of this man who is the Vice President of a company that handles examination papers. The logo was needed in some frames and this plate screwed to a wall in a corridor was the only one on offer. The layout was like this..
The brown lines that you can see on the layout are fire doors – big heavy wooden doors with three small square glass panels in each one. The Lumedyne flash unit with a Pocket Wizard receiver on was placed outside the door and the door was closed. The subject was lit entirely by the hard, un-modified flash coming through those three glass panels. Lining up exactly where the light will fall is very easy – if the subject can see the flash head, then it can see them. After that it is just a question of shooting a couple of frames and judging on the camera’s LCD screen where the light is falling and then raising, lowering or moving the flash accordingly.
In this case the flash is about ten degrees above the subject’s eye line and he is looking almost directly at it. This allowed me to get the nice hard shadow behind his head and still have a reasnably flattering light on his face. I also tried to do a few rames where the ambient light in the corridor (see below ) was making the shadows softer but I much preffered the hard treatment.
Technical Stuff: Canon EOS1D MkII with a Canon EF16-35 f2.8L lens.
The idea here is to have two separate lighting set-ups for one interview portrait without having to constantly move around the room adjusting lights. This interview was with a senior businessman who chairs a body that decides how much teachers’ pay rises will be each year. The reporter wasn’t all that comfortable with me shooting through the interview but it was what the picture editor wanted, so that’s what I did. This job required a bit of quick thinking so that I could get two different set-ups in place.
The picture on the left was lit using a single Lumedyne head at 50 joules bounced off of a wall almost in front of the subject. The image on the right was lit by a single Canon 550ex flash gun with a Honl Photo snoot attached aimed directly at the subjects face and set further away from the camera.
Both flash units were fitted with Pocket Wizard receivers set on different channels from each other. The idea here is that by simply switching between channels on the transmitters I could switch between two very different lighting styles without moving.
The left hand image is far more evenly lit. The large expanse of off-white wall made a very good and large light source. The exposure here was 1/60th of a second at f5.6 on ISO200. There was some available light play – without flash the scene would have been two stops under exposed with that amount of flash. You can see from the diagram below how the room was laid out and the flash head was positioned at about 10 degrees above the subjects eyeline.
The right hand image is far more starkly lit. The exposure was 1/250th of a second at f13 on ISO 200. There is almost no available light in this picture and the lighting effect is dramatically different. The very narrow angle of the light offered by the Honl snoot makes it difficult to always get the subject right in the centre of the small pool of light and so you need to be careful when aiming it to centre it on where the subject is most likely to be.
The point of this technique is that you can arrange more than one style of lighting and then switch between them at will simply by selecting a different channel on the trigger. I find that I use the Honl snoot a lot more than I had imagined that I would. It fits into a bag very easily and it is simple to use. When you are in complete control of the lighting, it’s very easy to achieve dramatic results. This style of light might not be to every picture editor’s taste and so the evenly lit alternative is a very good idea.