In 2008 when I had just left my staff job at TSL I was asked by a reporter working for a photographic magazine about what I intended to do with my career. I pointed out that I had an enormous amount of experience working in schools and universities and that in my time working for the Times Educational Supplement, Times Higher Education Supplement and Nursery World Magazine I had shot pictures in over 3,000 places of learning in at least 13 countries and that it seemed like a “no-brainer” to market myself as a photographer specialising in those areas. Plenty of prospectuses and websites as well as editorial shoots later my tally of educational visits and shoots tops 3,500 and I’m still in love with the genre. The reporter asked what special skills I had that made me good at that part of the job and my response was that if you can’t get great pictures of kids then you really shouldn’t be a photographer because it was “shooting fish in a barrel“. (more…)
Everyone knows about the fetish for camera bags shared by most photographers and anyone who has read this blog will know about my own personal one for card readers but there is a third one that has been exercising me of late. I have mentioned it quite a few times over the years and a particular need to have a repeatable set up has led me down this particular equipment rabbit hole once again.
I’m talking about lighting. I’m talking specifically about light modifiers. Those umbrellas, snoots, dishes, soft boxes and hybrid gadgets that you place on the fronts of your flash units in order to control and improve the light. (more…)
I have been cleaning up some of the behind the scenes stuff on my original dg28.com website and got side-tracked looking at some of the old technique posts (again). I really liked this one from July 2003 which was originally entitled “Choosing a Mood”. Anyway, here is the original post cut and pasted:
Every time you take a photograph you are saying something about what is in the image. It’s impossible to avoid a frozen frame being anything other than an interpretation of that moment so it becomes a mark of a good photographer to make sure that every element of the image (composition, subject matter and light) helps to paint a consistent story.
The mood required for every image – especially with portraits – is something that you have to consider very carefully.Some lighting guides will tell you that there is a lighting set up for each mood and that it is a simple matter of placing light A in position B and light C in position D to achieve this. I have to agree that there are some obvious starting points for many of the moods that I use, but there are many other factors that have to be taken into account when setting the scene. (more…)
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…)