About Michael Willems

Michael is a professional photographer and photography teacher and private coach. Based in Ontario, he teaches and shoots worldwide. See more at www.michaelwillems.ca and www.speedlighter.ca

Shadow avoidance

One reason we bounce our flash off the ceiling (behind us) is to avoid those nasty drop shadows, especially the side shadows.

But what if we can’t? If there is no ceiling, perhaps. Or that ceiling is bright red. Or it does not reflect enough light, because it is pitch black. or it is a very high ceiling. What then?

Then we can use many other means, like reflectors. Or off camera flash, with modifiers. Or a ring flash. Or we simply ask the subject to move to where it is possible (d’oh!).

There is one more option, one I have not discussed before: we use a bracket to move the flash away from the camera and keep it above. Like this Cameron V-H Flip bracket (marketed under various names):

It has some pretty good features:

  • It moves the flashes away from the camera, see the extending pole. Up to 28″ above, and this means that there will be less shadow and no red-eye.
  • It keeps the flash(es) directly above the lens, so any remaining shadows will not be side shadows.
  • It can fit two or even three flashes.
  • It swivels, to keep the flash where it is while the camera turns 90 degrees (but note, it turns the wrong way, which is awkward. I would not want to use this bracket for a lot of vertical shots).
  • And unexpectedly, this bracket can use a small umbrella. You’ll look funny, but oh boy, the light you will get!

While bouncing, or off-camera flash with modifiers, is generally still better, this solution can work well:

Best of all, it can hold two (or even three) flashes:

Now we get extra light, plus the light from one flash can almost eliminate the shadow from the other.

That doesn’t look like a “direct flash:” photo, does it? And beauty pictures, with a small modifier, seem another obvious candidate (“butterfly lighting”).

The moral of today’s post: There are many ways to use flash, and there are many ways to use it well. A bracket is one of those ways. Not the be-all and end-all of flash; just one more cool tool that can sometimes lead to fabulous pictures.

 

___

Footnote: Have you considered really learning flash? Worth every hour—and dollar—that you invest in it. See learning.photography for a good option. And don’t forget to order the flash manual now. You’ll know the secrets the great pros know; and more importantly, you’ll be able to use them.

 

Deep.

Deep. As in, “this photo has depth”:

One of my cars, outside the mechanic’s yesterday.

So how do you get depth? You know!

  1. Have a close-by object (we call this: “Close-Far”);
  2. Have diagonal lines in the image (the foreground needs lines or texture, preferably)
  3. Use a wide angle lens.

The wide angle lens facilitates 1 and 2, and also has two other advantages: it is easy to get everything sharp if you wish (here, I did not wish); and it is easy to shoot at show shutter speeds.

So pack your 16-35 lens if you have a full frame camera, or your 10-20 or similar if you have a crop body, and go shoot some depth pictures.


REMINDER: Have you thought of a training gift certificate for a private custom lesson with me as a gift for this coming season? A gift which is not only fun, but leads to your loved one making better family photos. And you’re done with shopping immediately. So everyone’s a winner. Go to http://learning.photography to order your gift certificate now.

 

 

Tapetum lucidum

Cats do not usually have that annoying “red-eye” effect…

…but they do have green-eye (or white-eye, blue-eye: anything but red.) Why?

Because they have a layer of reflective cells, right behind the retina. The “tapetum lucidum” (bright carpet) helps them make the most of whatever little amount of light there may be, as they hunt for mice in the pitch dark desert. It is because of the tapetum lucidum that cats can see more than humans in the dark.

Here’s a close up:

So that’s why cats have “green-eye” instead of red-eye, when you shine a light (like a flash) into their eyes. And it is especially in the dark, when their eyes are open to the fullest extent (when, as you see, they have huge pupils), that this shows.

Note that Lightroom’s “red eye removal” tool does not work on green-eye. Best to avoid it in the first place, then; and the way to avoid it is to avoid shooting with the flash near the lens, especially in the dark. No pop-up flashes for kitty!

 

A small, important detail

The catch light in someone’s eyes are essential: no catch lights, no portrait. And that catch light needs to be not in the centre, as when you use a pop-up flash (can you spell “deer in the headlights”?), but in the upper left corner, or the upper right corner, of the eye (in the “10 o’clock position” or in the “2 o’clock position”). Like here:

If you do not have a catch light showing in at least one eye, the subject lacks that little “sparkle of life”, and looks strangely lifeless.

Your catch light usually comes from your main light source, whatever it is. And “whatever it is” is important, because it affects the picture.

Take, for instance, a beauty dish, which like an umbrella gives you a circular catch light (albeit with a slight dot in the middle):

A reflected umbrella would be a white circle with a big black blob in the centre (the flash). That looks odd, which is why I prefer to shoot through an umbrella.Whatevery you do, make sure

Or take a softbox, which, like a window when you use available light, results in a square catch light:

The moral is: in portraits, ensure that there is a catch light, that it looks good, and that it is somewhere in the upper half of the eye. Preferably, if you can., in both eyes.

Portraits are fun, and yes, there is a lot to be learned.

 


TIP: Have you thought of a training gift certificate for a private custom lesson with me as a gift for this coming season? A gift which is not only fun, but leads to your loved one making better family photos. And you’re done with shopping immediately. So everyone’s a winner. Go to http://learning.photography to order your gift certificate now.

 

Light note

As far as available light goes, you can have dramatic, contrasty light, or dull, even light.

The latter, dull/even cloudy day light here at McDonalds the other day:

But then that dull light turned into dramatic light with a shaft of sunlight:

You want the dramatic light for this kind of scene, I think you will agree!

But for the next example, a photo I just took for a realtor, you need the earlier, even light. You do not want to emphasize a part of the house, you want to light it evenly; in fact you want it expressly without any drama:

The same goes for the child:

He was in the sun, which is bad not just because he squints, but majorly because sunlight is dramatic and has excessive contrast and dark shadows. Just like on the house, you want to avoid that; so we had to use the shoot-through umbrella as as scrim, holding it right in between him and the sun, as well as as a flash umbrella (neat trick, eh?)

So there is no right or wrong about light. it’s not “what is good/bad”; it’s “what suits this photo in question”.