Sin against the rules?

Two questions.

First: Can you shoot an aquarium whose glass is dirty? Like this?

Furthermore, can you do that using a wide angle lens instead of a macro lens? And when there is little light? At high ISO? Surely not.

Yes, you can. Provided that you:

  1. Get close to the glass - very close. This defocuses the dirt.
  2. Do not overexpose (underexposure makes black blacker, and hence helps make grey dirt go away).
  3. Ensure that behind you, it is dark, so you avoid reflections.
  4. Shoot at fairly low F-numbers.
  5. Are patient.
  6. Are willing to do a little post work if needed (to makes blacks darker and whites brighter).

Examples here – shot this morning with my Fuji X100 camera with fixed 23mm lens (equivalent to 35mm), at f/5.6, 1/60th second, at 800 ISO.

800 ISO? Is that not grainy? Well, apparently it is quite acceptable.

(More aquarium tips elsewhere on this site – search for “aquarium” on the right.)

Next question. Can you shoot JPG and get quality?

No. Yes. Wait. Of course you can. As long as you get the shot right!

On the Fuji I tend to shoot JPG, against all my usual advice - because I tend to get everything right (white balance, exposure, and so on). And these are usually not client shots, hence I feel I can just shoot JPG, unless they are for publication.

So the above shots were shot as JPGs. So yes, it can be done – though I would normally recommend RAW, since more mistakes can be fixed more easily. But when you have to, and have the ability to consistently get “close enough”, you can indeed shoot JPG. QED.

 

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Why I teach…

…because students learn. From earlier this week:

Wherever you do it, get some training: the term “leverage”, although an ugly word, does apply here. A few hours teaches you more than years opf reading books will do.

 

 

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What you do not light

Lighting is all about what you do not light.

Like in this “implied nude” shot from the other day:

How did I light this?

  1. Camera on manual, with settings guaranteed to make the room look dark (it was not, but the camera makes it look like it was): something like 1/125th second, f/5,6, 200 ISO.
  2. One flash on the camera disabled, except for sending commands (“master”).
  3. One TTL “slave” flash on our left, slightly back aimed forward a little, with a grid to stop light spilling, and a yellow Honl Photo gel.
  4. One TTL “slave” flash on our right, slightly back aimed forward a little, with a grid to stop light spilling, and a red Honl Photo gel.

Easy technique, and a lot of fun. Try to not light everything all the time. A few flashes, grids, gels: all you need!

 

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Lenses and Fun

Why do we use wide or long lenses?

One reason is to change perspective, as you all know if you read this site.

Here’s another illustration. I took a happy shot of a student yesterday, with the lens set to 24mm (apparently my courses can be fun):

When I pull back and zoom in, to use a 70mm lens focal length, look at the student in the background:

Much larger. Because the relative distrance between foreground and background is greater.

It is the vantage point that creates the different look, not the lens length per se. The wider the lens, the closer you get, and hence, the smaller the background will look.

 

 

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Posted in Composition, Learning | Leave a comment

Africa…

Check out this page.

In August 2012, international photog Kristof is doing photo training during an Africa Safari trip. And great news: I will join too, if we get enough signups!

This is the trip of a lifetime, both as a trip and as photo coaching. Check out the page and contact me or Touch de l’Afrique if you are interested: come and I’ll be there too, so Kristof and I can help you with two teachers present through the trip.

Bett still: Monday evening, in downtown Oakville, an information evening about the trip. Follow the link above and RSVP to Kristof to ensu your place!

Kristof and I will teach Travel Photography, wildlife, lenses, light: everything you need for a perfect memory of the trip, plus a great boost in your pro skills!

 

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Posted in Learning, Travel | 1 Comment

Light, camera, action

In an image like this, taken today, you need flash:

Why?

Because on a sunny day, the shadows will otherwise be harsh. And because the background needs to be darker, since that makes the colours saturated. And since, as you know, “bright pixels are sharp pixels.”. And since you want to direct light, rather than have the sun do it. And since the sun needs to be behind the subject, so there no squinting. And since flash give you crisp, great sharpness.

I used TTL flash for the shot, using one off-camera flash. The camera was on manual mode at 1/300th second, f/5.6, 100 ISO. A flash on the camera was off, but was driving the off-camera flash via light control, so direct path of light between the camera and the second flash is needed.

The colors here are great precisely because a flash was used. I do not like to shoot outdoors without a speedlight, and here you see why.

In bright sunlight, a single speedlight can do this, as long as your camera has a good flash sync speed (1/300th second on mine!) and as long as your flash is close enough to the subject to compare with the sun’s brightness. Else, use a studio strobe.

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Posted in Light | 6 Comments

Shows!

Now that I am not doing the Imaging Show in May, let me tell you about other opportunities for you to see me.

  • I teach at the Henrys School of Imaging – I teach most Oakville courses.
  • I teach at Sheridan College: my Brampton campus 12-week course on Digital Photography Basics starts again 23 April and there is a little space open!
  • Two workshops in the next couple of months with Kristof Borkowski: The Art of Fashion Photography and Photographing Nudes. See www.cameratraining.ca‘s schedule page.
  • NEW: A five day intensive coaching course at Niagara School sessions in August! See http://niagaraschool.com to sign up: there is still space!
  • Private venues like The Granite Club with continued courses.
  • And last but not least, of course there is the private coaching for things not covered elsewhere!

I trust that is enough to give those of you who want tpo learn Photography topics in person some opportunities other than the usal show, where I meet thousands. I shall still be there, walking around – come se me there if you like, too.

 

 

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Come To The Show?

Alas, for the first time in years I will not be speaking at the Exposure imaging show, May 25-27 at The International Centre. You may still want to go, but alas, you will not be seeing me.

Plenty of other opportunities, at Sheridan College, at The School of Imaging, at Niagara School in August, and in my private coaching, but that weekend has just freed up for me!

 

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Pricing Question

A reader today asked me this:

I’ve been keeping up with your blog from time to time and have really found some great tips and information. I was wondering if you have any advice on pricing for a photo session. A friend of a friend is interested in having a few headshots of him taken for his business to put on his website, and I am a little unsure as to how to go about pricing it. I figure that as a student who is still learning I should offer a lower price, and since the nature of the session is of shorter length and for one image on a website to make it not too pricey as well. Is $50 reasonable for a one or so hour shoot and a couple of digital shots? I do not want to underprice myself but I also do not want to overprice.

Good question.

I would say that you should be careful before you underprice, and I believe $50 is seriously underpricing, since:

  • When you actually add the hours you’ll spend on it, there’s rather a lot of them.
  • The work is the work. If your work is good, it is worth the price.

Here’s what I suggest:

  1. Check mvwphoto.com for commercial prices.
  2. Discount as much as you like but I’d suggest no less than $100. It’s a company web site and when you look at commercial prices, these are much higher to reflect all the actual work and expertise you put into a shoot.
  3. Always quote full price, eg $400, and THEN subtract the discount. So your customer can see the full value of your work.
  4. You are learning. But in the end, it’s the result that counts. So as a new Photog, you give a guarantee: he pays only if he likes. After all if your work is good for him, it’s as good as anyone else’s!

Does this make sense? Photography is a great combination of business, art and craft, and if you do it sustainably it will not make you rich, but it will certainly make you and your clients happy!

 

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HELP – in a good way

When I bought my pro printer, a Canon 9500, at Henry’s in Oakville, I bought the extra “HELP” (Henry’s Extended Life Plan) coverage.  And I was just reminded of how great that coverage is.

I broke the printer. My fault. But guess what? Rob Buchelt, the store’s manager, just called: Because I bought HELP coverage, my printer was quickly sent to Canon by the store, fixed, and returned to me, all free of charge. What’s more, I did not have to find the receipt: it was in the computer.

Advice: buy this coverage when buying photographic equipment. It has saved me more than once.

Disclaimer: I teach at Henry’s School of Imaging (as well as at Sheridan College). But I am not a Henrys employee and get no compensation of any kind from the stores – my advice is always independent.

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Posted in Uncategorized | 1 Comment