Flash why?

Why do we use flash?

For “Uncle Fred” reasons? Those are the obvious reasons.  Like “it’s too dark”, “I need faster shutter speeds”, or for sophisticated Uncle Fred, “I want to fill in a backlit subject”.

All those are good reasons. but”for artistic reasons” is a better answer, if you want to make your images good. And The Speedlighter aims to make his images good.

Take this snapshot of model Lindsay at last Saturday’s advanced light workshop:

Model Lindsay, lit by available light

Model Lindsay, lit by available light

Okay, I guess. I guess. Not bad. But not great, either. Dull.

So let’s add a bit of light!

Add three small flashes set up the right way, and you get this:

Model Lindsay, lit by available plus flash light (photo Michael Willems)

Model Lindsay, lit by available plus flash light

Look at both images larger. The second one is much better because:

  1. She is now “bright pixels”. Willems’s Dictum says (yes I know that is double) that “bright pixels are sharp pixels”. When you light something with flash it is sharp, for reasons I have outlined on this blog before.
  2. Her face is well lit.
  3. The bike is now without too-dark shadow areas.
  4. She is separated from the background by the edge light
  5. The edge light adds contracts and interest.
  6. Instead of being dull, the bike has interesting and sparkling highlights (check both mirrors, and the rear mudguard).

That is better. And all that was needed was three speedlights, four Pocketwizards, and three Flashzebra cables. And a light meter. And lots of batteries. And the creative and technical knowledge to put it all together.

Oh and a model and a Harley. But those are optional: this light lesson applies even to your brother driving a Smart.

Thirds

You all know the rule of thirds. Yes?

Instead of putting your subject dead in the middle (Uncle Fred does this), you put it a third of the way from the right, the left, the top of the bottom. Or where those lines intersect. Like this:

Rule of Thirds, by Michael Willems

Rule of Thirds, model Lindsay Biernat by Michael Willems

Uncle Fred would have put the model in the centre, but we find images more pleasing when we use off-centre composition like this.

Love them. Love them not. Love them.

Large corporations, especially Japanese ones, can be hard to deal with. Customer Service tends not to be top of mind – dealing with these companies can be a little like dealing with the government.

They have only a vague understanding of the Internet. Their web sites are designed, it seems, to obfuscate. Long trees of site-to-site navigation, often having to chose between several options, none of which are right. “The interwebs”, for these old grey guys in suits, is, it seems, quite often just a way to get rid of those pesky customers who keep calling. (And I say that tongue-in-cheek: I am middle-aged, male, and wear suits quite often, and a tie even more often).

I use Canon equipment. The cameras are a 1Ds Mark III, a 1D Mark IV, and a 7D, and all the “L” lenses I need. Probably $45,000 worth of Canon equipment. And I love it all to bits of course, but I do rely on my cameras for a living, so I need good service when I need it.

Canon has CPS for that: Canon Professional Services. Pros get better service.

But here’s the catch.

Catches.

  • In Canada, CPS costs hundreds of dollars a year. It used to be free, and in most of the world it still is, but for Canada it costs. Much! We get a really bad deal. Why do photographers in other countries get reasonable service for free, and we in Canada pay $250 a year? After paying tens of thousands of dollars?
  • Well, at least in return, you get service. But wait. That service appears to have been downgraded from what it was, just last year! More money for more process, less service!
  • Emails from Canon about CPS have links, but the email is a graphic and you cannot click on the link.
  • The CPS program has no email. Their emails are signed by “CPS Services”. Who wants customers to email them? Not Canon, it appears. Makes me feel very unwanted: Canon goes out of its way to not be contacted by me. I am an annoyance.
  • Service? Well, I signed up. I got “approved” (ludicrous that you have to get approved, but anyway). I got a bill. Had a question. Called the person whose name and number was on the bill. She was on holiday (it’s OK for some!) so I left a message on her voice mail. This lady never called me back. I guess perhaps they have a “policy” against that.

As a result, I have not yet paid. And I doubt that I will. Maybe I’ll switch to another brand of camera equipment if I ever need service. Paying tens of thousands of dollars for less service, and getting no help? Doesn’t seem like such a good deal to me.

I cannot imagine treating customers this badly. Suppliers of any product or service should go out of their way to make their customers, who part with their hard-earned money for them, happy.I am delighted to work at midnight, or to go the extra mile in any way I can. I love my customers. I am grateful to them. I cannot imagine treating them badly!

So when my thousands of students ask me whether Canon service is like Apple’s, I can only sigh. And I doubt that Nikon is better (correct me please, if I am wrong!)

One thing I will say: retailers can be a very useful buffer.  Henrys (Canada’s largest photo store) are fantastic. (Disclaimer: I teach there. That said, I do not work for them, and I can say this independently). Any service issue at Henry’s is dealt with very well. They invite contact, instead of avoiding it.

And I am not just saying that: I take out the additional Henrys warranty on all my cameras. The only additional warranty I ever buy. Because it is worth it.

The summary of this post:

  • Large corporations can be good (Apple) or useless (you know who you are) at service.
  • Retailers can be a very useful way for customers not to have to deal with these corporations (just like insurance brokers).
  • Service is important: if your camera breaks, you are out of business!

Now back to photo editing, my job for tonight.

White Balance is/is not important

You know your camera’s White Balance setting. It should of course be called “colour balance”, but what with engineers doing the naming, science will trump understandability.

So this setting sets your colours properly for the available light. Is it important to set it? For instance, while taking portfolio pics like this, at Saturday’s workshop, do I set White Balance to anything, or do I leave it on Auto?

Biker chick, by Michael Willems

Biker chick - model Lindsay Biernat, 14 August 2010

Can you see how important the flash is, by the way? The edge light

Back to White Balance: is this important?

One possible (and valid) answer: If you shoot JPG pictures, yes, you should get the White Balance right in camera. But if you shoot RAW, no. White balance is set afterward, on your computer in Lightroom or whatever you use. It makes no difference what you set on your camera. Save yourself the time.

Another (equally valid) answer: Yes! Setting white balance is important when shooting JPG, but when shooting RAW you should set it too, because:

  • You get a much better impression while shooting of how the colours will eventually look. That saves you from many mistakes. It also makes you feel better about yourself and your abilities.
  • You save time afterward, because Lightroom will start off with your in-camera setting and you will have to correct less, and less often.

So when shooting with flash, set your white balance to “flash”. Especially if you use gels, avoid “auto” white balance.

So my answer: if the shoot is important and if you have a second, set it. If using flash, always set it (to flash).

Workshop

Yesterday’s sold-out Creative Lighting workshop was a blast. Joseph and I took our students through a combination of advanced flash theory and creative practice. As always, using many techniques, and using speedlites and strobes, direct and modified.

Three direct speedlights (look carefully and you’ll see one) gives this:

Model Lindsay Biernat with Bike and Light, by Michael Willems

Model, Bike and Light, by Michael Willems

While a large softbox plus a direct speedlight as back light gives this:

Stranded, photo by Michael Willems

Stranded

And I now know that my driveway in Mono can take 14 cars easily.

Calibrating your screen: why?

I received the following question:

At the Henry’s Show, you made reference to the importance of calibrating your monitor. Would you mind discussing that one day on your blog?  I’m utterly clueless about it. Thanks.  Enjoy your daily emails immensely!

Welcome, and the pleasure is mine. Solet me answer your question.

What does “calibrating your monitor” do?

It ensures that the colours it displays are as accurate as possible. So that white is real white, and so on.

How does it work?

You buy a “spider”: a light sensor that you temporarily hang right in front of your screen. Like a “Huey”, or various larger spiders. The software that comes with the sensor then makes the screen flash all sorts of colours. The sensor looks at these and can tell whether, say, red is a bit brighter than green. It then adjusts the output of your screen accordingly tp correct for this, and creates a new “monitor profile”. That ensures your colour is accurate.

Why should I do it?

Ah, good question.  Well, to understand this, imagine your monitor shows a bit more green than it should. When editing your images, say with Photoshop, you would decrease the green to make your images look good.

Now you send that edited image to a friend. Or you put it on a web site. The viewer look at it – and thinka it looks red (the absence of green makes it look too red)! Or if you print it, it would come out looking too red.

That is the reason you should really calibrate your monitor. It’s important!

Flashes: to clone, or not to clone?

I received the following question via email:

I have been following your posts since the Spring Camera show in Toronto. I have loved all of your tips and comments.

I would like to know your opinion on a 3rd party flash or your general opinion on 3rd party flashes. I am thinking of getting the Opteka EF-600 DG Super EO-TTL II for just over $100 the reviews are good and the promotional information says it works with other canon flashes if I wish to get brand name in the future and use this one as a slave. This will be my first flash for a Canon Rebel XT. I was also thinking of getting Opteka FL-50AF E-TTL II but with it only being able to tilt I do not think it will suit my needs as I learn to do more with flash.

I would like to know if it is better to save the money and go for the cheaper version or bite the bullet and go for the canon brand.

Oh yeah, I like this question. It is the kind of question we all struggle with.

I agree you need a flash that swivels and turns. A 430EX, 580EX, or a clone of either of those, in other words.

I have worked a little with some of the clone flashes, though not that very one, and here is my take on this:

Pros:

  • Much cheaper. Much!

Cons:

  • Not guaranteed to be as compatible in every situation (complex TTL).
  • Quality control and warranties may or may not be as good, so there is some uncertainty.
  • The interface is sometimes simpler (which is not always a bad thing!)
  • Not all features may be supported (eg high-speed flash, auto flash head zoom: I have seen some clones that did not support these).
  • If you have a problem, Canon will not help, and nor in all likelihood will the maker of the third-party flash.

Bear in mind that of you use flashes in manual mode (which often enough you will, once you master flash), then it makes no difference what flash you have, since you will not use TTL at all in that situation.

Knowing all this, I would say: (drum roll):

  • Make sure you have one flash that is made by Canon. If flash is important to you, that should be your first flash; if not, and you are experimenting, then it can be your second or third flash, whenever you get around to this.
  • Other flashes, try the clones.
  • Particularly if you shoot manual flash, and have many flashes, equip yourself with clones.

So in your case: “it depends”. If you want to be sure, get the 430EX. If you want to play, then by all means start with a clone and once you are happy, add a canon and make the clone your second flash.

Do make sure the offer is genuine, and do try the flash in the store to make sure you are happy. Take a few test shots. Opteka and Nissin (and various such OEM labels)  are “off brands”; Metz is a good brand. Off brands do not have to be bad, but they are not necessarily good either.

Gearing up.

A story has it that someone once asked Pablo Picasso to do a drawing. Five minutes later, after he was done, he asked for $5,000. “Why, you only took five minutes”, said the customer. “No – I took my entire life”, said the artist.

I know how he felt. I am getting ready for tomorrow’s all-day workshop in Mono, an hour north of Toronto.

Like the last ones, it will be a lot of fun, as students learn and practice with light, modifiers, camera techniques, modern hardware, and more.

Evanna Mills; photo Michael Willems

Evanna Mills; photo Michael Willems

But I realise it is taking me all day to prepare: packing up the entire studio, getting the presentation materials and hardware ready; deciding on the shots, doing the logistics.

But that is the half of it. The best part of teaching is that if you do it well, you bring a lifetime of experience to the table. That’s what makes it satisfying. And that’s what the secret is, more than the day itself.

Back to packing lights, backdrops, softboxes, pocketwizards, cameras, and more.

Speed

When we say “pick the right moment” we often mean “freeze that moment in time”. Like the ball floating just above the ground here:

Picking the right moment, photo Michael Willems

Picking the right moment

To capture something like that,

  • Go so shutter speed priority (S/Tv) on the dial on the top
  • Select a shutter speed of, say, 1/500th second. faster is the object moves more quickly of course.

Try it today: go freeze a few moments!

Outdoor portrait tip

A quick tip for new photographers and a reminder for more experienced ones:

When shooting a portrait outdoors, have the sun behind the subject – but light that subject with a flash.

Government Services Minister Harinder S. Takhar and friends, photo Michael Willems

Government Services Minister Harinder S. Takhar

The sun behind them, because sunlight is harsh, and otherwise they would squint. The flash, to stop them from being silhouettes.

Another example:

Government Services Minister Harinder S. Takhar and friends, photo Michael Willems

Government Services Minister Harinder S. Takhar and friends