Rescue Ops

Sometimes an image is spoiled – like when the flash fails to fire.  This happened to me during a very recent shoot – no flash, and to the naked eye the image looked black.

But these images, especially when shot RAW, can sometimes still be used. In the case of the aforementioned image, I did the following in Lightroom’s DEVELOP module:

  1. In the BASIC pane, I increased both exposure and fill light to the maximum setting.
  2. I then would have normall converted to B&W, but in this case I did not, since the tungsten ambient light exposed the image basically in red only.
  3. What I did do, of course, is reduce noise.
  4. Then I added grain – film grain looks impressive.

The result:

Kim in Red - Photo: Michael Willems

Not bad for a spoiled image!

So the two lessons: (a) always shoot RAW, and (b) Do not throw out bad images just yet – they may be useable.

 

The WIllems 4-4-4 Rule – redux

A readers asked, the other day:

Recently in some event shooting that I did, I followed the famous Willems 4-4-4 rule with my 430-EXII set to ETTL metering. The pictures that resulted were a bit overexposed and with the ambient light not doing as much “work” in behind the subjects. (I think could have been a variety of reasons such as brighter ambient light, distance of subjects, etc). In these instances, what is your first suggestion to correct this? Flash compensation? change shutter speed / ISO / aperture?

See the article above (under “ARTICLES”) for the 4-4-4-rule explained.

The 4-4-4 rule is a starting point. Your mileage may vary depending on many factors – ambient light intensity for one, but also distance, bounce surface, the flash power, and many others.

My suggestions:

First, the flash part:

  • First: if the flash part is too bright, use FEC (Flash Exp Comp) to decrease that (set it to, say, -1 stop).
  • If the flash part of too dark, you need to increase ISO, or open the aperture more (lower “f-number”).

Second, the background:

  • If the background is too bright, increase shutter speed.
  • If the background is too dark, increase ISO. 800, even 1600 is fine if you need it – you are aiming for -2 stops indicated on the meter, when you aim the camera at an average part of the room.

This is not the only way, but it is usually the best way.

Anyone with issues like this: send me a picture with EXIF data and I’ll tell you my suggestion/analysis.

 

Travel Picture

An oldie here. This is the marina at Port Credit, shot from an Air Canada aircraft about to land at YYZ (Toronto’s Lester B. Pearson airport):

Port Credit (Photo: Michael Willems)

How do you take such a picture?

Mainly by being ready.

  • My camera does not live in a bag – it lives underneath the seat in front of me.
  • I do not have a lens cap on the lens – but I do have a lens hood.
  • I do not turn the camera off, I just let it time out.

So when the aircraft turns, I grab my camera, set it to a wider angle in order to be immune from shake and to get extended depth of field. I do not want it too extended (window imperfections should be out of focus), and I do not want a very small aperture since that would lead to a slow shutter.

Then I get as close to the window as I can without actually touching it, and shoot. I check my work regularly, and if exposure needs adjustment, I adjust.

When the nice cabin attendant lady says “put that away, sir”, I put it away. Until she is gone. A camera will not endanger a plane (but I will put it away just before landing in case of a hard landing).

This image shows that it’s not over til it’s over. Keep your camera at hand at all times, and you will get some surprising shots.

 

LR 4 beta…

Lightroom 4 beta has been announced, see the blog here and see the announcement here.

This means we will see Lightroom 4 some time this year – and that is great news. Lightroom is already the best thing since sliced bread – with version 4, that will only get better. Geographical features, movie handling, photo book editing, and much more will make Lightroom the continued choice for pros – and for you. Worth every penny.

 

Start manual

Tonight I am starting new courses, teaching constantly, and this reminds me to recommend the following to you:

Start using your camera in manual mode (“M”) and with auto ISO disabled. This way you set ISO, Aperture and Shutter Speed. Those are the only three variables that can affect exposure – use them yourself and understand the effects.

You see, if you use automatic modes, these “fight against you”. For instance, increasing ISO will not make your image brighter when your camera is set to an auto mode, since the camera will adjust aperture or shutter “the other way”. But it will not tell you this, leadinf to confusion.

So your exercise for today – and until you understand exposure properly: shoot in manual mode the entire day and adjust everything yourself. This is the only way you will understand photographic exposure.

 

Marking images in Lightroom

In Lightroom, there are many way to mark images. These include:

  • Rating (1-5 stars)
  • Keywording
  • Colour labels
  • Picking

You see some of these in use here:

These give you a great ability to use images the way it suits you.

I use start to rate the pics –  this is independent of use. One start is technically unusable; two starts is technically just about OK but not good – a snapshot; three stars is usable and can be shown to client; four stars is great in this shoot; five stars is portfolio shot. Stars are carried across collections too, since they are a property of the pic, not of its use.

The same is true of keywords, which I assign upon, or just after, import.

On the other hand, I use colour labels to indicate something temporary – like “use this for the article”.

I use pick to indicate a very temporary pick – as in “these are the ones I am going to print now”.

This way I can work with all my images in a multi-dimensional way. Lightroom really really rocks!

 

 

 

Why shoot THROUGH an umbrella?

We shoot through the main umbrella in a portrait for several reasons:

  1. The umbrella is now closer to the face, making it larger, making the light softer.
  2. You see a circle as a catchlight, not a circle with a black blob (the flash).

Look at this example – a small part of a recent porttrait, where the main light is a square softbox:

The secondary light (which really ought not to be in the image, ideally) is a reflected umbrella – with the black blob. A shoot-through umbrella would not do this.

Incidentally – focus on the eyes always, and do be sure there is always a catch light (yes, ideally, just one). That makes the eyes come alive: without a catch light, the person looks dull, hardly alive.

 

 

The end of the DSLR?

Fellow blogger Trey Ratcliff has stirred up a hornet’s nest by saying (and I paraphrase) that “the end of the DSLR is coming.. compact cameras are the future“.

A controversy – yummy! So to guide my readers though it, I thought I would add my view on that today.

Yes, a DSLR is big. Like my 1D Mk4:

 

Weighs a ton. It is also heavy, expensive, and noisy (remember the classic concert I recently shot part with the  silent Fuji X100)? So those are drawbacks. They are expensive, another drawback. And above all, a DSLR has a flipping mirror – a mechanism dating back to the 1930s, that seems rather primitive today.

So it stands to reason that the flipping mirror mechanism will eventually be replaced by something new.  And there are great compact mirrorless cameras like my X100. And these new cameras are light, small, and have big sensors, meaning SLR-like quality.  That far, I go along with Trey. Here’s my Fuji X100:

Fuji X100 (Photo: Michael Willems)

But I go along with Trey only that far, and not an inch farther.

First of all – let’s parse what people mean when they say “DSLR”. They often just mean “complicated big heavy cameras”.

Well, these are definitely not about to go away. For many reasons.

  • Big is often better! A bit of bulk adds stability. It adds space for multiple memory cards, big screens, big battery, heavy camera-mounted speedlites, big lenses, and many buttons.
  • Bulk also adds credibility: at a wedding, people who do not know photography think “bigger is better”, and since I charge commercial prices, a shorthand way to indicate why I am worth those prices is good. If I shoot with a Rebel, let alone a compact, people might think I am Uncle Fred.
  • The ability to write to two memory cards at once is paramount for any pro shoot I do. I cannot afford to lose images during a shoot, ever: that’s why people pay me.
  • “Lots of buttons” is sometimes seen as a drawback – but it is of course the opposite. I have all my common controls available under a simple button.  On these new “compact cameras”, you need to use the camera’s menus, on-screen controls, or other inconvenient and slow ways to access the same control. Not good enough for pro shoots!

So big heavy cameras are here to stay. That takes a lot of wind out of the sails of those who say the DSLR is dead.

Whether large or small, SLRs have advantages:

  • No, or very little, power is taken by the viewfinder.
  • The focus system on an SLR, with its built-in dedicated focus sensors, still outperforms a mirrorless camera.
  • An SLR gives you the ability to use an amazing range of lenses.  These will not likely be available soon for small compact cameras (and even if they are, imagine putting a 70-200 f/2.8 lens on a tiny camera).

But is the flipping mirror mechanism dead? There, I can go along – it will no doubt eventually disappear. The clear trend in technology is for moving parts to be replaced by electronics and other non-moving solutions, so this needs no Einstein.

So I suppose my view on this is the following:

  1. The mirror will eventually go away, but is not yet dead. It is still overall the best way to do it. After all, mirrorless camera have drawbacks too – like their constant use of power, the lack of dedicated focus sensors, the need to keep the sensor powered up, and the ease of letting dust in. Translucent mirror cameras share some of these drawbacks as well. I think we are looking at 5 years or more until we see a real shift away from flipping mirror cameras.
  2. Large (if you will, “professional”) cameras will definitely not go away.

There you have it. Feel confident buying a DLSR for now; only buy a compact camera if its advantages outweigh its drawbacks.

 

Justice and principles

Sometimes life is not what you want it to be, and sometimes it is. The latter just happened to me – I was informed that a large photographic equipment retailer was using one of my images without permission. They had even altered/combined it, and had been using it for seven months on their web site, to support selling equipment.

This has happened before to me, with an Australian company – losers who did not even respond to my repeated emails. That action continues.

But this latest example is a reputable, and I assumed moral, principled North American company – I shall sign a non-disclosure so I shall not mention their name here – so I sent a  note with all the evidence and a proposal for settlement.

The company’s counsel called me back quickly, and it turns out that the company was indeed as I had assumed moral and principled. We settled on an amount agreeable to us both and I await the papers to sign.

The moral is combined:

  • Sometimes corporations really can have principles and morals. Do not assume that everyone is a lying cheat – many people are not. It can be good to keep that in mind.
  • Do not take images and use them without paying. For just a few dollars you can get microstock images, or you can pay for custom work. Lifting images without paying can cost you dearly – thousands of dollars is not unusual, and if lawsuits follow, copyright infringement in the US particularly is taken seriously and can cost up to $150,000.
  • As a photographer, you must stand up for your rights.

I am going to be teaching a Photography in Business course at Sheridan College in Oakville starting this coming week. No doubt this kind of example will come up in the course.

 

Famous Favourites

Someone recently asked: Who is your favourite famous photographer?

That is a tough question – in fact one that is impossible to answer, a bit like asking “what is your favourite piece of music”. You are likely to have many. But I will mention just three of my many inspirations here.

Richard Avedon – fashion and portrait photographer who photographed everything from celebrities to ordinary people with a style that is recognizable and great.

Helmut Newton – German Australian fashion photographer, who shot a lot beautiful black and white (of course) of art nudes. Page here.

Nan Goldin – famous for “the ballad of sexual dependency” and other work, her work is in more museums than I have visited. Rough. New York. Not technical – she ois the least technical of all photographers here, shooting simple, in automatic mode much of the time I suspect. No matter: the images are great.

In deference to those of you in the USA and other places where the human body is considered bad and NSFW, it is after you click that I will show you a few sample images made by these greats.

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