Reader question

Reader Ray asks:

I know you have many cameras: as a pro you need them, I understand that. But why do you have, or what’s the reason behind your thoughts for having, a crop camera when I am sure you have many full frame cameras.  I would like to hear your the take on this, I know why I have a crop camera…lol

A-ha. A good question. Indeed, why do I ever shoot with a Canon 7D (1.6 crop factor, i.e. the sensor is 1.6 smaller than a 35mm negative), and a Canon 1D Mark IV (crop factor 1.3), rather than just using my top-of-the-range full-frame 1Ds Mark 3?

Well, there are several reasons.:

  1. Crop factor cameras make lenses appear longer. So a 200mm lens appears like a 320mm lens on the Canon 7D (200 x 1.6 = 320).
  2. I like lighter cameras… the 7D weighs half what the 1D weighs, and sometimes that is important. It is also smaller, which makes some types of photography, like street photography, easier.
  3. The 1D Mark IV is more modern. Sometimes you take the more modern camera because you need its functions.
  4. Sometimes you take a camera with fewer pixels like the 1D Mark IV, because it means smaller files.
  5. The 1D Mark IV is faster (10 frames per second, as opposed to 5 on the 1Ds and 8 on the 7D).
  6. Quite often, good enough is good enough.

I hope that explains that as with so many things in life, nothing is simple. Sensor size is not everything, just like pixels aren’t everything!

As promised

…so what is the deal with image stabilization/vibration reduction (IS/VR), if your lens or camera has it?

  • Use it! It is a great feature: it adds several stops to your ability to take low shutter speed.
  • If your camera is on a tripod, do not use it. It does not good and may do harm (like wearing our your battery).
  • If you are shaking wildly because you are following something, do not use it.
  • If you are tracking a subject that moves in a linear direction, like yesterday’s aircraft, use it – if you have a “mode 1/mode 2” or “active/passive” switch, which you have on high-end lenses. Mode 2/Active means “I am tracking something on one direction, so only stabilise in the direction perpendicular to my tracking”.

On Nikon and Canon, you have VR/IS in the lens. Sony does it in the body: cheaper, but less optimized to the lens length, and you can’t see the effect.

You can do a lot…

…in spite of conventional wisdom. Conventional wisdom has it that the Canon 7D is not the best for high ISO shots. And that you need twice the lens length, so 50mm on a crop camera needs 1/160th second..

So you could not possibly do a shot like this at

  • 3200 ISO
  • in available tungsten light
  • with a 50mm f/1.4 lens
  • set to f/2 at 1/40th sec0nd,
  • hand-held:

Cat, 3200 ISO, f/2, 1/40th sec, Canon 7D, 50mm

Yes you can. Hand held, slight noise reduction applied in Lightroom.

7D popup residual glow…

Look at this, from yesterday’s pic:

The Canon 7D can direct other flashes with its popup – unique for Canon, and that is what I was doing in this portrait (the main flash is a 430EX with a Honl reflector).

But when you do this, even when you turn the popup flash off (it only commands the other flashes), there’s a tiny residual glow! Every time. That is the little white dot.

Tip: cover it with your hand when shooting (or use Photoshop).

Portrait using two flashes

Here’s an impromptu portrait I took on Tuesday, of a lovely student who kindly volunteered to be the subject, in the Flash for Pros course:

And here’s how I did this:

  • Camera: The camera was a Canon 7D
  • Lens: I used a 50mm f/1.4 lens. (50mm on a crop camera, even the very cheap f/1.8 version, makes a great portrait lens).
  • Settings: The settings were Manual mode at 1/30th second, f/5.6, 400 ISO
  • Flashes: I used two 430 EX flashes on light stands, fired from the pop-up flash (like most Nikon cameras, the 7D allows this). Other than that, the pop-up flash was disabled. (I could also have used a 580EX on the camera as master.)

And how I used those flashes:

  • I used e-TTL, so I did not have to meter and set the flashes manually.
  • The main flash (“A”) was on camera left: a 430EX fired into a Honl gold/silver (half CTO) reflector. It was about a foot away from her.
  • The second flash was also a 430EX; this one fired straight at her from 45 degrees behind, through a Honl 1/4″ grid. This flash was also about a foot away from her.
  • I set an A:B Ratio of 4:1, so the main light was two stops brighter than the hair light.

Another student that night wrote a blog post, here, where you can see a few pics with some of the modifiers I used.

So it’s actually quite simple: now you go try. It is amazing what you can do in just a few seconds with just a couple of flashes (speedlites) and some small, light, convenient modifiers.

Accessorize.. accessorise.

Especially when it’s useful. Like in this case: the Honl Photo light modifiers’ carrying case. If you don’t have one yet, get one:

Very handy bag to keep all your modifiers, like bounce cards, gels, and snoots in one convenient place. And it attaches to a light stand, camera bag, etc, with a convenient clip.

Mine carries things like the reflector you see David Honl himself aiming at Studio Moirae’s Christie, when he joined me for my flash workshop in Phoenix a few days ago:

These small modifiers really have made a tremendous difference to the utility of small speedlites in professional lighting. If you do not yet have the range of Dave’s bounce cards, reflectors, gels, grids and more, then get them now.

Joe McNally is rumoured to have said that “if your subject is interesting, don’t light all of it”. That would be right if he had, and it is there that Dave’s range of modifiers shine: there and in being small, affordable, light and especially, durable, so that I can use them on the road.

That’s not all. There’s more exciting news coming soon from David Honl soon. Stay tuned until I can reveal the latest modifier.

Does TTL work when bouncing?

Does the fancy automatic “TTL” flash mode work when you bounce your light off the wall behind you?

Yes, and that is exactly the point of TTL (“eTTL in Canon terms; iTTL for Nikon).

You press the shutter button: Click.

But it is not one click! In the milliseconds after you press the shutter, your camera does all the following:

  1. Fires a low power test flash
  2. Measures light returned
  3. Calculates power needed
  4. Raises mirror
  5. Open shutter
  6. Flashes with power setting calculated  in step 3
  7. Closes shutter
  8. Drops mirror.

Steps 2 and 3 are crucial: that’s why it works wherever you are pointing the flash.

And that is also why you see the flash through the viewfinder: you are seeing the pre-flash. Try it: look through your viewfinder and shoot. If you see a flash, that cannot the be real flash – after all, the mirror is up when that goes. It is the preflash that you (and your camera’s light meter, near the pentaprism) are seeing!

Bag it

A quick tip today- but a useful one.

Always carry a plastic bag.

Plastic bags are essential for:

  • Carrying things that fall off
  • Putting things down in a dirty surface
  • Absorbing shocks in camera bags
  • Putting your camera in when it starts raining
  • Putting your camera in and closing before going from a very cold to a very warm area
  • Throwing up into when you get sick on your travels

Never go out without a plastic bag or two – put them into your camera bag right now.

Manual

Be careful when you say “manual”.

You could mean several entirely unrelated things, including:

  • Manual exposure (that’s the “M” on the dial!)
  • Manual focus
  • Manual flash power
  • Manual focus point selection

Assuming you mean the first one, when do I use manual exposure mode?

  • When using flash indoors, always.
  • When I want full control (such as when shooting macro or art).
  • When I want consistency, such as when shooting a panorama or snow scenes.
  • When I am shooting impossible-to-meter subjects like fireworks.
  • When I am shooting important-to-get right subjects like product or food.
  • When the light varies constantly and I want my exposures to be stable.

Hope that helps.