Category Archives: Learning

Sync or swim

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A reminder to all flash photographers: you need your shutter speed to be below the camera’s flash synch speed.

What does this mean? Let me explain.

The flash fires for the briefest period, of course. Like 1/2000th of a second. That is why we call it a flash.

So when it fires, if the light is to reach the entire film or sensor, the shutter needs to be totally open at that point.

That much is obvious. But what is not obvious is that there is an engineering limitation in your shutter. Beyond a certain shutter speed, the camera’s synch speed, the shutter never totally opens. Instead, a small (increasingly narrow) slit travels across the shutter to give each pixel a brief exposure time.That’s cool – the shutter does not have to be super-fast and expensive and you get a fast shutter speed.

But this gets in the way when you are using flash. When you fire during those short exposure times (on most modern cameras, faster than about 1/200th second), the light does not reach the entire sensor. Look at this example I shot to illustrate this, at speeds from 1/200th to 1/1000th sec:

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You can see that as I exceed the sync speed, the light only reaches part of the shutter.

You should also note that especially when using external flashes with Pocketwizards or similar, flash takes time to set up. My 1Ds MKIII has a synch speed f 1/25oth second but as you see, at that speed it is already beginning to cut off. Best stay a bit below your synch speed (I typically set my shutter, when I am using studio flash, to 1/125th second).

(There is a way to overcome that: fast flash, which some high end flash units offer. This continuously, all the time that the shutter travels, pulses the flash at a very rapid rate, so that the slit, as it travels across the sensor, has light coming in throughout its travel time. It works great – do use it when taking flash images outside – but it uses a lot of energy, and hence decreases the range of your flash.)

(Advanced tip: I know of at least one photographer who uses this effect to introduce an electronic version of a neutral density filter or a barn door: he sets his camera to 1/320th second while using flash, and turns the camera upside down. That makes the top part of the image dark, at least as far as the flash part of the light is concerned!)

Studio simple

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A studio need not be expensive. Even a light or two – affordable strobes – and a few reflectors and a backdrop will do it.

This is a setup I often take on the road:

  • Two or three strobes with stands
  • A reflector with stand
  • One softbox and one umbrella
  • Two pocketwizards
  • A tripod
  • A backdrop with stands, and a roll of grey paper.

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Easier than it seems and this results in good pictures. Even, sometimes, when you use just one light and a reflector.

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And instead of the light meter, consider using the histogram.

Handbook

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You all read these. Right?

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Your camera manuals. You read them.

Or not?

If not, I do not blame you. Photography is not complicated, but these manuals do a very good job at making it seem so. Plus, they are written in a 6-point thin font that makes it very tough to read anything if you are over the age of 25.

My advice: please do not be put off by these overly complex manuals, and take a course instead. In a few hours I can teach you what you would take years to learn reading manuals.

I spend a lot of time working out why this is – why these manuals are so complex. I think it is a combination of:

  • They are aimed at people who know photography already.
  • They fail to distinguish between what is simple and what is complex.
  • The writers do not share your experiences.

Much of it is that last point. Why, for instance, do they call “continuous focus” (where the camera keeps trying) by the name “AI Servo”? Most people think the “AI” is pronounced “AL”, like the name. But it is short for Artificial Intelligence. “Servo” means an accurately controlled motor with feedback. How on earth would normal people know that? They wouldn’t, is the answer.

So rest assured. It’s not you, and it’s not that photography is complicated.

Self portrait

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How do I take one of these with my new 7D?

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I set the camera on a tripod and use pocketwizards to fire one flash into an umbrella. One flash gives me that severe look, but to slightly lessen that, I have a reflector on the other side (camera left). I used a 35mm f/1.4L lens on the 7D, meaning an effective lens length of about 50mm. The “Nifty fifty”!

I set my camera to 100 ISO – best quality, and background light does not upset the shot. And I am in manual mode, at f/8 (enough DOF) and 1/125th second. I use autofocus where the camera selects a focus point, This time. I will – because as the subject I cannot see what I am doing.

Finally, I use the timer of course. So I can press the shutter while I hold my hand out; then sit down as the camera beeps.

And then I check: sharp enough? Nice graduated tones from dark to light? Catchlights in the eyes? Check!

I'm a sharp freak.

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Here I stand before you: I cannot deny it. I like sharp. Really sharp.

So when I go do some street shots, such as this portrait I shot outdoors after I shot a bookstore yesterday, I am delighted when the 7D, equipped with the 35mm f/1.4 lens, gives me this (and you should click and then view it at original size: don’t let your PC or Mac downsize it):

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(1/125th sec, f/4.5, 200 ISO)

That’s what a good camera and a good lens does. And shooting that street stuff yesterday, I was impressed with how sharp the focus is in most of my images – the focus system really is better tan that on my 1Ds3/1D3. Here’s another example:

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Nice car.

Landscaper tips

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Today, a few quick tips for shooting landscapes.

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Northern Israel, 2007

Follow these:

Tools:

    1. Use a tripod. This is the one time you will need one. Landscape needs to be sharp. SHARP.
    2. Consider using graduated filters to darken skies.
    3. Consider using a polarizing filter.
    4. Use small depth of field (e.g. set an aperture of f/11 or f/16).
    5. Focus one third into the picture to ensure all is sharp.
    6. Be careful not to over-expose. You may well need -1 stop exposure compensation when shooting foliage.
    7. Did I mention tripods?

      Composition:

      1. Keep the horizon straight.
      2. Shoot at sunrise or sunset if you can.
      3. Use the “rule of thirds”.
      4. Use S-curves if you can to gently lead into the image.
      5. Look for small colour contrasts (e.g. red-green, and yellow-blue),
      6. Consider adding close-by foreground subjects to show depth in your image.

      And your pictures will be better!

      Love it

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      If there is one thing in life I do well, it is to make complicated things simple. Customers and listeners appreciate this. Today was no exception: on the last day of the photo show, I spoke to another 1,500 people, I estimate. That means that over the three days I am sure I  addressed 5,000 people.

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      This busy show emphasises how much people want to learn about photography and equip themselves with the right equipment.

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      After my presentations, there are lineups to sign up for the workshops. After all, they are tremendous fun, and when you do a workshop, it is amazing how much more you get out of your camera.

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      Just like pixels were born to be punished, I was born to do this, I think. What a blast, to help people understand their cameras and to help them make great pictures.

      I met so many wonderful people – some of whom I have met many times. Some (like Maged Henein ) are great photographers. Many have interesting stories (like the young lady who wants to be a war photographer – oh boy do I recognise myself at that age!). Many who are getting into photography again after a hiatus. And all of them share a love of photography that I have too – a love that makes this field so exciting.

      Those of you here checking out my blog because you were part of those people, please do leave comments and ask questions: I’ll even answer them online if they are interesting to others.

      And: thank you!

      Michael