Posts Tagged ‘Sb-900’
The wife decided to start sprucing up various rooms in our house this week. Had a friend come over and help paint the walls of one of our rooms in Tiffany blue. I played the lazy photographer husband while they did all the work =)
Gotta hurry! We have some friends coming in from Japan this weekend who will occupy this room during their stay.
Even Suki got involved…well, no more involved than I was actually. No, she’s not sleepy here. It’s just that every time I set my camera to rear curtain sync, she blinks! Oops!
Nikon D300s + Nikkor AF 10.5mm DX // Tokina 11-16mm f/2.8
Watch out Suki! Well, she’s actually not in any real danger here. This particular spot where we took Suki’s latest image for my photo project, combined with a real long focal length, gives the impression that Suki is in danger from on-coming traffic. In reality, she’s quite safe, comfortably surveying the scene from a sidewalk.
The image above was actually a test shot that I ended up liking. I noticed that Suki kept getting distracted while I was shooting. In this case, a loud sea gull pulled her attention away from the camera.
In this image, it was a group of tourists across the street yelling “look at that doggie! Hi doggie!!!!” that made her turn her head. While I thought this was pretty annoying at first, the resulting curve in her posture turned into a really appealing pose for the image. Besides, most of Suki’s best images are taken when she’s not looking at the camera.
Nikon D300s + Nikkor AFS 70-300mm f4.5-5.6 VR
Found an optical defect in one of the inner elements of my Tamron 17-50mm /f2.8 VC a couple weeks ago. As soon as I discovered the problem, I shipped the lens over to a Tamron service center. I promptly received notice from Tamron that the issue would be repaired under warranty, but I’m still waiting for the lens to return. At first I thought I’d have a real tough time without the lens, but I must say that so far, I don’t miss those mid-range focal lengths very much at all. I think it’s because the 17-50mm range just doesn’t give you a whole lot of control over the perception of space and distance in a photograph.
I usually like to either expand foreground and background elements using an ultra-wide lens, or compress the foreground and background using a long telephoto. An example of the latter is seen in the image above. Shot at 165mm, you can really see how compressed the elements in the frame are, giving Suki a really powerful presence in the photo. In contrast, check out a similar image shot at 78mm:
See? Not quite as dramatic, right? Even Suki is disappointed, as you can see by her facial expression. Now if you really want to isolate your subject from the background, try an even longer focal length:
Same location, only with my lens at 280mm. The background gets so compressed at this focal length that it becomes unrecognizable, which completely isolates Suki in the foreground. This is the kind of creative control that a telephoto zoom lens can give you. So the next time you’re out taking photos, think about what you’re trying to accomplish before you start rotating that zoom ring. Are you zooming because you’d rather stay in one spot instead of moving closer to your subject, or are you trying to alter the perception of space and distance in your image? It’s almost always best to consider the latter first.
Ok, so it’s not that I don’t want my Tamron 17-50 anymore. It’s usually the lens I grab first if I have no idea what I’m going out to shoot. But I know now that I can definitely live without that focal range.
Camera Specs: Nikon D300s + Nikkor AFS 70-300mm f/4.5-5.6 VR
This morning I attended a graduation ceremony for a group of students who successfully completed a rigorous training course in American Sign Language. It was an exciting event that drew a few hundred people, mostly friends and family of the students. Bridget and I were involved heavily in helping run the course, and I even brought my camera to every session to document the entire semester. This morning, I arrived about an hour early to help set up the A/V equipment needed to run the graduation, but soon after I arrived, I was asked to take a class photo. A group of 35, a relatively dimly lit hall crowded with people, and uh oh…I didn’t have my camera. On top of that, the shot needed to be done BEFORE the graduation started. The wife ran home and grabbed whatever she could for me while I set up the A/V. By the time she got back with some camera gear, however, we only had about fifteen minutes or so to get the shot. A photographic nightmare! I was sweating bullets as I frantically set up a light stand camera right with an SB-900 through an umbrella, feathered high and left. Second light is hand held by my wife standing on a chair camera left, feathered high and right. Now I had about 8 minutes until the start of the graduation program. Gulp.
See how many people were there? This is the reason why I had to use my ultra wide lens for this group shot. There were a TON of people already on site, including a crowd of people with point and shoot cameras behind me. This meant I couldn’t back up very far. So I mounted my Tokina 11-16, rushed like crazy to try to get all the students in some sort of order, fired off four or five frames, and that was it, time to start the ceremony. Whew….trust me, it was harder that in sounds!
View the “last minute” group shot larger here.
Camera Specs: Nikon D300s + Tokina 11-16mm f/2.8
When I first started Suki’s 52 week project this year, I tried my best to have a very specific concept in mind for each image, planning each shot as meticulously as I could before we even headed out the door. I’m nearly halfway through the project now, and I’ve learned that having a plan is not always the best way to get a great shot. Reminds me of what Jay Maisel, a highly regarded NY based photographer once said:
“Not knowing what you’re going to shoot is the great adventure. If you go out knowing what you’re going to shoot, the great adventure is gone. Most people work to have a plan; I’ve worked to not have a plan for shooting when I go out.”
I love this advice, and I’ve done my best to incorporate the principle behind it not only in my 52 week project, but in my photography in general.
Nowadays, the only planning I do when I go out to take a photo of Suki is deciding the location. Once we’ve settled into a spot, I then start scanning the area and coming up with ideas. It forces you to be observant, to look intently for interesting compositions, lines, and light. Instead of locking down on a specific plan, you find yourself exploring with a free and clear mind, and exploration and adventure is what makes photography great.
My best images of Suki this year are the ones where no planning was involved, where I’d just say “hey, let’s go to [insert location here] and try to get some sort of shot of Suki.” The images you see in this post, for example, are from a series I shot of her last Sunday during an early morning stroll. No plan involved. Just me, some camera gear, and a Shiba Inu. We walked and walked until I saw an element of the environment that struck me. It’s a great way to approach your photography. Just make sure you always have your camera with you!
My Favorite Lenses
So lately I’ve decided that my two absolute favorite lenses in my bag right now are…..[drum-roll]…. The Nikkor 70-300mm VR (used in the top image) and the Tokina 11-16mm f/2.8 (used in the third photo from the top). Yup. My longest telephoto and my widest wide-angle. Both allow me to greatly exaggerate the perception of distance in an image. Want to really add some impact and dimension to your photos? Move further away from your subject and rack out your telephoto lens. Using an ultra-wide? Move in super close to your subject. Experiment and see what happens!
1st image: Nikkor 70-300mm f/4.5-5.6 VR, 260mm f/8, 1/400 second, ISO200
3rd image: Tokina 11-16mm f/2.8, 11mm, f/16, 1/320 second, ISO200
CLS triggered SB-800 + SB-900 used in both images
This week’s project shot of Suki was pretty difficult. I didn’t have any time to take the shot all week, and this holiday weekend has been booked with activity. Finally had some free time in the afternoon this Sunday, and a bunch of friends wanted to get together for some hiking. So we decided to bring Suki along, and figured we’d get a shot of her while on the trail. Well, we got to the end of the trail, and I still had nothing! So I handed an SB-900 to my cousin, and took an impromptu, dramatically lit shot of Suki for week 21 of 52. See the final image on my Flickr page.
Nikon D300s + Tokina 50-135mm f/2.8 at 135mm f/18 ISO100 1/320 Second // SB-900 gelled warm, TTL, +2.0EV
One of the things I’ve learned from running around the city taking pictures of Suki for my 52 week project is that natural lighting doesn’t always cut it. Bringing some basic lighting equipment along with you when you go out, however, can let you take control of a situation in which the existing light just won’t give you a nice photo. Take this series of images, for example. Strolling around one of my favorite areas of the city, Suki jumped up on this long platform along the sidewalk, and I immediately had a shot in mind. I lined up my camera and took the shot below, a test image to see what the camera was thinking about the scene:
Meh, no shot here. The lighting is flat, and not coming from the direction I need it. Notice that the bulk of the light in the scene is coming from behind Suki. As a result, she’s dark. With no directional light on her, the subject of the photo, she appears flat and one-dimensional. Boo…
Fortunately, I had my SB-900 speedlight with me. Fired it wirelessly at Suki from my left through a small piece diffusion material, and the difference was dramatic (top image and below). Notice that she now has increased color, dimension, clarity, and separation from the background.
This is what I love about Nikon’s CLS, or Creative Lighting System. You can carry portable speedlights with you anywhere, and it’s like bringing the controlled elements of a studio out into the less-predictable field. Firing multiple lights wirelessly and getting your desired exposure is incredibly easy with CLS, as the camera does most of the thinking for you. It also helps to have a subject that is used to having her picture taken!
Nikon D300s + Tamron 17-50mm f/2.8 VC // SB-900 Speedlight off-camera
See another shot using this setup HERE