High-speed action in broad daylight requires high-speed fill flash. High-speed in this case means two things: the fast shutter speeds enabled by Speedlites in high-speed sync AND speeding up the flash recycling time by using an external power pack to recharge the Speedlites.
I’ve covered high-speed sync (HSS) many times on PixSylated. [For an introduction to HSS, check out this Simple Truths article.] The short version is that HSS changes the way the Speedlite fires. HSS enables the use of shutter speeds faster than the camera’s sync speed—1/250″ on most DSLRs.
The downside to HSS is that turning the Speedlite into a near-continuous light source (even for a fraction of a second) consumes a bunch of power. My tests have shown that HSS consumes 2.5 stops of light—which is the equivalent of turning a Speedlite’s maximum output from full-power down to 1/6 power. For fill flash, this power loss is not a big issue. It’s only when you are shooting day-for-night that you need to overcome the HSS hit by using an arsenal of Speedlites (like I did here).
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HeySyl.com, my question and answer blog officially launched over the holiday weekend. You can check out the list of inaugural topics below. If you see a resemblance between the HeySyl logo and the PixSylated logo, it is no coincidence. I created HeySyl.com as a repository of answers to reader questions. PixSylated.com will continue to present original content and resources that I find valuable.
If you would like to get the new HeySyl Q&A posts delivered by email, grab a free subscription here. If you already subscribe to PixSylated and you want the new Q&A delivered as well, you will need update your subscription preferences.
Click here to submit a question to HeySyl.
HeySyl’s First Questions—A Baker’s Dozen
I just launched a new feature on PixSylated. “Hey Syl” is a convenient way to send in questions about lighting and imagemaking.
The most interesting questions will be posted along with my answers on the Hey Syl page. When the Q&A builds up enough content, it will be sorted and arranged as a FAQ.
Why am I seeking questions? Three reasons:
- I receive question daily anyway. This new system makes it easier for readers to ask. It also means that the questions will no longer get lost in the flood of other emails that come in daily.
- In the past when a good question comes in and I provide a detailed answer, I often think that a whole lot of people probably want that answer too, especially if it pertains to a specific camera or Speedlite. So, now the answers will be posted online and eventually the Q&A will be searchable.
- I recently started work on the second edition of the Speedliter’s Handbook–which will be published next autumn. So, this is a great way for me to learn what Speedliters want to know about lighting and how to work their gear.
Have a question? Click here.
We photographers add loads of tension to our lives. We work so hard to perfect our craft, but continue to think that we are not good enough yet. We stress over not having the right gear. We find all kinds of reasons to not shoot and to not share our photos.
Most of us, who are serious about creating great images, remember a time when making photographs was fun, spontaneous, and easy. Yet, we get all tangled up and photography becomes a stressor rather than a release.
I wrote years ago that I take mental photos all the time (LIDLIPS #36 here). I’d see something interesting and say “Snap.” Now, I reach for my iPhone and take that snap. I try to do this at least once a day–stop my life for a moment and make a photo for the joy of making the photo.
These pix don’t have to relate to anything. They are not part of a series. Many of them are not even “good.” That does not matter. What does matter is that when I’m inspired by or drawn to something I see, I stop and shoot. It’s so easy to decide not to shoot for a million reasons. It’s so easy to decide to shoot as well.
I’ve been posting these snaps on Instagram for the past six weeks. I avoided the Instagram craze for a long time. Now, I find it’s a convenient way to stay connected to the playfullness that brought me into photography way back when.
Natural light photographers often advocate placing your subject in open shade. When compared to the harsh shadows of midday sun, the benefit of open shade is that the shadows are very soft because the light comes at your subject from a wide range of angles across the dome of the sky. The downside to open shade is that the low contrast of the light (the difference between the brightest highlights and the darkest shadows) creates an image that lacks texture and depth. Fortunately, a single Speedlite can add a lot of magic to the shot.
Shadows reveal depth and texture. Compare the two shots above. Figure 1 was shot in the open shade on the north side of a cliff. Figure 2 is the same exposure with the addition of a Speedlite set very close to the rock wall and zoomed very tight. The pop of flash is the only difference between the two shots. Note how the shadows of the rock in Figure 2 allow you to see the texture of the surface. (See this article for more insight on using Zoom as a creative tool.)
Shadows also create a sense of time. Note also how the angles of the shadows in Figure 2 suggest that the sun is low in the sky. We know instinctively that long, raking shadows mean the sun is close to the horizon. Since there are no well-defined shadows in the Ambient-only shot, there is no sense of time.
Color also plays a key role in perceiving the time of day. When the sun is near the horizon, our atmosphere warms the light. In contrast, open shade is very cool (bluish) because the rays of sunlight literally bounce off the dome of the sky on their way to the subject. You can see the cool cast of open shade in Figs. 3 and 4, below. Both images were made with my camera’s white balance set to Daylight.
To mimic the effect of late afternoon sun, I shifted the Color Temperature slider (Fig. 5) in Lightroom from the camera’s white balance setting of 5200K to 9500K. Compare Figure 3 to Figure 2 and Figure 4 to Figure 1 to see the effect of this color shift.
Are you wondering why I did not use a CTO (amber-colored) gel on my Speedlite to shift the color of the flash? If I had, then there would be an unnatural difference between the cool ambient light and my flash. Without the CTO gel, I was able to lift the ambient and flash together with a simple move of the Color Temperature slider.
So, how big of a difference can one Speedlite make? Figure 6 below is my best effort in Lightroom at optimizing the Ambient-only shot to match the overall luminance of the Ambient+Flash shot. I’ve dropped Figure 2, the Ambient+Flash shot, back in below so that you can make a close comparison. Feel free to leave your thoughts on the differences as a comment.
These shots were made as part of a demo that I did recently at Peter Read Miller’s sports photography workshop in Denver. For more information on Peter’s workshops, click here.
Is a week-long summer photography workshop right for you? It depends upon whether you want to invest a week shooting and lighting or spend a week lounging around the pool. I love the workshop-way of teaching photography—collaborative, hands-on, and fun. If you are looking to take your understanding of lighting to a higher level, then I hope that you will join me for one of my week-long workshops this summer.
Rocky Mountain Workshops
Missoula, Montana • June 14–20, 2014
Rocky Mountain School of Photography runs a wide range of great photo courses in beautiful Missoula, Montana and at locations across the country. My Flash Photography workshop will replace fear about lighting with understanding and empowerment. We will start with the basics and build daily so that you can make informed decisions about how to shoot with flash in a wide-range of situations. The workshop includes location shoots both indoors and out. Workshop information.
Santa Fe Photographic Workshops
Crafting Dramatic Light With Small Strobes
Santa Fe, New Mexico • July 6–13, 2014
This will be my third summer teaching in Santa Fe. The workshop is open to shooters of all brands of gear. We learn to manage the ambient light with our camera settings and then to shape light and shadow with electronic flash. The emphasis is on crafting dramatic light—light the way you want it to be. We use hotshoe flash as well as lightweight, battery-pack strobes, plus an arsenal of modifiers, to shoot on a variety of locations around Santa Fe. Note: if you are a Nikonian, as a Nikon-sponsored school, SFPW has Nikon gear available for use by students. Workshop information.
Maine Media Workshops
Canon Speedlites Demystified
Rockport, Maine • August 24–30, 2014
If you are a Canonista who wants to learn to shoot flash, this is the workshop for you. Unlike my other workshops, which are non-denominational, Canon Speedlites Demystified focuses on crafting great light with Canon Speedlites. We will start with one Speedlite and build our way to using multiple Speedlites—including the new, radio-enabled 600EX-RT system. As a Canon-sponsored school, Maine Media has Canon gear available for student use. This will be my fourth summer returning to Maine’s beautiful central coast…maybe it’s the Friday-night lobster feed. Workshop page.
Questions? Feel free to submit them as a comment.
This Week In Photo #348 is now live. I re-join TWiP’s eternally effervescent host, Frederick Van Johnson, and welcome TWiP first-timer Shiv Verma for rousing conversations about the world of photography, including our thoughts on:
- whether we’re grabbing URLs in the new .photography and .camera domains
- why it’s crazy to hire a wedding photographer who posts a Craigslist ad soliciting photos to pad his portfolio
- what happens to photographers who license work for a photo credit and then change their minds
- licensing and business resources available to photographers on ASMP.org
- why we should not trust social media sites as the repositories for our most-precious photos.
We also talk about our picks of the week.
- Frederick = Olympus OMD EM1 at Hunts
- Shiv = Astro motion control device
- Mine = Peter Read Miller on Sports Photography book and Peter Read Miller Sports Photography Workshop
- Bonus = Shiv’s just-published e-book on Time Lapse Imagery
You can watch the video of us recording the podcast (complete with the crazy electric moiré of my shirt) on YouTube.
Havana’s camera obscura sits three floors above the Plaza Vieja, the Old Plaza, and overlooks the entire city. Stepping inside its viewing room was one of my favorite moments during my trip to Cuba last spring. Even non-photographers marveled at the live-action view of the city that we witnessed.
Of the 70 or so giant camera obscura around the world, Havana’s is the only one in Latin America. Consider it a must-see if you visit the city.
First mentioned some 2,300 years ago by Aristotle and Euclid, a camera obscura is essentially a box or a room with a relatively small hole that projects an inverted image onto the wall opposite. During the Renaissance, the camera obscura became a tool explored by artists as a means of projecting an image onto a canvas or paper. Later designs, as shown above, used a rotating periscope with an angled mirror to project the image down onto a flat surface.
Havana’s camera obscura uses a rotating turret atop the building to provide a 360-degree view of the city. The camera operator rotates the turret and changes the angle of the mirror with one hand while pointing out sights near and far with his other hand. His humorous narrative is bilingual–switching seamlessly between Spanish and English as you will hear in the video below. The magic of the camera obscura experience is that you think you are looking at a still photograph–until you notice the motion of flags waving in the breeze and people walking on the street.
I look forward to visiting Havana’s camera obscura again in April. If you would like to experience it for yourself, a few spaces are still available for my April 15-23, 2014 trip to Havana and Viñales. Click here to get more info on the Santa Fe Photo Workshops site. The window to register will close in the next week or so. So don’t delay.
Spend a couple of minutes inside Havana’s camera obscura with this video on YouTube.
I had the great fortune this week to return to the This Week in Photo (TWiP) podcast as a guest host alongside TWiP’s effervescent host Frederick Van Johnson and architectural photographer extraordinaire Jeffrey Totaro.
During the show, I come clean on why I suddenly went off-line for five months–starting with my trip to Brazil last August. As Frederick puts it, I went “all Jimmy Hoffa and came back.”
We also have rousing conversations about our individual thoughts on
- New features added to Photoshop CC (and our opinions on Adobe’s Creative Cloud business model)
- Whether the Japanese camera market is in jeopardy and what the future of cameras holds for consumers / enthusiasts / pros
- Scott Kelby’s switch from Nikon to Canon and why we do or don’t have camera allegiances (including the real reasons I shoot Canon).
You can watch a video of us recording the podcast (complete with all of my crazy eye rolls and hand waving) by scrolling past our mugshots to the viewer window below.
You see the full program page on This WeekInPhoto.com (which includes links to the sites/items we talk about in the show and an interview with Scott Braut and Keren Sachs of Shutterstock) by clicking here.
For nearly two centuries, photography has been the nexus of light, subject, and camera. In the digital era, one can argue that computer should be added to this trinity. Of greater passion to me is the question—what remains of photography when we strip away the subject, camera, and computer? Only light remains—or, more specifically, only color as it emerges from the shadows remains.
Color and shadow have long danced as my muses. I am obsessed equally with color and with shadows—an obsession that has endured the evolution of my work as a photographic artist from darkroom alchemist to digital technologist back to darkroom alchemist.
In my new Color Field series, I cast off all that is photographically unnecessary—subject, camera, and computer—so that I may be the alchemist who fuses color and shadow directly into a print. Each Color Field is a one-off 20” x 24” original—created by casting light through colored gels directly onto photosensitive paper (specifically Fujicolor Crystal Archive II). Each print is processed individually in traditional RA-4 chemistry in my darkroom at home. Yes, I said “darkroom.”
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Follow Syl On Twitter
- What It’s Like To See In 100 Million Colors > http://t.co/W5BI7UTqXQ, 5 hours ago
- Great way to blow an hour or two…check out the latest entries in the @pdnonline Photo Annual contest > http://t.co/4On9MqO8CP, Feb 27
- Free NYC-seminar, Sun Mar 15, Crafting Great Light w/ Canon Speedlites > http://t.co/xENL7LbaGf, Feb 23
- Portraits of Famous Photographers with Their Iconic Photographs, via @petapixel > http://t.co/DlluF8FOHn, Feb 13
- Spreading my new love for trichroic lighting w/ my advanced photo students at Mission Prep. http://t.co/dooOLmvN0K, Feb 12
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