Photography

Few things improved my photography more than learning when and how to set the exposure manually. That knowledge allows us to get good exposures in situations that automatic exposure can't handle. Setting the exposure manually also encourages us to make conscious, creative decisions about exposure.

I've heard some photographers say that they don't see any reason to use manual exposure. If that's your view, here's why I think you should reconsider.

As a professional photographer, I am often labeled—even pigeon-holed—using simple titles like stock photographer, documentary photographer, photo-essayist or fine-art photographer. That makes sense to me, because people want a quick way of knowing who I am as a photographer, and what kind of work I can do. A student recently asked me to explain how one photographer (me), would approach one subject, and photograph that subject different ways while wearing those four different hats.

I've recently gotten my hands on the Nikon 85mm F/1.4G lens, and I have to say I'm not disappointed. I put the lens to the test by shooting portraits in my studio of three young ladies who are also budding photographers.

Not only did the lens live up to my expectations, it surpassed them. I used the lens with my Nikon D3s, and one Elinchrom Digital Style 600RX flash with a Rotalux Softbox 39"x39" light modifier.

Light that comes into a scene off-axis from the camera view will ALWAYS look more dynamic, interesting and pleasing. It looks more three-dimensional, and it creates shadows on textures, shapes and form that enhance the visual appeal of the image.

And aside from that, using the flash off-camera prevents red eye and that horrible “deer in the headlights’ look that straight-on flash usually gives. You probably already know all this, though.

Of course, the main issue with using off-camera flashes is how to trigger them. Essentially, there are five different ways to trigger a remote lighting unit:

Have you ever heard of a Gobo? It's a term used by photographers to describe something that goes between the subject and your light to modify the light output. Today, they're more commonly known as light modifiers. We've previously talked about using one light (and modifier) at a time, on-camera flash accessories, and about using these at a wedding. Today, the experts at Kelby Training talk about using a flag to modify a light: specifically about controlling falloff. 

Take a look at the video after hitting the read and discuss button and for more in-depth training please visit Kelbytraining.com. They also have full one day seminars at Kelbytraininglive.com.

Do you have any other makeshift light modifiers? Let us know about your own hacks in the comments below.

When people think of traveling for scuba diving, they think of warm blue water locations such as the Red Sea, Australia, Fuji, the Bahamas, Grand Cayman, Cozumel, and Bonaire. But Alaska? The green rich waters of this temperate rain forest are full of life and photographic opportunities. A trip to Alaska is a true adventure, both above and below the surface. My dive buddy Olga Torrey and I decided to experience Alaska on the liveaboard dive boat, the Nautilus Swell. This 100-year-old refurbished tugboat is the perfect platform for cold-water exploration, and is very photographer-friendly. The crew is well versed in dive procedures in this very different environment. We would board the boat in Juneau, and after a week of diving, we would depart from Sitka.

Everyone in photography has an opinion when the word HDR is mentioned. Sometimes it is all about perceptions or misconceptions. In this blog post, I'm hoping to change your mind or your thought process a little, when you hear the term HDR.