Near the End of Winter

Winter is coming to a close – cold mornings bring snow, all to be washed away by after noon rain, and then draped in snow once again as the sun sets. This transition from winter to spring is often marked by potholed streets edged with slopes of dirty snow, but you can still find some winter-chilled character in landscapes and the people who are interacting with it.

Mixing Lighting Sources and using 2nd (Rear) Curtain Sync Flash

A lot of effort goes into lighting your shots. Controlling the pattern of light is always important, but corralling color temperature and light source also fall high on that list of priorities. Mixing continuous light and strobe is easy enough, but not always desired. A flashes ability to choke out ambient light is one of the strengths of strobe photography – especially when the objective is to freeze motion.  There are creative techniques, however, that meld both strobe and continuous light to achieve a mix of motion and stillness.

This application of showing motion can be used for all types of photos. Most often you’ll see this technique in sports photography – it’s always nice to show an athlete in motion, applying their craft. But there are many, non-sports related, uses for mixing flash and continuous light sources. You can use it to imply movement, giving your photo an almost ghostly quality. As the subject moves through your frame, they’ll leave an ethereal trail behind them, this trail is caused by the continuous lighting. At the end of their move they should be frozen in place by the strobe, giving them sharp definition.

The technique uses at least 2 lights (one continuous and one strobe as we’ve mentioned) but you can employ as many lights of each type as needed. Apart from the lighting, there’s some working you need to do behind the camera as well. The first change is fairly obvious – Your shutter speed has to be long enough to allow for capturing motion. Speeds of 1/250 or more are usually required to stop motion, so naturally turning the dial the other way will increase your chances of capturing the movement of your subject. You’ll need to play around with your shutter speed to see what works best for your scenario, but generally speaking a speed of 1/30 is a great place to start, and then dial up or down as needed.

The second piece of work you need to do happens behind the camera. You must switch your camera’s flash sync from 1st, to 2nd curtain (also known as rear curtain). What this does is fire your flash at the end of the exposure, where-as normal flash operation will trigger the flash at the start of an exposure. The reason for this change is aesthetic. 1st curtain flash will make your subject sharp at the start of your exposure, and any motion that happens after the flash will then be captured by the rest of the exposure. The end result is a sharp subject with motion blur moving forwards from the subject. Now, if you’re a fan of cartoons (which I am!) then you’ll know that motion blur should always move away from the subject, leaving a trail of where they have been. 2nd curtain flash does exactly this. With 2nd curtain enabled, the first part of your exposure captures the motion and then, right before the shutter closes, the flash fires, capturing the subject sharply in their end position, leaving a trail of where they’ve been behind them.

Both Canon and Nikon support 2nd curtain flash. To enable this you have to attach a canon (or Nikon if that’s your system) brand flash to your camera. From there you can either set 2nd curtain from your camera menu, or the flash menu – check your manuals because each model of flash and camera does it slightly differently.

There! Now you have 2nd curtain enabled on your on-camera flash! Oh, but wait, there’s a problem. Shooting flash from the camera is OK in a pinch, but for flattering light we know we have to get the flash off the camera. Okay, there we go, now that flash is on a stand and in a better position. But wait, now how to we get 2nd curtain to work? As soon as you take your flash off the camera it stops accepting 2nd curtain as a flash option. How do we work around this?

Well, there are several methods. If you’re using only two lights, one continuous, one strobe, then you can use a sync cable to stretch from your camera to the flash. This will restore communication between your camera and the flash and allow the flash to operate in 2nd curtain. Now, if you’re using several TTL enabled flashes wirelessly you might expect that you could set 2nd curtain operation on your master flash and then use that to communicate to your slave flashes. Sadly, this is not a reality. Canon has stated that 2nd curtain via master/slave communication is not possible, and therefore you can not use this method with an array of wireless speedlites. Bummer!

So, what if you need more than one light, or maybe you need a power output beefier than what your speedlite can produce. Well, I found a work around! Most studio strobes have an optical sensor that will fire the flash the moment it senses a flash from another strobe. So, what I’ve done is take my canon speedlite, using it as an on-camera flash I’ve set it to fire as 2nd curtain and then I bottom out it’s power to 1/128th power. At this power it’s not contributing light to my scene at all. Instead, all it’s doing is triggering my studio strobe at the end of the exposure.

There are other, more expensive options at your disposal too. Pocketwizards, and other transmitters, have their own options for allowing 2nd curtain functionality wirelessly. But, for the most part, the optical slave option works in most situations without any drawbacks.

Below is an example of 2nd curtain flash. For this example I am using a sync cable from camera to flash since I am only using two lights and I’m standing only feet from the subject. My direction to the subject was for her to turn her head as I pressed the shutter button with the anticipation that she’ll finish turning her head by the time the shutters closes and the flash fires. It will require a few takes to get the motion and timing right, but once you reach a working rhythm the photos will start coming in Fast and Furious™.

Head Turn 2nd/Rear Curtain

2nd/Rear Curtain will give your photos dreamy, ghostly motion.

 

Another example of motion blur using the same technique. Here I asked the subject to look at the continuous light source for a 1 second before turning 180º and changing his pose. The flash fires at the end of the exposure to capture him in detail as he begins to play the sax while leaving a motion trail from his original position.

Motion blur achieved through mixed lighting.

Benjamin Lehman is a Commercial Advertising, Portrait, and Wedding Photographer in the NorthEast, Canton, Ohio area.

Becoming the Director – Turning your DSLR into a video/movie/film camera.

Modern DSLRs are amazing devices. Not long after the 5D Mark II introduced the ability to shoot high quality video, the film world took notice and started to use it as an essential piece of equipment in movie making. Not only are DSLRs small, and therefore easy to work with, they are also relatively cheap, and you get the picture quality afforded to you from using your DSLR lenses.

Long before I started taking pictures as a professional photographer, I was (and still am) a graphic designer. One of the many hats I get to wear when I am working for my design clients is that of a creative director. At times this means I am on set, working with a film crew, to make sure the design vision translates seamlessly to video.

I’ve gotten a lot of valuable experience behind the motion picture lens from my time on these types of projects. This has in turn given me a great perspective on how to use my DLSR’s video mode. And now, with everything digitally integrated between a myriad of programs, there’s not much you can’t do with the video you take with your DSLR.

Over the holidays we worked on a little project that called for some video, lighting, visual effects and compositing. I love these types of jobs because they are a great way to extend your artistic vision into several mediums. Below are a couple of stills showing the before and after of the raw footage and final, composited video.

Here is a small, 3 second clip.

Benjamin Lehman is a Commercial Advertising, Wedding and Protrait Photographer in the Canton, Northeast Ohio region.

Wedding Photography – Leslie and Jim at La Pizzaria in Canton, Ohio

Early in November I had the opportunity to photograph a wedding for an absolutely wonderful couple; Jim & Leslie. We met Leslie through a previous job, The Akron-Canton Regional Foodbank, where she works in the fundraising department. When we first met to discuss if we would be a good fit for her wedding, (We met in mid summer, several months before her wedding date), she expressed how important it was that the wedding photos shouldn’t staged – she wanted a very sweet, intimate, editorial look to her photos — it just so happens that shooting in an editorial fashion is one of my favorite styles for weddings

When someone says, “Editorial”, it can mean several different things. For the most part, editorial means any photo that happens naturally in the moment without the photographer staging or intervening in the photo in anyway. When I am shooting a wedding I’d suspect that nearly 95% of  of my photos are shot in an editorial manner. The last 5% are things like formals where the photographer needs to work hand in hand with the bridal party and family in order to get all of the expected photos.

Before any wedding it’s not uncommon for the bride and groom to prepare in different areas or even completely different venues. For Jim and Leslie’s wedding this meant I would be at 3 different places throughout the day. It started in the early afternoon with the groom and the groomsmen getting ready at the Hilton. The day was overcast, and the room was lit naturally with a large window on one side of the room. The room itself was painted a soft beige on every wall, including the ceiling. These types of situations are always tricky when trying to find your white balance. The best bet would be to set your camera to tungsten – this will help immensely since the colors of the walls will even influence the color of your flash into a warm tone.

The second location I visited was where the bride and her bride’s maids were getting ready, The Bertram Inn at Glenmoor estates in Canton. This location is gorgeous. The Inn itself has a wonderful style to it, a very late 1800’s industrial-age-elegance. The room the bride was preparing herself in was a large suite, soft blue-ish green walls, a large white ceiling and several windows letting copious amounts of natural light in. This was the perfect room for pre-wedding/getting ready photos.

For the formals, my first choice was to use the attached Chapel, and while we were promised by the staff that it would be available to us for photos, we were disappointed to find out that it had been filled with empty tables and broken glass – and since it’s not kosher to have your bride walking through broken chandelier bulbs, I had to move quick and find a second location for formal photos. Luckily the front of the Inn turned out to be a perfect replacement location. We got lucky and the sun started to peek out of the clouds in the distance, which added warmth, and there was still enough cloud cover that the light remained even over the subjects. In total this provided beautiful, natural light conditions.

Once formals were done, we headed to the wedding venue; La Pizzaria, a beautiful, upscale eatery here in Canton. While the outside of the venue is fairly nondescript the inside, however, is a beautiful, open space with wooden walls and a concave ceiling, painted and lit to look like a spring sky. Wooden walls usually mean you’re in for a lighting nightmare. Trying to bounce light off of shiny, dark materials can prove near impossible. However,  I knew I could use a tall light stand and hoist one of my studio strobes into the channeled ceiling and still get good light coverage where I needed it without having to worry too much about color balance issues.

The wedding itself was an exquisite affair with both the wedding party and guests filling the room with excitement and smiles. It’s always fun for me when I get to live and document a day in the life of wonderful people and this wedding was just such an experience – something I’ll cherish and remember forever.

Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the Canton and Northeast Ohio region.

Using colored lens filters and light gels to enhance your photos. Fall/Halloween portraits!

All my friends know that Autumn is my favorite time of the year. I love the colors, the cooler weather and most importantly — Halloween! So, for this little info-tutorial-lesson I decided to merge both of these beloved concepts.

The defining element of Autumn is the range of colors the season brings. Lush green forests and lawns are replaced by seas of yellow, orange and red when trees begin to drop their leaves as they go dormant for the upcoming winter months.

As photographers with a lot of tools at our disposal, we sometimes spend too much time trying to change the scene so the camera matches what’s in our mind’s eye. When that fails we spend more time changing the scene even more; lighting, gobos, set dressing, camera angles and probably a lot more lighting on top of that. Creating a scene is at the core of what we’re trying to do as commercial photographers – we are trying to make a visual story here, after all. However, one fundamental rule that we often lose sight of early in the process is the practice of trying to get our environment to work with us. What often happens, unfortunately, is we end up nullifying it completely with a bunch of gadgets.

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A magenta filter can help add vibrancy to a fall landscape, or make your blood stained shit look even more amazing!

The Fall season is a perfect time for portraits and outdoor photography. The sun sets early, giving us great light and the colors are vibrant. Because of this, when you’re approaching a Fall portrait you are probably thinking of how you can maximum your environment to help create a gorgeous photo, constructed to take advantage of the natural landscape around you. You could probably go with just your camera at sunset and capture a stunning photo, and that would play right into the concept of not-overdoing it with too much equipment. But I think with some very smart choices in gear, mainly 1 flash, one color filter and one corrective flash gel, you can dial the autumnal ambiance up to 11.

First, let’s talk about the colored lens filter. Because Fall is filled with reds, oranges and yellows, I like to use magenta filters. Magenta filters at sunset in the middle of Autumn are a magical device. They shift everything in a deeper shade of red. A warm sunset will explode into an almost fantasy-painting skyline. Cooler, green fields of grass will take on a warmer tone, and the leaves that have either fallen or have started to turn on the trees will become even more vivid.

I recommend the Tiffen 77mm 30 Filter (Magenta). It’s nothing fancy, and at $60 it’s cheap enough to fit in your camera bag without breaking the bank. I’ve used it for a while now and it does the job it’s intended to flawlessly.

The next piece of gear is a color corrective gel that you’ll place over your flash. For this, we’re using a green corrective gel. Most gel sets you buy have a corrective gel for any lighting situation, and for our purposes the green gels normally used for florescent color correction should work well. If your gel kit has more than one shade of corrective green, you may have to test each one out to find which yields the best result.

The last piece of gear is a flash – any flash will do, speedlite or studio will work. Here we using an older canon 430ex II.

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Tim the Zombie

The set up for all of this is pretty simple: Place your filter on your camera, the gel on your light, position and frame your subject and start taking photos. The only trick here is that you’re trying to light the subject solely with your flash, and not so much with ambient light. The flash, with it’s corrective gel cancels out the magenta lens filter. The end result is your background will be bathed in a vivid magenta color while your subject should retain their natural skin tones.

Here to the right, as an example (and to fulfill my promise of merging a Halloween theme into this post) is Tim the Zombie. We’re using the set up described above, making sure the light from the flash covers the main focus of our Zombie model. The background, out of reach from the flash’s output, is saturated in a glorious shade of magenta – bringing the colors of the fall landscape to life. My settings for this photo: 1/60 shutter speed, 200 ISO @  f/7.1. These settings allowed me to underexpose the background by 1 stop, thus deepening the effect of the magenta filter even more. The flash has +.6 flash compensation dialed in to expose correctly for our zombie.

To give you a better idea of the interaction between ambient light, gelled flash and filtered lens, here is a series of photos illustrating the effect each element has on your photo.

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Here is our Zombie without lights, gels or filters. This is pure natural lighting. Notice the colors of the background. You can tell it’s Fall and the richness of the leaves is evident.
0X5A0255This is the result of adding a flash with a green corrective gel. The background color remains the same, but our zombie takes on a greenish color
0X5A0252We remove the green gel from the light and in its place we add the magenta filter to our lens. When we take the picture we can see the background suddenly comes to life with very saturated colors – thus becoming more dramatic. Our zombie, however, looks like a mess.

When we put all of these elements together we achieve a much more striking photo – combining great color on both the foreground subject as well as increasing the drama in the background. One great side effect of this technique is that the subject of your photo really lifts away from the background, giving them a strong visual POP from the rest of the photo.

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One question that may come up while reading this would be, “Can’t I just do this effect in post?” The obvious answer is yes. But considering that it took me less than 20 seconds to screw a magenta filter onto the lens and even less time to fit a gel onto a speedlite it’s pretty clear that approaching this photo in a more analog fashion will both save you time and give you an authentic result. And remember, this is coming from a guy who lives half of his life in post production.

And don’t forget that you can different results by combining different combinations of filters and gels. For example, a magenta gel with a green filter will push your photos into a realm of deep green – something to consider when shooting in a lush forest setting. A blue filter in tandem with an orange gel will turn your ocean portraits an even deeper shade of blue. So just get out there and play around!

Benjamin Lehman is a Commercial Portrait, Wedding & Advertising photographer in the Canton, Northeast Ohio area.

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