Stop me if you’ve heard this one before. A restless mind… or maybe too much late night pizza has you laying awake in bed. You decide that if you can’t sleep you might as well do something productive, so you fumble in the darkness for your iPad for one more round of Angry Birds. You power up and are instantly struck blind by a beam of light so bright that it burns “slide to unlock” into your retinas. You squint, roaches scatter, wife stirs, “Damn, that’s bright.”

Sound familiar? This happens to me too often. Eventually, it dawned on me that, given the right context, the iPad screen is actually pretty bright. I know that for a fact because I measured it with my light meter (1/60, f1.4 at ISO800 from about 1.5 feet). You know once the light meter has come out of the bag, there’s no going back. Naturally, we needed to do a photoshoot using iPads as the light source.

Luckily, I have friends who are very generous with their time and electronics and was able to scrounge up nine iPads. I mounted them onto plywood using some cheap hardware store brackets. This gave me three lights consisting of three iPads each. The light from an iPad is quite soft and diffuse. This makes the light fall-off steep. Adding more iPads didn’t translate to more brightness, but did mean we could light a larger area. Since the ‘Pads would need to be used somewhat close to the subject to get enough exposure, a simple, portrait style shoot seemed like the best option.

Now before the haters start commenting let me first agree with you, yes, this is totally impractical (sidenote: most of my best ideas are often also my worst ideas). Nine iPads will set you back around $4,500. That amount of money can buy you a LOT of lumens in the form of a generic monobloc. This is not intended to be an exercise in excess, but rather a self-imposed limitation to help flex the creative muscles, and to make a point.

Think about it. One 60 watt bulb can put out more light that a truckload of iPads. And you don’t have to spend truckloads of cash to find a 60 watt. This whole making art thing is all about what you do with what you have. We just happened to have a bunch of iPads laying around so we went with that. Today’s dSLR sensors are sensitive enough that you could easily do this with some flashlights, headlights, headlamps, real lamps, or even – heaven forbid – real strobes! Now go forth and do!

Props:
Model – Miranda Hull
Make up – Michelle Gallagher
Hair – Joanna Montemayor
iPad Propagator – Josh Markle
iPad Wranglers – Derek Sine, Corey Jindra
Videographer – Tyler Faires
Miracle Worker – Lyn Rosten

Summer is upon us. It’s been well over 100 degrees the last two weeks with no end in sight. The secret to beating the heat is to never, under any circumstance, leave the pool. You want your photo taken? Sure! As long as I don’t have to get out of the pool.

Here are a few pics from a just-for-fun shoot with Amanda, aka Salamanda. I had one day left on an underwater housing rental and wanted to try something different. We didn’t have time to put together a wardrobe so Amanda pulled something from her closet – a wedding dress.

Light came from a single 1.2Kw HMI. It was pointed into some painter’s plastic that we pulled tight across one section of the pool, just above the water’s surface. Light falloff in water is much stronger than air and I definitely noticed the HMI didn’t have the same reach under the surface. Could have used an extra stop or two but we made due. The hardest part was getting the light where I wanted it. Due to the obvious consequences of mixing electricity and water, we couldn’t put the HMI *in* the pool. With a heavy top light I was limited to a deep shadowed look. So we just went with it. By the way, the housing was an Aquatech from Borrowlenses.com. Check ‘em out. They’re good people.

Kudos to Michelle our MUA and Lyn the bubble wrangler. Lyn also shot some pics of another model and from what I’ve seen so far they will be epic.

If you want to see what a really deep underwater shoot looks like, check this out this underwater stage at Pinewood Studios.

As much as I love shooting tethered, sometimes it’s just not practical to lug a computer around, especially on remote location shoots. More gear means more crew. And more crew means bigger budgets (something that’s sadly lacking in the industry these days). On a run-n-gun shoot, even tethering to a laptop is awkward at best. Imagine doing a “walk a-about” photo shoot where you are tied to an assistant with a 10 foot rope. That’s ONLY convenient if one of you happens to fall into a crevasse.

Here’s a better solution. Wireless tethering to an iPad. No wires, no worries; portable and practical.

OK, onto the technical milieu. There are a few variations on the following workflow, but for the sake of simplicity, I’m just going to share what I’m using to go from my Canon 5D MkII to the iPad.

First thing you need is a little app called ShutterSnitch. It’s $8 and available in the app store. ShutterSnitch creates a landing point for the photos that are getting sent from the camera. There are some other great features built into the app, but rather than write about them you can read about them here.

There are a couple ways to get the photos out of your Canon dSLR wirelessly. Canon makes several WFT (as in, Wireless File Transmitter) devices for their various flavors of dSLRs. But, one look at the price and you might want to rearrange that acronym to WTF (as in, WTF!?). The cheaper option, and the one I’m using, is a wifi card from Eye-Fi. Eye-Fi makes SD cards that have a microscopic wifi antenna hidden inside. These cards can connect directly with ShutterSnitch. But there’s a caveat with Eye-Fi cards and the 5DMkII. The camera won’t recognize the newer X2 version so you’ll need one of the older classic pro models.

Now, at this point you’re probably thinking,”WTF! How am I supposed to use an SD card in a CF-only camera like a 5DMkII?” Gotchya covered there, too. You simply need an SD to CF card adapter. Yeah, I didn’t know those existed either. Eye-Fi does not officially support CF adapters for their cards, but I found one that works well with my MkII. The CF multi from Syncrotech. Some adapters will cut the wifi signal strength so be sure to find one that has been tested for use with Eye-Fi cards. The CFMulti seems to have no effect on the Eye-Fi’s ability to transmit. So far I’ve used it successfully up to about 25 feet with no file errors.

To make all of these photo transfers work, both the card and the iPad have to be connected to the same wireless network. Not a big deal if you’re shooting in a studio or any place there’s power. But if you’re on location you’re going to need a way to create an ad hoc wireless network. I cannot officially condone jailbreaking your iPad (nor does Apple), but it will allow you to install an app called MyWi. Yes, MyWi is the same app that people are using on their iPhones to share their 3G connectivity with other devices. Running the app on the iPad will create a network for the Eye-Fi to use for transferring photos. The great thing about this solution is that you’re carrying your network with you. Which means wireless tethering will work even if you’re deep in the jungle or on top of a mountain.

Just to recap, here’s what you need:
1. Older model Eye-Fi card
2. Synchrotech CFMulti adapter
3. MyWi app
4. ShutterSnitch app

One last tip on setting up the camera. Be sure to set your camera to shoot RAW+JPEG (small works best). The RAW files stay on the card, the JPEGS get transfered to the iPad for reviewing.

Big props to Matt Jeppsen of FreshDV for turning me on to this idea. We shared a few tweets back and forth on the workflow and Matt pointed me in the right direction. Check out FreshDV.com for tasty snippets of video industry news.

I’ve been itching to try some stop motion lately and luckily found a project that seemed suited to the technique. Here is a TVC I created for a women’s health fair event (sidenote: TVC is industry-speak for “television commercial”). The challenge was to visually show a connection between “health, fitness, and fashion.” Shooting stop motion allowed for some creative transitions that helped tie the three themes together. Notice there are no cuts in this spot.

And now some technical details.
We shot this on a blue paper backdrop. It was lit with a couple of kino four-banks from the front. I went with hot lights instead of strobes to eliminate any potential flickering due to variation in strobe output. Don’t get me wrong, I love AlienBees, but they are not as consistent as, say, Profoto. Plus, shooting with constant light meant I could shoot at a higher fps without waiting for strobes to recycle.

The spot was shot on a Canon 5DMkII in stills mode (not video). I cheated the stop motion where ever I could. Cheating meant having the model move in slow motion and varying the shutter interval manually. It probably averaged somewhere around 4 fps. Other setups required the standard (and tedious) method of positioning the frame, snapping a picture…reposition…snap…repeat ad naseum. Text was done in After Effects using a combination of jitter settings in Path Text and Time Posterization.

I’ve mentioned it before and I’ll say it again. Filmmaking is one long string of creative problem solving. A great example of this is the “toiletry mobile” constructed from a mountain bike wheel and fishing line (see picture below). This little gem allowed the toiletries to easily orbit the model’s head. Big thanks to Casey our fearless model, Anna with make up and hair, Amy the apple eater, and Lyn production manager extraordinaire. Also thanks to InHouse Marketing for all their help with production logistics.

Here are a few MadMen inspired shots of my friend Jim. Though I’d never seen Jim smoke a cigar before, this is how I always picture him in my head – a bit of daring, with a dash of dashing. Jim has a long resume that is full of acronyms like CEO and MBA. I don’t know what any of those mean but I do know that Jim is a nice guy and a good friend.

Lyn and I set up a little photoshoot last week to test out the newly arrived backdrop (ordered it here: neutral gray), and the new high-output beauty dish. The lighting setup for these shots was pretty simple: beauty dish boomed over head (with AB1600), and two speedlights in small silver umbrellas as kickers (with the exception of one shot where they didn’t fire).

Now how about that HOBD? If, like me, you’ve been on the fence on whether or not to pick up the new High-Output Beauty Dish from Paul C. Buff, let me save you the worry. Just get it. You will not be disappointed. Now, I’d used the old dish before and liked it. But the HOBD has been completely redesigned for efficiency and I really didn’t know what to expect. The light spread on the HOBD is about 45 degrees (old model dish was 140 degrees). That’s a pretty focused light. In order to get that kind of narrow beam on the older, less efficient dish, you needed to lug along a grid modifier. Let me tell you, it’s a lot easier (and more efficient) to *diffuse* hard light than it is to *focus* soft light. So far, I’m really liking the narrow focus of this dish. I figure if I need a softer look from the HOBD, I’ll just throw the sock on it and approximate the light spread of the old dish. Boom. Done. The HOBD is made of aluminum and is very light weight compared to the older, Webber-BBQ-inspired dish. My only complaint is the way the direct-light blocker mounts. It is not connected to the dish itself but runs through a hole and into the umbrella holder of the Alien Bee. It’s a clunky, and somewhat proprietary way to mount the blocker. I have no idea if the hole on the HOBD will match up on any other monoblocs.

Overall I’m very happy with the dish. Next project is to test its efficiency by doing some daytime shots a 580 EX mounted to the dish.

Had a little free time last week so I pulled together an impromptu shoot with some friends. This was an experiment to test out some lighting setups with on-axis fill.

On-axis light is light that is on the same axis as your camera lens; e.g. your on-camera flash. This kind of light illuminates everything very evenly, creating a flat, and generally unflattering image. It’s akin to xeroxing your subject. The idea here is to create shadow and depth with some off-axis lighting and then let the on-axis ring flash (AB800R) act as a fill and lift those shadows out of the dark. Daniel (pictured) mapped out the the setups on his nifty Strobox iPhone app. Also, the first pic in the gallery below is a 100% crop of the pic above. I put a lot of post work into these photos and don’t want the finer details to get lost to web resolution.

This is true in Photoshop, too. I’m all about the layers. I usually make a new layer for every step in the edit. Healing brush, dodge and burn, sharpening, curves – each major step lives on its own layer. And I always keep the original layer in the stack, too. That way I can go back if I get lost. Plus, if you’re like me, you love soloing layers to see how far a photo has come.

Here are a few test shots with the new AB1600 down by Whiskeytown Lake. Using the PocketWizard Mini and Flex I was able to get a useable strobe sync speed of around 1/640. Strobe was boomed overhead with a small silver umbrella. Looking forward to setting up some more daylight blasting sessions soon.

Finally finished up the edit for my cousin’s wedding back in Colorado. Here’s a gallery with a few of my favorites. It was fun seeing some of the extended family, many of whom I hadn’t seen in 10 years or so, including my cousin Matt. He was a great resource for me when I was first learning about photography. Back in ‘those’ days we shot film and had to walk to the photo lab, through the snow, uphill, both ways, etc, etc, kids these days with their rap music and digital cameras…

Since I traveled to Colorado by plane, my gear was limited to what I could fit in a carry on bag. No worries; perfect excuse to summon the strobist ninja inside and find ways to do more with less. A single speedlight (580ex) and shoot-thru umbrella seemed to do the trick. Avoiding direct sunlight meant I didn’t need lots of watts to over power the ambient. In fact, we had to move fast after the ceremony to make use of what sunlight was left. Thankfully, Matt was a not only a great photo assistant, but an excellent VAL (voice activated lightstand).

The photos were processed in Lightroom, DXO Optics, and Photoshop. Yes, all three. DXO is a great piece of software that automagically removes distortion, vignetting, and chromatic aberrations. It does this by peeping your EXIF data, and applying custom corrections based on your lens+camera combination. This is particularly useful with wide angle lenses like the 17-40mm that have a lot of barrel distortion. I didn’t realize just how much distortion was present with this lens until I compared the corrected and non-corrected photos. Yikes. Now, if only we could get DXO to work as a Lightroom plugin the trifecta would be complete.

The pic you see above was processed by creating two exposures from the RAW file, one for the foreground and one for the sky. Neat thing about shooting RAW is all that detail is hiding in there you just have to coax it out. RAWr.

Here are a few spur-of-the-moment shots from the local skating rink. We threw this shoot together very last minute with the help of a Facebook casting call (don’t forget to follow via Facebook and Twitter!)

I first tried setting up the light on a stand and had the skaters roll by as I shot. This yielded horrible results. I quickly realized that I needed to get the camera and light rolling along with the skaters, at a consistent distance, to get consistent focus and exposure. Well, it just so happens that I spent a good portion of the ’90s roller skating on a weekly basis. Yes, I was THAT kid. I skated in front of the subject and had an assistant (thank you Jeremy and Lyn) on wheels skate along side holding the flash (580ex, shoot-thru umbrella, triggered via PW). Shooting blind meant I shot a lot of frames and hoped to get some keepers. Doing a photo shoot on roller skates really got me wondering how much more efficient my life might be if I could wear roller skates all the time. Imagine how fast shopping at Costco would be with a pair of skates.

Lyn and I had the honor of shooting Ryan and Nancy’s nuptials a few weeks ago. Here are few of our favorites.

Lyn got her makeup done did by the lovely Michelle. Going for the Twiggy look here. I’d say it’s pretty close. This was shot with a small camera flash modified with a shoot through umbrella. The umbrella is choked up a bit to create a harder light and thus harder shadows. It’s really amazing how versitle one flash can be.

Here’s a shot we did for The Dance Project – Redding’s best dance troupe. (If you disagree I’d be more than happy to arrange a ‘dance off’ with the troupe in question). I’ve been using the same lighting setup for most of my shots lately. It’s a very simple, three-light setup. One key light overhead (in a shoot thru umbrella) and two kickers on either side in the back. This is the same setup for the Supermom shoot. Even though I’ve been trying to use this set up consistently, I feel like each time I get something different. The same lighting setup, with subtle differences in key light, distance, angle, diffusion, intensity, and ambient fill all lead to different results. Einstein once said (yes, The Albert), “Insanity is doing the same thing over and over again and expecting different results.” Point taken. Perhaps I should call this my INSANE lighting setup. Or maybe it’s just me.

Hey, at least going crazy is going somewhere.

Title: Super Mom
Location: Kids Kingdom Playground, Redding
Model: Angie and her daughter. Special thanks to Michelle for her stellar make-up work.
Lighting: Three 1200ws strobes (I forget the brand), shoot-thru umbrella, high output fan (for the cape) and a generator to power it all.

For this shot we used the trusty (and glossy) three light setup. No, it’s not the three-light setup you’re thinking of (key, fill, back). It’s an edgier take on the three-light. Actually, it’s more like a four light setup if you count ambient as a light source. So we’ve got a strobe with a shoot-thru umbrella camera left as the key. It’s about a stop over ambient allowing ambient to act as fill. And then to add the “light-wrapped” look, dual strobes coming from behind at 45 degrees. The light from the left strobe was blocked by the swinging girl so doesn’t quite reach the subject, but you can really see the wrap effect on the monkey bars and rear right pole.

Couple things I learned on this project:
1. 20 seconds of adjustment on set can save HOURS of time in post.
2. Dodge & burn and the healing brush are the skin’s best friend. Great way to smooth the skin without ending up with a textureless, poreless, plasticy mess. Let me tell ya from experience, if you’re going to BLUR the skin to smooth it out, be sure to add some texture back in using some high-pass filter. I’m tired of seeing photos of people that look like two eyes and a mouth floating in a solid patch of skin-toned color. Wow. A bit of a mini-rant there.

Meet the Gallagher family. About 4 years ago we met these lovely folks while manning our video booth at the Redding Wedding Extravaganza. (Side note: no, we don’t shoot wedding videos anymore. Unless, of course, you want your wedding shot in 4k. Call me, we’ll talk.) The Gallaghers have since become friends and they’ve multiplied into a little family. We were privledged to do some Christmas pics for them. Here’s the strobist rundown for all the camera nerds out there:

* Two kino 4 banks as 45degree kickers. (It’s not that we needed kinos for this, it’s just that’s all we had.)
* Nikon Sb24 with shoot thru umbrella overhead.
* Silver reflector on the floor.

Props to Lyn for her masterful camera work!

The background is wrapping paper Lyn bought from the dollar store. We ran strips vertically on the wall and photoshopped out the seams. The sticks are dead bushes from our backyard, painted white. The ground cover is cotton from JoAnne’s fabric store. We found the snowflakes there as well. They’re edible cornstarch flakes. In retrospect, we were very glad we didn’t get the polyester flakes as a lot of them ended up in little Daniel’s mouth. When he wasn’t eating the snow, he was screaming, terriffied by the white stuff falling from the ceiling.

Here are a few of my favorite pics from the Rosten – Hatcher wedding last July. Enjoy!

Here’s a quick little video I did for an online photography contest. Hopefully we’ll win some schwag from PocketWizard and Strobist.com.

Matt Hoplin liked this idea and photoshopped me a few extra strobes for good measure.  Matt says:  “I see where you’re going and its just crazy enough that it just might work.  The only problem is you haven’t taken it far enough.  Hence I give you: the human ring flash.  This is the entry level model. The full version I’m building has 250 WS strobes in flash boxes powered by the gas powered electric generator mounted to the back pack. Weighs in at a couple hundred pounds and  9 of them at the lowest setting require a stack of neutral density filters but it’s totally worth it to get those circles in the model’s eyes.”