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Why I HATE Umbrella Lighting...


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<p>Why I HATE Umbrella Lighting...<br /> <br /> If you want to get me to fall a sleep, just show me some images shot with umbrella lighting. Now I am not talking Richard Avedon, because Richard Avedon did a lot more than capture images with a single umbrella, he captured a moment that is so his signature, that anyone else attempting to copy would be dwarfed by the sheer magnitude of what Avedon accomplished.<br /> <br /> Umbrella lighting is the 'WalMart' or the 'Ford Pinto' of lighting for me. It is the horrible gig at the Holiday Inn, where some dried up ex alcoholic is attempting to make a come back singing 'I will Survive" to a bunch of totally miserable accountants congregating for their annual convention.<br /> <br /> Umbrella light is that really bad hair do or dress that can only be seen in some totally kitsch boutique in Boise, Idaho. It is that Wedding photo that we have all grown to, ah, hmmm, Love?<br /> <br /> It smacks of hey, I am now a photographer because I now own a couple of studio lights and have to have this because if I don't I won't be considered credible and it will impress anyone who doesn't know any better and the bigger the better types...<br /> <br /> Ah, give me that umbrella to be very, very safe and to not upset the REAL serious photographers out there that believe that you have to have a reflector to kick in some light in to "THAT" shadow area, otherwise it is NOT a technically good image.<br /> <br /> What is even worse is that those who MUST HAVE an umbrella, will almost certainly have a..."Da Da, a Soft-box!!!" Now THAT is really impressive. Every time I see a set up with a soft-box and the "UMBRELLA" I pop the proverbial CHUBBY and have to sit down, as to not expose by excitement.<br /> <br /> Now, if somebody were to say to me, "Hey check out what I did with this umbrella!" that would totally blow me away, I would be so F'ing pleased. But at this point in time, I have seen nothing but flat, boring, pedestrian, predictable, unassuming, dull and flat out knock me out with a VALIUM the size of a HOCKEY PUCK images.<br /> <br /> Hey, but who knows. Given that surprises do happen, I'm open to the possibilities.<br /> <br /> Surprise me. </p><div>00TygR-156151684.jpg.e6f2e7de0c6f18c7f8998b76d6d3bc5e.jpg</div>
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<p>I assume this thread is just to get everyone talking, so I'll bite. </p>

<p>I hate when people generalize about a flexible and useful tool that has created thousands if not millions of beautiful images because they saw 10 posts by beginner photographers.</p>

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<p>perhaps your hatred is something to do with a perennial struggle to master this form of lighting? sour grapes? as the above poster states, there had been hundreds of thousands of successful photographers using this technique. you need to be a little more patient. if you fail, try again and again until you master it.</p>
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<p>All lighting techniques are abused. If we were to follow the rationale here, we would all put down our cameras as there are just so many lousy photographs out there and with all the photosharing sites that exist, we get to see them!</p>

<p>Lighting styles come and go in popularity, there will always be those that are hacks and those that are artists with any technique or medium. But then, don't get me started on HDR!</p>

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<p>Sure anything can get overused and boring, even champagne and caviar! In some sense, photography, like much of the arts, can easily become cliche-ridden. That does not mean that taking the safe ("boring") way to success is bad--it only means that safe and certain is what is needed to pay the bills. Overusing <em>any </em> lighting tool/style can be bad-especially one that is not called for.<br /> So, what's your problem? Mum didn't get you a brolly for your birthday?<br /> PS: Boiseans love their beehive hairdos and 1950's duds!!!!</p>
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<p>I used umbrella light for over 10 years and if forced to water, I may drink. It is not the umbrella light that bothers me, it is the conformity in how it is used that is bothersome. It can be used creatively with the understanding that there are other light sources that could give it a much more interesting rendition than most examples I have seen. I would say that I feel somewhat competent in this technique. In fact, I must have shot 100 catalogs in the past using Ummmm...Brella lighting.</p>
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<p>You know what I hate, people coming onto these forums and telling others what they hate. There is enough hate in the world without coming here to spead it around. Try discussing what you love about photography or your approach. It's bad enough reading posts about people's hate of this or that technique or piece of equipment but now the quality of light itself. Sigh...</p>
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<p>Your anger, Benjamin, is misdirected, as is your false sense of superiority. You have a lot to learn about lighting, and getting mad is not going to help your learning process.</p>

<p>Umbrellas have their place, and are light, compact and easily deployed. They won't " kick in some light in to "THAT" shadow area" - that's a function of light placement. They will contribute diffusion, but only if used within a distance equal to the diameter. They are superfluous when used on stands for group photos - too far. They also tend to spill a lot of light, which can misdirect the light and upset the color balance in a small space.</p>

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<p>I wish to make a point here please. All I want everyone to do is not rely on what people say is where one should begin when purchasing a lighting kit. I like many did not know any better when I started and purchased the standard kit and until that all changed my professional standing was static.<br /> <br /> This post is NOT meant to be insulting, it is meant to shift your paradigm slightly, no more no less.</p><div>00Tyqf-156227584.thumb.jpg.055f3c56a2b79623135f020ccafb9ecb.jpg</div>
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<p>Benjamin, I do think people take things way too seriously on forums like this. In fact, it is always the more nebulous posts that get the postings that go on for days.</p>

<p>You set this up a bit as a troll, although I don't think your home page here indicates that is your purpose. But there certainly are photographers who will use one type of light their whole career and sometimes it is just very mechanically applied. It may look over used to some and yet they may be able to employ it such that they make very good livings with it.</p>

<p>But maybe your point is that there are many other ways to light that can create rich and meaningful images, ways that impart more drama and life than other means. The problem is that everyone has their own sense of what looks good. Some like very "clean" looking work and others more "organic" looks. </p>

<p>Like what I hear you saying, I bought umbrellas and softboxes as my default lighting when I first started out. My own style pushed me to use them much less often over time, but there were times that I used them along with fresnels, spots, grided heads or whatever or even by themselves. It is not the light or modifier, it is how it is used that is important in the final analysis. Even if that use seems boring to one, it might be very profitable and satisfying to another.</p>

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<p>Benjamin, I was with ya until you insulted me for using soft boxes<g>. That's when you lost me. I have numerous umbrellas that have come as part of kits and haven't even opened them to try it out. Maybe I should. If I had my druther's, a skylight and a huge north facing window would be great, but not within my budget right now.</p>

<p>So what kind of lighting do <em>you </em> use, and do you have any favoite photos you can share, illustrating why it is better?</p>

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<p>I use a mix of honey comb grids, Hollywood Grids, HMI, snoots, skrims, aluminum modifiers, barn doors, Kino Lite, Gelatins etc.and anything that works for what I am trying to accomplish. I always experiment with light and have on occasion shown up for a shoot with an open mind and invented stuff on the fly.</p>

<p>Here is an article by Steve Jacobs who I invited to assist me on my shoot for West East Magazine in Paris. The sample is included.<br>

<img title=""Chucky's in Love" 7" src="http://www.benjaminkanarekblog.com/wp-content/uploads/2009/06/7.jpg" alt="" title=""Chucky's in Love" 7" width="569" height="850" /></p>

<h2 >A Day with Benjamin Kanarek by Steve Jacob</h2>

<!-- google_ad_section_start -->

<p >“Chucky’s in Love” shoot. Steve Jacob joins Benjamin Kanarek at the “Chucky’s in Love” Fashion editorial for <a title="west east fan page in facebook" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.facebook.com/s.php?q=westeastmagazine&n=-1&k=400000000010&sf=r&init=q&sid=13c682aa506ad7e455e3be8fe212ff39#/pages/Hong-Kong-Hong-Kong/WestEast/92033731883');" href="http://www.facebook.com/s.php?q=westeastmagazine&n=-1&k=400000000010&sf=r&init=q&sid=13c682aa506ad7e455e3be8fe212ff39#/pages/Hong-Kong-Hong-Kong/WestEast/92033731883" target="_blank" title="west east fan page in facebook">West East Magazine</a> .</p>

<p >Monday, December 3rd. My mobile is ringing! I’m momentarily disorientated, partly because I was having a nice dream and partly because I am in a strange room in pitch darkness. I groggily remember that I am on a sofa bed in my friend’s apartment in Magny les Hongres, near Paris and I’m supposed to be meeting Ben in central Paris for a photo shoot at 9am. I fumble around for my mobile to turn off the wake up call and stumble into the bathroom.</p>

<p >8:30 am: The place turns out to be easy to find, but the street is blocked off and packed with fire-engines attending a blaze in a nearby block of flats. Luckily the address I’m looking for is further down the road and accessible on foot, but it provides an interesting photo-opportunity. I find a café at the end of the street and settle down with my first coffee of the day.</p>

<p >9 am: I get a text from Ben who is running late so I head to the apartment. Number 6 is in fact a long, irregular shaped courtyard. Down the left side is a small private theatre. Some of the buildings look like small warehouses and workshops with apartments above. I’m looking for doorway F which I find eventually. Missing the light switch I climb up the rickety stairs to the second floor in near darkness. We are definitely in Paris!</p>

<p >The doorbell is answered by the apartment’s owner and fashion stylist for the shoot, <a title="Sebastien Goepfert Stylist" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.facebook.com/people/Goepfert_Sebastien/852500014');" href="http://www.facebook.com/people/Goepfert_Sebastien/852500014" target="_blank" title="Sebastien Goepfert Stylist">Sebastien Goepfert</a> . Most of the crew is already there having coffee. <a title="christophe durand" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.christophedurand.com/');" href="http://www.christophedurand.com/" target="_blank" title="christophe durand">Christophe Durand</a> is one of Paris’ top makeup artists and <a title="calliste - tomoko ohama" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.callisteparis.com/newtalent/tomoko-ohama-biographie-35-4.php');" href="http://www.callisteparis.com/newtalent/tomoko-ohama-biographie-35-4.php" target="_blank" title="calliste - tomoko ohama">Tomoko Ohama</a> is a leading hair stylist (or should that be sculptress?). Juliette Pechoux is assisting Sebastien with the wardrobe. It’s quite a high-powered crew I’m working with so I’m more than a little nervous and everyone is chatting in French. I can understand the gist of the conversation and the coffee is good so I start to relax a little.</p>

<p >9.30 am: The model arrives. <a title="felicity gilbert - silentmodels" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.silentmodels.com/model.asp?book=191');" href="http://www.silentmodels.com/model.asp?book=191" target="_blank" title="felicity gilbert - silentmodels">Felicity Gilbert</a> turns out to be a London girl from Maida Vale so I have someone to talk to. Slim and willowy as you’d expect, she looks impossibly young and innocent out of makeup. She’s actually 22 and has been in Paris working as a top rank model for two years. Her fresh, almost teenage face is hard to reconcile with her portfolio. In makeup and with the right clothes (or no clothes at all) she looks incredibly chic. It proves the point that the pretty girl you see on the street would not necessarily make it as a model. If she looks even slightly curvy she is probably four dress sizes too big, if she has a cute face she would look distinctly chubby on camera and if she has strong features she, and not the clothes, would dominate the shot. Being a blank canvas is not as glamorous as it sounds and much harder work than you’d think.</p>

<p >10 am: Ben and his girlfriend Frederique (Freddy) arrive. I’m surprised by the light load: A laptop, a camera bag with two bodies and two lenses, a carrier bag with some reflectors and a kit bag with two <a title="Multiblitz Flash Unit" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.multiblitz.com/index_frameset.php?lang=en');" href="http://www.multiblitz.com/index_frameset.php?lang=en" target="_blank" title="Multiblitz Flash Unit">Multiblitz 600J </a> heads, stands, honeycombs and snoots. Some guys I know would come to a shoot with at least three times that. The lenses Ben is using for the shoot are the DA* 16-50 F2.8 and the DA 12-24 F4. He contemplated bringing the DA 16-45 F4 which he likes, but he wanted to try out the DA* lens as he’d just got it from Pentax. That Ben uses mainly wide-angle lenses may come as a surprise but in a small space with shots that are usually full or near full length it’s unusual to use much over 24mm.</p>

<p >Felicity and Christophe have already got started on make-up, so Ben and I start on the lighting set up while Freddy plugs in the inevitable <a title="Macbook Pro" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.apple.com/macbookpro/');" href="http://www.apple.com/macbookpro/" target="_blank" title="Macbook Pro">Macbook.</a> Freddy is also Ben’s business partner and does all the post production work.</p>

<p >Makeup and hair takes the best part of two hours. By this time Ben and I have been gassing for at least an hour about the new <a title="Pentax Imaging" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.pentaximaging.com/');" href="http://www.pentaximaging.com/" target="_blank" title="Pentax Imaging">Pentax </a> cameras and other stuff and have demolished a couple more pots of coffee. He’s genuinely bullish about Pentax’s prospects under<a title="Hoya Corporation" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.hoya.co.jp/english/index.html');" href="http://www.hoya.co.jp/english/index.html" target="_blank" title="Hoya Corporation"> Hoya.</a> It’s also interesting to understand how Pentax are using feedback from Ben (and the rest of us) about the performance of their cameras. Ben is very happy shooting Pentax and is getting great results, but he will get the head of Pentax France on the phone and give him a hard time if something is not right (do you wish you could do that? Its simple, become a pro and get Pentax to sponsor you!) A spate of DA 21 mm lenses that didn’t focus was a case in point. Pentax are not getting an easy ride but they are listening and taking the feedback very seriously indeed. Luckily the new lens seems to work OK.</p>

<p >11.30 am: Finally we start on some test shots. Set one is in the lounge on the chaise long. The sunlight is causing Ben some issues. Although the flashes are much stronger than the daylight (check the difference between my diary photos and the end result) Ben can’t use the modeling lights to see where the light and shadows are falling, so has to resort to multiple flash meter readings and endless test shots. To make it worse the sun keeps coming out from behind the clouds at the worst possible moment. You can see from my pictures that the light coming through the skylights was intense. In the end, Freddy and I end up holding a blanket over the window! Despite some gentle swearing, Ben soldiers on and we get the shot.</p>

<p >1.30 pm: Sent out for <a title="Domino's Pizza" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.dominos.com/home/index.jsp');" href="http://www.dominos.com/home/index.jsp" target="_blank" title="Domino's Pizza">Pizza</a> .</p>

<p >2 pm: Felicity has had a change of clothes and is having her hair and makeup retouched while Ben and I set up the next shot in the dentist’s chair. The amount of space seems ridiculously small, but Ben lights everything indirectly so it’s possible to place the lights out of the way and get some very tight angles. However I end up holding a reflector because there is no room for another stand.</p>

<p >2.30 pm: Ben does joke around a lot but he’s dead serious now. Attention to detail is incredible. The background, face, Chucky doll, clothes and hair – all have to be perfect before he’ll start shooting for real. We do some tests. The shoes are not right. I get another reflector to hold. Now we’re away. Ben reels off about 50 shots and checks. They look fine, but he’s not happy yet. He changes the angle and the lighting again. Happier now he shoots another 50 or 60 shots then we try another angle. Ben lies on the floor shooting upwards. After about 130 frames it’s a wrap and Ben heads for the laptop with the SD card while the rest of us take a breather. It’s been a long haul.</p>

<p >4.30 pm: The team is in top gear and Ben’s on a roll. We’re ready for the next shoot in the hallway. Ben explains how to use talcum powder (!!!) and how a journalist for a photography magazine famously misunderstood how he used it as a diffuser. The lighting proves really tricky once again and poor Felicity is holding positions for ten minutes at a time but it comes off (see photo with the locket). I’ve never worked with models of Felicity’s quality and I am beginning to understand what it means to be a top level professional. Ben hardly needs to give more than a hint of direction and she looks consistently good in every shot. Not a trace of strain or boredom after repetitive shooting (if you think it’s easy, you should give it go yourself sometime).</p>

<p >6.30 pm: We move into the kitchen. The space is now so minute I have no idea how Ben is going to light it, but somehow he manages it. It was not until Ben took the first shot that I really understood what he was trying to do and how it would work. Again the attention to detail is amazing. This time Ben uses a reading lamp and the fridge light to add some ambient light. This requires a slow shutter speed of 1/8 but using a 12-24 and shake reduction there is no need for a tripod. He’s shooting almost directly down at the model from above as she holds the door open. After we wrap, Ben is over the moon and I have to agree it’s the shot of the day.</p>

<p >8.30 pm: Another quick break, makeup and clothes and now we are shooting on the stairs. Ben is literally shooting round corners to get the shot. Chucky is now in silhouette with a knife but after we wrap and check the shots on the Mac, Freddy thinks it looks a bit “suggestive” because of the position of the knife.</p>

<p >10 pm: I have to run to catch the last train home. I say my goodbyes and run for it, leaving everyone else working away. I gather they carried on till 1 am to re-shoot the stairwell set, and the bedroom with the open window. This photography business is hard work!</p>

<p >So did I learn anything? Yes, I did learn a lot but not quite what I was expecting.</p>

<p >Firstly, I am always interested in how other people light a set. I know a couple of filmmakers as well as other photographers. There is quite a bit of commonality but some differences too. Generally speaking though, in a photography studio most people stick to well tried formula using up to four lights and standard backdrops and modifiers.</p>

<p >But here we were in a small, crowded apartment with mixed light sources. For that reason I was interested to see Ben using more typical film-making techniques for small spaces with indirect lighting. He uses a very simple set of gear (two lights, simple reflectors, black paper and talcum powder) but in the course of the day he used this bare-bones rig in completely different ways for each shot.</p>

<p >So rather than relying on a trusted formula, Ben relies more on his creativity and experience and simple but versatile equipment. Each shot basically starts from scratch in a totally new space but because he knows in his head how the light will work, he can set the whole thing up on the fly and create a unique feel every single time, hiding in darkness what he doesn’t want seen, highlighting what he does and using a mixture of ambient and flash to great effect.</p>

<p >Have a very good look at the shot of the fridge. Yes there is some expert retouching but not as much as you’d think. Look how the fridge door, lamp, background and hair are all part of the shot, brought out by the slow shutter. Look at how the dolls face and the knife are emphasized, and how at the end of the day the clothes are still on show. I was not surprised to hear that Ben has done quite a bit of creative directing in films as well, so I guess he’s adapted some of the techniques. It may have been a fashion shoot but it was more like being on a set with <a title="Hitchcock" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.imdb.com/name/nm0000033/');" href="http://www.imdb.com/name/nm0000033/" target="_blank" title="Hitchcock">Hitchcock</a> .</p>

<p >So, at the end of the day I managed to add a few things to my list of valuable facts about photography:</p>

<p >1. Don’t get discouraged by adversity. Just stay cool and work around it. If the light’s bad or the space is tight, don’t panic – just think it through. There is always a way but you are more likely to come up with one if you keep a cool head and trust your instincts.</p>

<p >2. Even a top pro can take a while to get things right. The trick is knowing WHEN it’s right and not allowing the time pressure or the people around you to compromise your standards.</p>

<p >3. Having other professionals to work with really does help. Of course, doing everything yourself in the fashion business would be impossible, but most portrait photographers work alone or maybe with one partner. However I am considering hiring a professional model to help me experiment with technique and build a portfolio. They will not be in Felicity’s league but they will know what to do, what to wear and can probably do their own makeup. Hopefully this will allow me to concentrate on the photography.</p>

<p >4. Having lots of expensive lighting equipment is more of a hindrance than anything else. From this experience I am totally convinced that you could take professional looking shots with second hand flashguns and home made reflectors and modifiers. You don’t need a big studio either, or backdrops, if you know how to light something selectively. It’s understanding that counts, not the equipment. The entry cost is low so there’s nothing to stop you getting out there and having fun. Yes, the<a title="Strobist" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://strobist.blogspot.com/');" href="http://strobist.blogspot.com/" target="_blank" title="Strobist"> Strobist</a> was right all along!</p>

<p >5. Seeing how a particular shot is completed and what equipment is used is educational but does not mean you can immediately use that knowledge and apply it to a different shot. Whereas I understood each shot in hindsight, that’s not much use when confronted with a new situation. But then, buying a <a title="Leica M2" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://en.wikipedia.org/wiki/Leica_M2');" href="http://en.wikipedia.org/wiki/Leica_M2" target="_blank" title="Leica M2">Leica M2 </a> and walking around Paris snapping people in cafes would not make me <a title="Henri Cartier-Bresson" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.henricartierbresson.org/');" href="http://www.henricartierbresson.org/" target="_blank" title="Henri Cartier-Bresson">Cartier Bresson.</a> Watching may give you a head start and some ideas, but the only way to really understand is experience. Besides, without practice, how would anyone develop their own style?</p>

<p >So to wrap up this short report, I’ll end with a big thanks to Ben for the chance to help out and get a glimpse of leading edge fashion photography. If I was useless he was far too polite to let on, but at least I didn’t drop a camera or knock anything over and I do know a honeycomb from a snoot so I don’t think I was too much of an obstacle.</p>

<p >And yes Ben can be a tyrant when the heat’s on (!!) but he’s never rude, never puts anyone down, and can take a lot of stick as well as dish it out. His enthusiasm is driving everything and he gets really excited when a set comes together. It’s good to see someone get such a buzz from it after so many years in the business.</p>

<p >He is also very open to opinions and ideas. He’s surrounded by creative people and he uses that energy, building up a concept from other people’s suggestions and needs, and then turning it into something concrete. He’s always in charge but you feel you are part of the process and he provides a running commentary as he works so everyone understands what he’s thinking and what he’s about to do.</p>

<p >Ben is one of a kind alright: More intuitive than technical, he clowns around, gets frustrated one minute and ecstatic the next, but he is a real pro and knows exactly what he’s doing. He also knows how to pick a great team and looking at the end result, I can see that Freddy really knows what she is doing as well. What you see is a real team effort, but there is no mistaking the photographer.</p>

<p >Now, when do we do it again, Ben?</p>

<p >(Note: All photos taken on a <a title="ricoh" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.ricoh.com/r_dc/gx/gx200/');" href="http://www.ricoh.com/r_dc/gx/gx200/" target="_blank" title="ricoh">Ricoh GX100</a> . This article and the pictures accompanying it are Copyright © Steve Jacob and may not be reproduced in whole or in part without written permission).</p>

<p >For more information on Steve, please visit his website <a title="Steve Jacob" onclick="javascript:pageTracker._trackPageview('/outbound/article/http://www.pbase.com/steve_jacob');" href="http://www.pbase.com/steve_jacob" target="_blank" title="Steve Jacob">http://www.pbase.com/steve_jacob</a>

 

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<p>Probably just a troll, especially as it Benjamin seems to find it necessary to share this post on more than one forum. But I can live with that. What I can't (won't) live with is gratuitous self promotion, so I've deleted the website link. The right place for these links is in 'My workspace' not in forum posts.</p>
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<p>"2. Even a top pro can take a while to get things right. The trick is knowing WHEN it’s right and not allowing the time pressure or the people around you to compromise your standards."</p>

<p>i like this observation that steven makes. it sums up my problems: i have a lack of confidence and it manifests itself in my not wanting to make subjects wait--i rush the shots and end unhappy with the results. In my mind, i feel that they are expecting photography to be easy, just push a button after framing the shot, but you have to find you frame, get the specular highlights that you want with teh framing that you want, check your background, think about highlight density, make sure your focus is where you want it, and then bang out some shots. I can only do about two of these myriad requirements for a shot i'm happy with in the time that i sense people will suffer being in front of my lens; this is definitely something that i need to work, and moreover, plan forward. </p>

<p>to those that say this post was trolling, arrogant, whatever: perhaps you are right; but this is an internet forum and who cares. Did you take anything from the post? He certainly has a point about brollie, high camera right, rimmer high camera left, reflector slid underneath--bang another shot in the can, right? So glean from his intent what you will and discard the rest. No one thinks anyone is any better or worse for sage rejoinders on an internet forum; and perhaps in a lighting forum the best quality is not wit but the ability the listen and glean. my thoughts about it.</p>

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