mvw photo

<p>Hi all</p>

<p>Gurther to my 1D4 review, I realised one very important thing wrt ALO. RAW shooters, please read this:</p>

<p>http://blog.michaelwillems.ca/2010/02/10/alo-alo-an-important-1d-mkiv-tip/</p>

<p>Chuck Westfall of Canon USA confirmed this to me.Very simple C.Fn change, just don't forget.</p>

<p>Oops, I mean http://www.michaelwillems.ca - I do know my own name. Search for the 7D notes in case they are helpful for you. I love the 7D - even though I own a 1Ds Mark III and a 1D Mark IV, the 7D feels so right.<br>

But again.. great "glass" is going to be huge.</p>

<p>Much as I love cameras (I very recently reviewed the 1D MkIV and a month or so ago the 7D on http://www.michaelwilems.ca) I would go for the lenses at this stage, Kristin. Fast, long lenses.</p>

<p> </p>

<p>Barry:</p>

<p>Yes that is exactly how I work when I have multiples: I do a 3:1 key:fill ratio (or thereabouts) and then I move people left and right. If there's time, of course I may vary from there but when I have 4 people in one sitting I don't usually find they have time.. busy lives to run etc... and doing this gets me great results that invariably the client finds happy shots amongst.</p>

<p>In yours I still prefer the smaller, short lit one, but yes indeed, the other one is more classical, neutral business, indeed.</p>

<p>Quite often clients want some for the web and some for private, which I quite understand: exactly what Tom was alluding to.They'll pick the short lit one for their personal pics.</p>

<p>Also, men and women are different. Much less if any ratio on women.</p>

<p>I am on David Honl's Round Table ( http://davidhonlphoto.com/blog/?page_id=36 ), but that is of course not a paid position, so I believe I am totally objective when I say they have changed my life. I use much more speedlite now. Did you see my setup shot for Monday's shoot? ( http://blog.michaelwillems.ca/2010/01/26/that-portable-studio/ ) I use the Honl snoots, gobos, grids and especially gels all the time now, and yes they stay. Bounce cards too for events. The first small flash accessories that are <em>really</em> practical. Yes, the grids produce a great pattern: I use the 1/4" one mainly. The new gel colours are fun ( http://www.mvwphoto.com/gels/ )</p>

<p>The strobies modifiers I have not used.</p>

<p> </p>

<p>Oh and PS, that too is unfinished. Finishing will include the collar as well as white balance, and any skin fixes that need doing (in this case, none).</p>

<p>Good feedback. Yes, it is opinion, but it is useful. In sharing opinion we get new insights sometimes. Also, we help newcomers which if you have looked at my daily blog I do a lot (I teach total newcomers to photography as well as pro shooters).</p>

<p>And to answer your points: indeed I shot both types - I always do. Broad and short. The light straight into body/face is indeed more classical for business, but I personally prefer a bit more character. More importantly than what I think, though, I always give the client a choice, and between character and neutral/classical, they choose one about as often as the other. Attached, a sample of slightly more the other type. I shot even more "bathed in light from everywhere" types as well.</p>

<p>Agreed, I always shoot un-gelled on the subject also. I tend to like the warmer skin tones, but like you, I do this in post. I fact these two are straight out of the camera, unfinished. I shoot RAW and set my WB to "Flash" to give me a starting point in LR, but that is all this is. The finished product will be white balanced (greay card shot available, of course, but I use my eyes too).</p>

<p> </p><div></div>

<p>Tom: 20 execs in a day: now that is a nice number.</p>

<p>Critique, you mean, surely! Of course, that is what photo.net is all about.</p>

<p> </p>

<p>One sample:</p>

<div></div>

<p>Well, the four lights I used are here:<br /> http://blog.michaelwillems.ca/2010/01/26/that-portable-studio/</p>

<p>If my customers look me up I am sure they'll be delighted that I am more into always developing my techniques and sharing with colleagues than into being political in my use of language I do truly appreciate all the advice, but I think we should concentrate on the lighting, not on the words I use?</p>

<p>So back to small speedlites vs studio strobes. Conventional wisdom has it that a large number of pros "have switched", but my impression is that mostly we think this because we all read Strobist and Scott Kelby. So my question stands - what do you all really do in daily practice?</p>

<p>And Tom, your lights for these shoots are what, speedlites? Strobes?</p>

<p>I have the luxury of being able to drive to shoots, so I pile a whole lot of everything into the truck - both strobes and speedlites. That way I can decide on the spot (and often do).</p>

<p> </p>

<p>Hi Steve,</p>

<p>Thanks. And indeed no call for help and certainly not desperate.. the issue for me is not the technology - hey, as said above (and thanks for your confidence) - I know how to light. What I am interested in is in doing it without carrying 300 lb of gear every time, while still getting the predictability I need. And in what other photogs are doing now. :-)</p>

<p>Do please send me an email (michael@michaelwilllems.ca) and I'll send you some of the pics. I'm very happy with the results, but more- with the logistics.</p>

<p>Michael</p>

<p>PS I used the monolights as well as the speedlights all on manual. Fired by PocketWizards.</p>

<p> </p>

<p>Oops, upload gives me a server error.</p>

<p>OK, here's how I set up: standard four lightsm but the hair- and background-light are speedlites.<br>

Pics later: although I have copyright, it would be bad form to share pics before client sees them!</p>

<p>Another not unimportant "con" of monolights is the power leads needed. One reason I use speedlites so often is that I grab them out the bag, unfold the stands, turn the flashes on, and I'm done. Strobes, I'm always hunting for power outlets.</p>

<p>And there's the "line of sight" thing. I recently did an exec headshot with TTL for West of the City magazine in a giant hall (ex warehouse, to be an exhibition hall). Had to use TTL speedlites (the nearest power was far away) - but the shoot was very tough because in a large hall, there is no reflecting at all so you need line of sight, which is tough when using multiple umbrellas: which one to point at?.</p>

<p>On the other hand, this year I shot Miss Halton on Toronto Island beach, and TTL was easy in spite of the umbrella: only one light to aim at so it was easy. I actually use this shot as a teaching example, see here: http://blog.michaelwillems.ca/2009/09/23/let-there-be-light</p>

<p> </p>

<p>The FX/DX distinction (the crop factor) is indeed essential in this discussion. The 50 on my Canon 1Ds (full frame) is a 50; on my 7D (1.6 crop) it is like an 80.</p>

<p>My experience is that 50 is great for shoulders-up or torso-up shots. I use it all the time. Kids look great with a 50/1.8 as wide open as f/2.0. And the 50/1.8 is cheap - around $100 for Canon/Nikon - and yet is sharp, small and light. I use it even in my studio.</p>

<p>That said, often, longer is better for close headshots. Because of the perspective (indeed it is not "distortion") but also because of the close proximity you need to the subject, which makes many subjects a bit uncomfortable. So my 70-200 is my favourite lens for "fill the frame" headshots.</p>

<p> </p>

<p>Thank you Barry. I was indeed hoping for that kind of discussion, and appreciated your suggestions.</p>

<p>One thing in particular is the merits of small, light, convenient speedlites vs their lower power, lack or modeling light, and tendency to run out of battery. Also the merits of TTL (convenient and fast) vs manual (reliable and predictable). How do you all weigh those?</p>

<p>I have shot many sessions with off-camera TTL speedlites, and as many with strobes. What I have not done very much is speedlites on manual (controlled by Pocketwizards, using Flashzebra cables) combined with monolights. That's what I shall use tomorrow. I find the small Honl flash modifiers very convenient.</p>

<p>Anyway, all other ideas, suggestions, tips, new insights also welcome. Again, that is what photo.net is so good at!</p>

<p> </p>

<p>So I am not "most pros", I suppose.</p>

<p>You describe your comments as adverse. I am trying to understand why it is necessary to be adverse. If you do not agree with someone, or you think they are not behaving in a professional enough manner, why point that out? "If you can't say anything nice, say nothing", is good advice.</p>

<p>Again, Robert, I think anyone should feel free to ask anything anywhere. Why not? Our profession is a secret, now? Not for me: I do not keep secrets from my customers. While I am sure I can produce a perfectly good shoot tomorrow using <em>any</em> of my suggested methods, or even some not suggested (like available light, if there is any), I think it is exciting to talk to other pros about how today they would tackle my shoot.</p>

<p>Further, if I end up learning something new, I do not think learning is bad, or a sign of weakness. Among other things, I teach pros (mainly wedding pros) from Ontario to Arizona the use of flash, and they also have questions about already-booked shoots: in person and online. Wouldn't <em>dream</em> of making adverse comments: on the contrary, I love it when people ask and learn.</p>

<p>And how do I learn what I teach? Again, by asking as many people as I can what they do in given situations. You would be surprised how often, as Barry suggests above, I learn a new gem of wisdom.</p>

<p>If I had been a pro for 40 years (it's not quite been that many!) then the last thing I would do is sit back saying that it is bad to ask. This applies to the most basic questions, too. A very well-known wedding pro said recently, in a workshop a fellow photog attended, that he shoots weddings in Program mode. Amazing - that never would have occurred to me, to shoot anything important like that in anything other than M or A modes.</p>

<p>Another thing: when things shift (e.g. now from strobes to speedlites, as in the last 5 years) it is interesting to see how and when the pros shift. I'd love to know how many of us now use small speedlites a la strobist for formal location shoots.</p>

<p>Personally, I usually set up TTL speedlites in a few umbrellas for a simple shoot, but for 5-6 execs in a row, I'll bring the strobes and use the setup as per above.</p>

<p>Anyway, your comments noted, thanks. But my questions stand and any discussion is very useful.</p>

<p>"Very valid" as opposed to just "valid"? :-)</p>

<p>Robert, yes, I know what I am doing. I shoot portraits like this for companies, newspapers, individuals and magaines. I also teach both a course in portrait lighting and several courses (the more advanced one I wrote) in Mastering Flash.</p>

<p>But has your technique never changed? I presume you are a photographer? A few years ago, doing this with speedlites would have been unimaginable. Now you can use them, and with E-TL II and CLS/iTTL you can do it. A year ago, TTL through radio slaves was impossible. Now, you can do it.</p>

<p>I know dentists, and yes, they do talk to one another about how they tackle certain jobs. In fact I would be delighted to know that my dentist is talking to other dentists about what technique to use. I also know some dentists who do not do that, and they do things the way they did them in 1975 - not the dentists I want to use.</p>

<p>I find it hard to believe that pros here are being told not to ask questions about technique. That is what photo.net is great at!</p>

<p>With equally carefully measured respect,<br /> Michael</p>

<p>Oh and fwiw, I generally use a slight (very light) gel on the background light, but not generally on the hair light, except a slight warming sometimes.</p>

<p>So Barry:</p>

<p>First, thanks for the support. However well I know something, I will never cease asking what my colleagues do.I get good at things by kicking around ideas - around the photo water cooler, I spend the day talking with my colleagues about how to do the next shoot. This is that water cooler.</p>

<p>Hearing all this, I think I may do the follwoing tomorrow: a hybrid blend. Like this:</p>

<ul>

<li>Backdrop: grey, 5' of more away from subject</li>

<li>Subject on stool</li>

<li>Key light: 400 Ws monolight into softbox</li>

<li>Fill light: ditto monolight into umbrella</li>

<li>Hair light: Canon speedlight with Honl snoot (feathered) </li>

<li>Background light: Canon speedlight with Honl 1/4" grid and light blue gel.</li>

<li>I carry reflectors etc as a just-in-case.</li>

</ul>

<p>All lights fired by Pocketwizards (I have enough).<br>

That way my main lights are continuously variable; the less important lights are speedlites, but for these I can use the convenient Honl barn doors, snoots, grids and gels.<br>

Looking forward to this.<br>

Jeff may not agree, but for me, changing the way I light for every shoot, or rather: changing the way and the equipment I achieve the lighting I want, keeps me interested and fresh. Thanks for your input - as always, photo.net does a great job sharing.</p>

<p> </p>

<p>Barry - great response. Hang on while I respond to it in detail.</p>