Category: Photography

A Simple Way to Conquer Your Fear of Street Photography

Frustrating, isn’t it? You are ready to go out, your camera is in your hands, it’s a nice day outside and once you actually go where people are….panic starts settling in. It’s that old fear of street photography.

It’s almost like, as soon as you start putting the camera to your eye, your heart starts beating faster and you start sweating. You can’t think about the picture anymore, it’s gone. You are pretty sure you can get a nice shot if only you could get close enough. But you chose to play it safe and settle for some wide angles where everyone is pretty far away.

That, my friends, is called the fear of street photography. And if you are reading this, I am pretty sure you want to get rid of it, right? The good news is, you not only can, it’s actually probably not the way you think. Oh, and take it from a guy that couldn’t even look his own older brother in the eye.

But before diving into the logistics of fear, let’s get two things straight and out of the way first.

1 – Getting closer means nothing

There’s an unspoken creed amongst street photographers, it’s the notion that that you always need to be close for it to be a good image. While it is probably better to be closer than not, that’s just one thing. A bad image is a bad image, whether it’s close or far away. Just getting close won’t magically make an image good. Look at the image below, I’m not particularly close to the guy in the middle and he’s not even facing me!

It’s not just about getting close. There are far away images that are great and very close images that are the epitome of boring. If anything, you might NOT want to get too close to people, so that you can include them and their surroundings. All of this to say what? Street photography is an art form, it’s about images, and getting closer sometimes has no bearing on the final results!

2 – A smaller camera is better

Some cameras bring more attention to them than others. No one would really notice a pocket camera, but pull out a double battery DSLR with a large lens and you will be noticed. So, use a small camera, it’s de facto less attention on you, at least for the time being.

With that being said, let’s get to the nitty gritty of fear!

People don’t really care about what you do

Sorry to break it to you. You are not so important that all the people in the street want to do is to notice you. Except if you are Brad Pitt, or Beyonce. If you are, call me! If you are just a regular Joe like the rest of us, the bottom line is this; people just don’t care about you. They care about themselves, and it’s easy to prove. Just go out in the streets without a camera and ask yourself how many of these people actually notice you.

Hint: Very few, most likely none will notice you.

Psychology tells us we all have something called the spotlight effect, where we believe a spotlight on us, that everyone notices us, but that is not the case, it’s just how we feel. But it’s not the same when you have a camera with you and near, right? Yes and no. Again, most people won’t notice you with a camera, but even if they do, what’s the problem?

Why you fear street photography

What’s the problem if people notice you taking a picture of them? Well, let me ask you a question. Don’t worry, it relates to the matter at hand. Do you feel guilty when your boss pays you? The answer (except if you are doing something fishy) is probably NO. Because you exchanged value for it. Your time and skills in exchange for his/her money, nothing wrong there.

But it’s not the same on the streets. There you feel like you are TAKING something from the person you are photographing. Something that is theirs, and you took it. That’s called stealing, right? So doesn’t it logically follow that you feel fear because you fear being caught at thievery? It’s easily proven. As soon as you ask for permission the fear dissipates because there is no more tension.

You fear because you think you are doing something inherently wrong. Let’s look at it in another way, do you feel any fear when just walking down the street? No, because you don’t feel you are doing anything wrong. Fear in street photography comes from fearing the reaction of others to your perceived wrong-doing. And between me and you, if I was stealing, I would feel fearful!

The cure for fear

The answer then is understanding the value exchange that happens on the street. You are not taking anything, you are making a photograph. You are creating something. Of all the people and things to photograph, you have chosen one person to make an image of them. You have acknowledged that person’s existence and importance.

Sounds cheesy? The photograph is the ultimate ego tool. Check your Facebook, everyone is clamoring for attention through their selfies. Why can’t you be the one that bestows that attention on them with your lens?
Images are so powerful, that a Japanese photographer got carte blanche to photograph Yakuzas, Japanese mafia. Quite powerful, no?

By making a photograph of someone, you are acknowledging their existence, something that every one of us needs and desires at a deep level of our psyche.

The exchange between you and the subject

Go down the street, give a nod to someone. Smile, and say hello. You have just altered someone’s day with your acknowledgment. Images are like that, they are visual acknowledgment. Once you stop seeing what you’re doing (photographing them) as something that’s wrong and actually see it as something good by exchanging value (they get to participate in the making of an art piece in exchange for their photo) your outlook will start to change. And by doing so you change your way of approaching street photography and the fear will dissipate.

The street photographer’s posture

This is truly where the magic happens because here’s a truth – the street reacts to you. The way you are in the street will dictate how people react to you. That’s the whole secret. But wait. If that was the whole secret, why then did I write all of the stuff above? Couldn’t I just cut to the chase, get right to this part? The streets react to you, so it’s all about appearing confident, right?

Well, not really because I don’t believe you can fake it. I could tell you to go up and down the streets and act confident, to fake it till you make it so to speak. But I think people smell these things like a dog smells fear. If you think you are doing something wrong, it’s probably going to show in your posture and people will react accordingly.

Street Karma

Think about this with me – you look out your window and this guy is just strolling by your house, all happy go lucky. Then you look out your window once again and see this shady looking guy, looking right and left, as if he is doing something wrong. How are you going to react towards each one? Towards the first one you might even smile, but to the other, you may be ready to call the police.

The same rule applies on the street, it’s called street karma. You will get out of it the energy that you put into it. And it’s no woo-woo stuff either. It’s because of mirror neurons, those things in your brain that make you tend to mimic others. The street reacts to you. That’s what makes the difference between getting a dirty look and a smile of amusement.

Conclusion

As you have seen, people care less about you than you may think, and the streets react according to how you hold yourself. Act like a thief, be treated like one. But act like you are enriching the world, and people will react differently.

Such things can be faked. It all comes from knowing that what we are doing in the street isn’t anything wrong. Indeed we are not thieves because as photographers we seek to simply interpret the reality that is in front of us with our lens. Now go out there and shine forth. Be yourself, stay focused, and keep on shooting.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post A Simple Way to Conquer Your Fear of Street Photography by Olivier Duong appeared first on Digital Photography School.

Digital Photography School

November 2, 2016
How to Sharpen Your Photos using Lightroom and Nik Efex

Do you want to take razor sharp photos? One of the best methods for creating tack sharp images is what I call The 20/20 Technique. It’s a process that combines the editing power of Adobe Lightroom and Nik Efex to sharpen your images.

Lotus Temple, Delhi: Bringing out sharpness in architectural photos can really make them pop. © Pete DeMarco

Is sharpness overrated?

The godfather of street photography, Henri Cartier-Bresson, once quipped, “Sharpness is a bourgeois concept.” It’s true that sharpness does not turn a bad photo into a good one. In fact, some of the greatest photographs of our time aren’t that sharp. A picture that evokes emotion will always win over an image that is technically great but lacks feeling.

In the digital age, however, sharpness is another tool in the photographer’s kit that can transform an image from good to great. Have you ever seen a photo so clear that it makes you feel as if you could reach through the screen? It’s almost as if it’s not even a photograph at all but a window into another world.

Bundi, India: Be careful not to sharpen people too much. © Pete DeMarco

Popular advice about getting sharp images usually centers around buying expensive lenses or having the proper settings in camera, as is explained in this article; How to Take Sharp Images. Although those two factors have a major impact on the overall sharpness of the image, today’s top photographers take an additional step. They enhance the sharpness in post-processing.

Sharpen Using The 20/20 Technique

In the modern digital darkroom, there are a number of ways you can add a superior amount of sharpness to your images. I’m going to explain one of the most simple and effective methods you can use to get incredible results. Here is my 20/20 Technique workflow:

Burj Khalifa Reflection, Dubai: Nik Efex is a powerful photo editing suite you can download for free. © Pete DeMarco

Step 1. Open your image in LR

Import your image into Adobe Lightroom (or the editing software of your choice). Open the Develop Module and go to the Detail Panel, then to Sharpening. Increase the sliders up to somewhere between 40 – 50. This is just a general number to start. You’ll have to decide what works best for your image (make sure to view it full size or 1:1). Then finish editing your photo (correcting the white balance, exposure, etc.).

Step 2. Open the image in Nik Efex

For the next step, you will need a piece of software called NIK Efex. You can download NIK Efex for free here. Look for the blue download button in the top-right corner.

NIK Software is a company that develops image editing tools for others like Adobe and Google. In fact, Google bought the company in 2012. Then they copied the best editing algorithms from NIK Efex and created the photo editing app Snapseed. Sadly, NIK Efex has not been updated since then. Most assume it will die a slow death, especially after Google announced the software is now free.

Busan, South Korea: Adding a slight tilt-shift blur effect to the edges of your photo can accentuate the sharpened areas. © Pete DeMarco

Anyways, once you install Nik Efex, right click on your photo in the Lightroom Develop Module > Edit in Nik Output Sharpener, and choose; Edit a copy with Lightroom Adjustments. Your photo will then open in a new Nik Output Sharpener window.

Step 3. Adjust using the Nik filters

From the Nik Output Sharpener window, move the sliders until you get the look and sharpness you are after. For me, I usually leave the “Adaptive Sharpening” at 50%. Then I increase the “Local Contrast” and “Focus” sliders up to around 15-20%.

The Nik Efex Output Sharpener interface.

Step 4. Save and head back to Lightroom

Click on “Save” and the final version of your image will import as a new file back in Lightroom. That’s it!

Here is a video from Nik showing how to use this filter:

Words of warning

Don’t sharpen too much. Know when to pump it up or turn it down. For instance, clouds are soft so you usually don’t want to apply a lot of sharpening to them. Nature scenes usually call for less sharpening. With architecture, some extra sharpening really makes it pop (try adding a little “Structure” sharpening to those). Sharpening people can be hit or miss. It all depends on what you’re trying to achieve.

Xingping, China: Selectively sharpening parts of your image, like the houses in the foreground of this photo, helps to lead the viewer’s eye. © Pete DeMarco

Watch out for noise. The more digital sharpening you apply, the greater the noise in your photo. Just zoom in on your photo to see it more clearly. You can apply some Noise Reduction in Lightroom if need be. I don’t like to use it much though because it softens the image. Some noise really doesn’t matter anyways, especially if you are sharing your photo as a smaller size online.

Make sure you’re using a good monitor. If you are viewing or editing your photos on an old monitor, it’s possible that you will not see much difference in sharpness. You can get the best results on a retina display or by printing your photos.

Sipisopiso Waterfall, Indonesia: Transform your images by combining the 20/20 Technique with split toning. © Pete DeMarco

Share your work

Try the 20/20 Technique and share your photo in the comments below. I’d love to see what you do with it. And if you enjoyed this article, you might also like my previous article: How To Use Split Toning to Make Your Photos Stand Out.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Sharpen Your Photos using Lightroom and Nik Efex by Pete DeMarco appeared first on Digital Photography School.

Digital Photography School

November 2, 2016
Overview and Field Test of HoldFast Gear’s Money Maker Leather Camera Strap
The camera strap is one accessory that has definitely evolved along with the photography industry. While the default strap that comes with every camera might suit your basic shooting needs, there are plenty of options available with enhanced features (and style). Some help you shoot more ergonomically by better balancing heavy gear across your body, and some just give you the appearance of looking like a more polished professional. This product review is a camera strap that meets both ergonomic and stylistic needs of today’s photographers: the Money Maker leather camera strap by HoldFast Gear.

About the MoneyMaker strap

The MoneyMaker is one of several camera strap products created by HoldFast Gear founder Matthew Swaggart. As a photographer himself, Swaggart created his line of camera straps to efficiently carry his own camera gear and pocket items, while also maintaining a nice aesthetic. Beginning with his very first product, the RuckStrap, Swaggart’s brand is perhaps best known for the MoneyMaker leather dual camera strap. Based in Tulsa, Oklahoma, every single HoldFast product is made in the USA, and Swaggart has been known to openly collaborate with customers to design custom straps.

Benefits of Dual (or Double) Camera Straps

While dual (or double) camera straps are already very popular among photographers who carry multiple camera bodies, many of them such as the popular Black Rapid Double have designs that resemble tactical SWAT team gear. As a petite female photographer using these dual camera straps, I’m frequently met with raised eyebrows and asked if I’m getting ready for battle.

This is where the HoldFast MoneyMaker comes into play. Once I switched from Black Rapid to the MoneyMaker, I noticed even more raised eyebrows, but this time with the question, “Where did you get that beautiful camera strap?”

MoneyMaker Basics

Crafted from high-grade leather and metal fasteners and buckles, the MoneyMaker is worn like suspenders, with a camera suspended from each end. The design balances the weight of the cameras so they both hang down by your hips, and you can even attach a third camera to the front by using an optional attachment leash. One of the best features, that is lacking from competitors such as BlackRapid, is the MoneyMaker’s inclusion of a Safety Catch clip that adds an extra layer of security to your camera.

If you’ve ever used a Black Rapid camera strap, the mechanics of the MoneyMaker will be very similar.
1. Start by first putting on the MoneyMaker Straps, then fasten the HoldFast screws to the tripod mount of your camera.
2. Next, attach the circular split ring from the Safety Catch to your camera. This can be a bit tricky for Canon DSLRs.
MoneyMaker Options and Variations

Textures

There are several standard variations you can choose from with the MoneyMaker to make it more comfortable and stylish. First, the MoneyMaker comes in several different materials including English Bridle, Water Buffalo, Great American Bison, and even Genuine Python. Prices and color options vary according to the material you choose, with Bridle Leather being the lowest priced, and Genuine Python costing the most.

For those preferring camera straps not made of leather, HoldFast offers the Camera Swagg collection featuring the same MoneyMaker design crafted from high-grade nylon. Slightly lighter in weight and more affordable in price compared to leather options, this ultra-light option also comes in a wider array of colors including copper, navy, red, and black.

If you want a truly unique, one-of-a-kind camera strap, you can even opt for the hand tooled, hand painted leather MoneyMaker. Each is custom made to order and results in a beautiful, functional piece of art that embodies the art of leather craftsmanship.

Sizes

All of the leather straps can be ordered in the Original (1 1/2″ wide) or Skinny (1″ wide with 1 1/2 inch removable shoulder pads) version. They also come in Small, Medium, or Large, depending mainly on your height and build, with optional D-ring metal loops that can add extra attachment options. As a 5’2″ petite female, I opted for the Bridle Leather MoneyMaker in Chestnut color, size Small, and the Skinny version with no D-rings (they are’t recommended if you have long hair). It was a perfect fit!

My Experience Shooting with the MoneyMaker

While the MoneyMaker is very popular among wedding photographers, I found it to be perfect for shooting concerts and corporate events as well. At concerts and music festivals, in particular, where leather camera straps aren’t yet prevalent, the MoneyMaker proved to be an excellent conversation starter among other photographers and concert-goers.

When I shoot big concerts and events, I typically have the following camera setup:
- (1) Canon 5D Mark III (B&H or Amazon pricing) with a 70-200mm f/2.8 attached (B&H or Amazon pricing)
- (1) Canon 6D (B&H or Amazon pricing) with a 24-70mm f/2.8 attached (B&H or Amazon pricing)
- (1) 580 EXII Flash (B&H or Amazon pricing)
- (1) Wallet with extra memory cards, batteries, and business cards
Using the MoneyMaker to carry my two camera bodies, I also used a lightweight ThinkTank belt pack to carry my flash and wallet. This combination helps balance the weight in my upper body and allows me to emerge with zero back and shoulder pain after shooting a multi-day music festival and two corporate conferences.

Things to Note

While my experience with the MoneyMaker was highly positive, there are a couple things about this camera strap system to note.

First, the use of all authentic leather makes the MoneyMaker heavy compared to the all-nylon systems of Black Rapid and other competitors. This isn’t a problem when you’re wearing and using the camera straps, but it can feel and appear somewhat intimidating right out of the box.

Second, leather takes some time to break in, so the straps aren’t the softest and most supple at first. That doesn’t mean the straps aren’t comfortable, but you’ll need to use them frequently over time to get them to loosen up. Also, you’ll want to take extra care of the material if you go with a genuine leather camera strap option so it retains high quality.

Over to you

Do you have a certain camera strap that you prefer to use other than the default strap you automatically receive when you buy a camera? Is style as important as function when it comes to your ideal camera strap? What do you look for in a strap?

Please share in the comments below.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post Overview and Field Test of HoldFast Gear’s Money Maker Leather Camera Strap by Suzi Pratt appeared first on Digital Photography School.

Digital Photography School
November 2, 2016
How to Get Stunning Macro Photos with Your Mobile Phone

If you’ve ever scrolled through Instagram or Flickr and seen an incredible close-up photograph of a flower, insect, or even jewelry, you may have wondered how you can get similar photos, especially if you don’t have a camera. Thankfully, you don’t have to buy a DSLR or expensive macro lens to get these kinds of shots. All you need is a mobile phone, a simple accessory, and a bit of curiosity. In this article, I’ll go through some tips to help you get stunning macro photos using your mobile phone.

Lenses

While some phones have a macro mode, the best way to get amazing macro photos with your phone is to invest in an inexpensive lens (or set of lenses) that work specifically with your device. I have an iPhone 5s and initially purchased the Olloclip 4-in-1 set that includes lenses for wide-angle, fisheye, macro 10x, and macro 15x.

I quickly discovered the 10x was my personal favorite since it best suited most of my subjects. So I also got the Olloclip Macro 3-in-1 that has lenses for 7x, 14x, and 21x, as well as a couple special hoods that diffuse the lighting and make getting a good shot a bit easier. Over time, I’ve discovered that the 7x lens is my go-to for nearly all of my macro photos since it can capture a large enough area while still getting lots of detail. You can experiment and use any of these magnifications to get the types of shots you are not able to take with your phone camera alone.

Options

There are definitely other brands and magnifications available, but make sure that the lens you buy fits with your phone and won’t get in the way of taking photos. Note that most lenses slip over your phone so you cannot typically use them with a phone case. Olloclip has special cases with openings at the camera area for easy access, or you can go without a case.

You never know when you might come across something that will make for a good macro photo. Initially, I suggest taking your lenses with you (they fit in a pocket), especially when you go outside so that you can experiment with different subjects. A garden or another area with flowers or insects is a great place to try out your new lens. Or if it’s winter, use your lens as an excuse to buy a bouquet of flowers.

Lighting

As with all photography, lighting is critically important for taking good macro pictures. Daylight is probably the best and easiest to work with, but bright sunlight can make for tricky shadows. With macro photography, sometimes you can simply move your subject to decrease shadows by gently bending a flower stem or turning a leaf toward you.

You can also use your body to block bright sunlight or put a hand over your subject to reduce glare. You can play around with sunrise and sunset, and catch lighting in the background of your images. With macro lenses, the light will often turn into a lovely addition to your photos in the form of bokeh, or out-of-focus areas that make your pictures appear to glow.

Note: you can also add light. Read: How to Create Gorgeous Flower Images using a Flashlight and a Reflector

Focus and framing

With macro photos, there are endless ways to frame your subject, but you will be limited in the depth of field or the area of the photo that will remain in focus. You want the subject to remain (mostly) in focus, depending on your magnification. The larger the magnification, the smaller the area of exact focus in your pictures. This can lead to surprisingly beautiful photos which you might not expect to get from just your mobile phone.

Sometimes your intended subject will be too large to fully capture, even with the smaller magnification (like the 7x lens), so you may have to focus on only a part of the subject like the center of the flower, or a few petals. This is the fun part of macro photography! You can shoot the subject from directly above, from the side, or even from below. Experiment with different angles for the same subject.

Other notes

When taking macro photos, any movement is your enemy. Even slight movement while shooting will result in blurriness. You will need to remain very still, and do everything you can to keep your subject from moving. A tripod for your phone can help but isn’t necessary. Just find a position that’s comfortable, stay as still as possible, and steady your phone with two hands.

Sometimes, like on a breezy day, it’s impossible to keep your subject in one place. You can sometimes hold your subject still (as with a flower), but other times you can’t, as with shooting insect photos. One helpful tip for these situations is to use the burst mode on your phone’s camera which takes many shots in rapid succession. On an iPhone, you can hold down the camera button on the side of the phone or on-screen to shoot multiple photos very quickly. Android phones usually have a way to do this, too. If you don’t have built-in burst most, just take many photos while staying as still as possible. This is how I get most of my insect photos, patience and taking many shots. It’s easy to weed out the blurry photos later.

Editing – especially for Instagram users

Since many people who use their mobile phones for photography also use Instagram to share them, here are a couple extra tips for Instagram users.

1. You don’t need to use Instagram’s filters to make great photos.

Adjusting color or warmth slightly can make your photos look more like real life. In the image below, the only adjustment has been to crop the image.

2. Turn up the Lux

This is the little light/dark option at the top of the screen when you are on the Filter or Edit pages in the Instagram app. Using this editing trick (try moving it to the right to 50 or even 100), you increase the intensity of your images. This makes the photo a little less washed out, which can help if you’re taking photos on a very bright day. In the image below, this is turned up slightly and adds more depth to the petals.

3. Sharpen your macro photos

Using Instagram’s own built-in sharpen edit, you can bring a bit more detail out of your macro photos. In the image below, this has been adjusted and brings out the detail in the center of the photo.

Conclusion – your turn

Do you have any tips for getting good macro shots with a mobile phone, or with other gear that doesn’t cost a lot of money? Leave your thoughts in the comments below, and feel free to share your own macro shots, too. I’d love to see your photos.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Get Stunning Macro Photos with Your Mobile Phone by Beth Ringsmuth Stolpman appeared first on Digital Photography School.

Digital Photography School

November 1, 2016
REVIEW: Everyday Messenger Bag for Photographers… And Everyone Else!

Peak Design is familiar to any pro photographer and their latest Kickstarter project for their Everyday Bags that gathered over $ 6,000,000 of funding has made them famous far beyond the photography world. While their new backpack, tote, and sling from the Everyday series are conquering the world, I’ve got a chance to put my hands on Peak Design’s Every Messenger Continue Reading

The post REVIEW: Everyday Messenger Bag for Photographers… And Everyone Else! appeared first on Photodoto.

Photodoto

November 1, 2016
4 Secrets for How to Get Tack Sharp Photos

We’ve all been here before. You get home from an afternoon with your kids in the park, at the ball game, or even a formal photo session only to load your pictures on the computer and realize that many of them are fuzzy, blurry, or just plain out of focus. It’s a problem that has plagued photographers for years. While new cameras offer all sorts of features like 3D focus tracking and real-time face detection to help make sure to get the ultimate tack sharp photos, the fact remains that out-of-focus images are still an issue for just about everyone with a camera.

It’s an unfortunate reality of the way cameras work with incoming light, and until we are all shooting with Lytro-style light field cameras we are all going to have the occasional out-of-focus picture or two. Fortunately, there are a few relatively simple things you can do to make sure your pictures are indeed as sharp as possible.

Use a fast shutter speed

The world around you is constantly in motion, and having a camera means you are equipped to freeze that motion into a single frame. Depending on what you are shooting the result can sometimes be a blurry mess, which is often the result of a shutter speed that is simply too slow. There’s an old bit of conventional wisdom that says the minimum shutter speed needed to get a sharp image of a still subject is 1/focal length. So if you are shooting with a 50mm lens you need a shutter speed of 1/50th of a second.

Note: Due to the cropped sensor on cameras like the Canon Rebel series or lower-end Nikons the formula becomes 1/(1.5x focal length), so you would need a minimum shutter speed of 1/75 second.

This might sound fast but it’s actually not, especially if you are shooting in low light conditions or with a small aperture on your lens. It gets even worse when your subject is moving, in which case you need a much faster shutter speed! This is why many mobile phone pictures end up looking blurry, in order to let in enough light to get a photo they often use slower shutter speeds.

This jittery squirrel was moving all over the place, so I shot with a speed of 1/180 second to get a sharp picture.

Proper settings

The solution is to use a faster shutter speed, which might sound fairly obvious but it doesn’t always work unless you have your camera configured properly. If you shoot in Auto your camera might not know you want to use a fast shutter speed. So shooting in Program or Shutter Priority is a good way to control the shutter speed to make it as fast as you want.

You can also utilize higher ISO settings like 1600 or 3200, which look just fine from most modern cameras if you need a fast shutter and there isn’t much light. Most photographers would take a slightly grainy (noisy) photo that can often be fixed with software like Lightroom or Photoshop over a blurry photo that can usually not be fixed. If you find that you consistently get blurry pictures of your subjects, try increasing your shutter speed and you just may just be surprised with the outcome.

Use a smaller aperture

The lens on your camera is designed to gather incoming light and focus it so you can take a picture. The amount of light it lets in is largely dependent on the size of the physical lens opening. A bigger opening, or aperture, lets more light pass through than a smaller opening, much in the same way a bigger hole in the bottom of a bucket lets more water leak out than a smaller hole. Wider apertures let you use faster shutter speeds and also help you achieve the type of beautiful out-of-focus backgrounds, called bokeh, that are common in portrait, wildlife, or even sports photography.

Even though my 85mm lens has a maximum aperture of f/1.8, I shot this at f/2.8 because I wanted a wider depth of field in order to make sure all three subjects were in focus.

Depth of field

One tradeoff that comes into play when using wide apertures, is that your depth of field is much shallower. That means you have a very narrow section of the image that will actually be in focus or tack sharp. Under very carefully controlled conditions this can be fine and even quite desirable. But in many situations, a thin depth of field can result in more headaches and frustrations than it’s worth.

Shooting with a wide aperture can result in a depth of field that is so narrow a person’s nose could be in focus but her eye might not. One of the best solutions is to just use a smaller aperture. The tradeoff when using smaller apertures like f/2.8, f/4, etc., is that your background won’t be quite as blurry and you will need a longer shutter speed, but if your lighting is good the latter won’t matter. And as for the former, I like to err on the side of caution and go with a technique that will give me a higher chance of having my subject sharp and focused, even if it means a slightly less blurry background.

Use cross-type focus points

Almost every interchangeable-lens camera has one or more cross-type focusing points. That means they look along the horizontal and vertical axes to make sure things are tack sharp before taking a picture. These points are the little dots or squares you see when you look through the viewfinder of your camera. The ones that are cross-type are usually a bit faster and give you better results than their single-axis counterparts. Of course, you will need to know which of the points on your particular camera are cross-type but a quick online search of your camera model and “cross type focus points” will usually get you the information you need.

The center focusing points on my D750 are all cross-type, so I like to use them whenever possible in order to make sure to get maximum sharpness.

Cross-type focusing points are usually limited to a certain portion of the viewfinder. This can present a bit of a problem since normal-type focusing points are what is commonly used to lock focus on objects along the outer edges. A solution I like to use for these situations is the focus-and-recompose technique. I use a cross-type focusing point, often the one right in the center, to lock focus and then recompose my shot to frame it how I want. This does not always work when shooting wide open since even the smallest amount of movement can affect your shot when the depth of field is razor thin. But as I mentioned earlier, if you want tack sharp pictures you should probably stop your aperture down a little bit anyway.

Sharpness is critical when shooting macro pictures, so I used a small aperture (f/8) and cross-type focusing points to make sure the tips of the petals on the foreground tulip were tack sharp.

Use a tripod and Live View and zoom in to 100%

If you’re like me, you spend 99% of your time looking through the viewfinder of your camera as opposed to using the Live View function (where you use the LCD screen on the back of your camera to compose your shot). DSLRs have traditionally been designed for photographers to use the optical viewfinder which is why this method is generally faster and easier to use. But Live View has some very good features as well depending on the type of photos you want to take. If you are doing a lot of action shots like sporting events the Live View function is quite frustrating. But if you shoot landscapes, products, or other types of pictures where your subject remains relatively still, Live View can be a major advantage in terms of getting the sharpest image possible.

Using Live View helped me get this small wooden duck tack sharp and focused.

Using Live View

The trick to using Live View for getting sharp images is to frame your shot with your camera on a steady surface such a tripod, then zoom in to 100%, using the controls on your camera. This gives you an ultra-close-up look at your image, and you can then use autofocus or manual focus to make sure everything is perfectly tack sharp.

While the autofocus points in the viewfinder do a good job, this type of 100% magnification shows you precisely how in-focus your image will be and helps you get pixel-perfect images. Landscape (and macro) photographers often use this technique, combined with small apertures for a wide depth of field, to get pictures that are much sharper than they could otherwise. It’s a tip that I highly recommend you try, especially if you don’t often shoot in Live View.

I wanted to get this 30-second exposure as sharp as possible. So I first used Live View and zoomed in to 100% to check that the foliage was focused.

Bonus tip: Use Focus-Peaking on mirrorless cameras

Most of the items in this article are geared towards traditional DSLR shooters, but if you use a mirrorless camera there is one handy tool you probably have that gives you a leg up on your traditional-style camera counterparts.

Focus-Peaking is a way for your camera to show you precisely what is tack sharp as you focus your lens. Many, but not all, mirrorless cameras have this capability and it is a fantastic way of making sure you get everything that should be tack sharp focused properly. With Focus-Peaking enabled, as you turn the focusing ring on your lens you will see a swath of dots (usually red or green) travel across the viewfinder. These dots indicate the spots that are perfectly focused, and when you see an outline of dots around the part of your image that you want focused, you can snap a picture and rest assured that it will show up exactly how you envisioned.

You can even use Focus-Peaking in conjunction with autofocus, so it’s another tool in your repertoire to help make sure you are taking the best possible pictures.

The edges of the leaves are all outlined in red by Focus-Peaking, which indicates that they will be in focus. Image by Bautsch (Own work) [CC0], via Wikimedia Commons

Over to you

Do you have any favorite tips or tricks for getting sharp photos? Are there things I left off this list that you’d like to share with others? Leave your thoughts in the comments below!

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post 4 Secrets for How to Get Tack Sharp Photos by Simon Ringsmuth appeared first on Digital Photography School.

Digital Photography School

November 1, 2016
REVIEW: Everyday Messenger Bag for Photographers… And Everyone Else!

Peak Design is familiar to any pro photographer and their latest Kickstarter project for their Everyday Bags that gathered over $ 6,000,000 of funding has made them famous far beyond the photography world. While their new backpack, tote, and sling from the Everyday series are conquering the world, I’ve got a chance to put my hands on Peak Design’s Every Messenger Continue Reading

The post REVIEW: Everyday Messenger Bag for Photographers… And Everyone Else! appeared first on Photodoto.

Photodoto

October 31, 2016
How to Add a Sun Flare to Your Images Using Photoshop

If you read my previous article where I give you some tips for doing more spectacular sunset photography, you’ll understand that I love taking photos during the magic hour. For my portraits, I also book my sessions during that time because the light is very soft and flattering. There is one thing I particularly like to do when I process my images and that’s adding a sun flare to my portraits and landscapes. I love to use Photoshop to recreating a scene that would have ideally been there in real life.

I added sun flares to this portrait to add depth.

It’s difficult to not underestimate the effect of a sun flare but it really does make a big difference, especially if you like cinematic results to your images. They’re a great way to add color and depth to your images.

Analyze your image first

The process of adding sun flares is actually quite easy, it only takes two steps and a few minutes. The most difficult thing however is to get a realistic result. You need to analyze your image before doing anything. Start by looking at the position of the sun, how the shadows and highlights are wrapping around your subject.

In the image below, I added a sun flare on the left, but before doing that I noticed that the highlights were hitting the Taj Mahal from the left and the shadows were in the right side of the monument. If I were to position the sun flare on the right side of the image, the results wouldn’t be realistic because the highlights and the shadows wouldn’t correspond to the direction of the light of my sun flare. Try to consider the position, direction and intensity of the light.

This is another example of a GoPro image I took. I added a sun flare on the right side of the image because the sun was positioned there in real life. We’re not trying to create another sun, we’re just enhancing it with more colors and more intensity.

In this portrait, I added a sun flare to the left of the model. The result looks realistic because you can see the orange flair spreading and lightning the hair of the model but her face isn’t affected.

How to create and add a sun flare in Photoshop

It’s actually quite easy to add a sun flare in Photoshop. Start by opening your file in Photoshop and creating a new empty layer. The next step is to analyze where you want to place your sun flare and how strong do you want the effect to be. In this case, I want to place my sun flare in the top right of the image and make it pretty big. The sun was actually setting in that position but I am not completely satisfied with how it looks. I want to make the flare more vivid and more intense.

Select the Brush Tool and pick a color

The next step is to select the Brush Tool with an opacity and flow of 100%. Make sure to select a soft brush with a hardness of 0%. I usually like to pick my own color of the sun flare, the color code I use is #fd9424, but there are different ways to pick a color for the sun flare.

You can use the Eye Dropper Tool and select a color from the image by pressing I on your keyboard or by selecting it in the tool box on the left (the chosen color will automatically be set in your palette). Or after you have created the flare, you can create a hue/saturation adjustment layer only affecting that layer and just playing around until you find a color you like.

Adding your flare

To create the sun flare, the first step is to simply create one brush stroke (you just have to press once). Make sure your brush is quite big. So far your image should look something like this:

The next step is to go to blending modes for your current layer (the layer with the brush stroke). The default blending mode is normal, you need to change it to Screen. The screen blending mode by definition will invert both layers, multiply them, and invert the result. Your sun flare is going to get brighter and blend in with the sky after you do that.

Transform

The next step is to select your layer with the sun flare and press CTRL/CMD+T to transform (resize) it. A little box will appear, you want to drag the corners to make it bigger. How big you want to make it depends on your image and your desired effect. The sun flare will affect the whole image if you make it too big and will brighten up the shadows.

Using a brush tool on a new layer is really helpful because you have full control. You can change the position, color, brightness, or saturation of your flare whenever you want by creating new adjustment layers that only affect that layer.

If you think that your effect if too strong, you can reduce the opacity of the layer, if it is not strong enough, you can duplicate the layer. Always remember that the effect should be subtle otherwise if will look quite unrealistic. We are just trying to create a scene taking in consideration how light works.

Your turn

Now you try you hand at adding a sun flare to one of your images using Photoshop. Please share your images and any questions in the comments below.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Add a Sun Flare to Your Images Using Photoshop by Yacine Bessekhouad appeared first on Digital Photography School.

Digital Photography School

October 29, 2016
How to Compose Better Images and Make your Images More Extraordinary

When we think about what goes into making a photograph most often our thoughts leap to camera settings like aperture and shutter speed. “What ISO should I use? Should I incorporate more or less of the foreground and is that tree branch really in the way?” We burden ourselves with the technical, while unfortunately overlooking other elements of the shot which potentially mean more to the outcome of the finished image. In this article, I will share a few of my own images and then break down a few key points that you can use to make your own images more consistently extraordinary. I won’t even mention the word exposure…well, maybe just that once.

Don’t worry, this will not be an overly introspective study of the all the “feelings” which we might pour into making a photo. Instead, this is an examination of the how and why we include what we do in our images and it covers some of the thought processes which drive our own creative visions. Once we begin to have a general understanding of how our artistic nature approaches composition the better we can work towards refining our own techniques.

Photo #1: The Brooding

This is one of my personal favorite images. It came about very unexpectedly but it would turn out to be one of the most successful photographs of my career thus far. But why? There must be a reason this image was so well received. So let’s break it down and see what can be learned from the composition.

Use leading lines

This is a photographic methodology that has been mentioned many times. Leading lines are simply guideposts within a frame which lead the attention of the viewer to certain elements and essentially direct their attention within the photo itself. Oddly enough, leading lines can be worked into your composition in many ways and there are no set “rules” for using them. But generally, they originate in the foreground and extend into the frame. That isn’t to say that leading lines can’t be horizontal, diagonal, or anywhere in between.

In the case of this image, the lines of the fence and road move from the foreground to the background thereby creating a sense of depth in the mountains. Meanwhile, the horizontal line of the mountains converges with the vertical lines of the road. This helps to highlight the central element of the photo which is the tree.

Don’t fear the weather

It goes without saying that this photo was made during some less than hospitable weather. An incredibly strong mountain thunderstorm had moved through the valley the night before and the rain had just stopped as I made my way out to shoot. Normally, bad weather deters many photographers from venturing out to make images. This is wrong.

When the weather gets rough it brings with it interesting cloud patterns and awesome light that you wouldn’t encounter on clearer days. Not only do the clouds add a sense of moodiness to the photo but the wet asphalt imparts the feeling of the dankness in the morning air after the storm passed. The yellowish post-storm light works well with the hazy mist in the valley which was hanging low after the rain.

Work with proportions

Whenever you begin mentioning words such as proportions, scale, or ratio as they relate to photography – you lose people’s attention. Usually, because it can seem complicated. Stay with me here! Composing your images based on certain aesthetic ratios and proportions isn’t as difficult as it sounds and I’m about to prove it to you. Ratios don’t have to be exact or perfect in every case but can really add that something extra to your photographs.

The image we have here incorporates what’s called the Golden Spiral or a Fibonacci Spiral to add interest and draw attention to the main elements of the composition. It’s a proportion based on the Fibonacci Sequence and it occurs in nature frequently. In this case, the spiral has been tweaked (flipped horizontally) to guide the viewer, yet again, towards the tree and into the distant mountains. Have a look at this overlay set on top of the flipped photo above and you can see how it lines up.

Pretty cool, huh? Try the Golden Spiral or the simpler Rule of Thirds for yourself to see an immediate boost in your compositions.

Photo #2: Summertime

When most people see this photo they either love it, hate it, or say “Adam, your feet are really, really dirty”. It’s true, this was a very impromptu and unorthodox exposure of yours truly as I swayed in my hammock during a hiking trip last summer. Unbelievably, it went on to win First Place Professional in a state magazine a couple months ago. No matter your initial impressions of this image there are still a few important lessons that can be gleaned to help you with your own work.

Find natural framing

This is a close cousin to using leading lines to enhance the viewability of an image. There are many cases when a strong composition makes use of what is referred to as natural framing. This is when a photographer composes certain elements (not always the main subject) in a way so that they are framed by other elements within the shot. Sometimes this framing is obvious, such as when a portrait photographer positions the client in a doorway or when a landscapist places the sunset between two mountain peaks. Other times natural framing is less obvious, as is the case with this image. Look closely.

You’ll notice that my beautiful feet occupy the empty space between the hammock at the left and the trees to the right. The empty space created between the structures offers a place for the central subject to really stand out from the rest of the elements of the photo. The lines created by the hammock also help with the overall framing of the image and gives it a very anchored perspective. Speaking of perspective…

Use perspective

This photo was shot using a Rokinon 14mm F/2.8 super wide-angle lens, mounted on a full-frame mirrorless camera. The 14mm focal length bulges the exterior aspects of the frame. This causes the trees to bend in towards the center of the frame. The camera was held relatively close to my feet so that the entire scene seems relatively compressed around them. The overall effect is one of first-hand perspective and allows the viewer feel as if they themselves are swinging in the hammock on a warm summer afternoon…with dirty feet.

Shoot what you want

When I was about to enter this photo into the contest (in which it eventually took first prize from among 2,000 other entries) there were some politely well-worded reservations expressed by some of my friends. Why would anyone want an image of some dirtbag hiker’s feet? Well, when I shot the image I knew it carried the feeling of summer. The earthy remnants of a day’s trek and the welcomed relaxation of a swinging hammock that chases away all worries. I knew the photo fit the theme of the contest which was Summertime. It was an image which I felt was worth entering even though it was slightly unorthodox.

Shoot the images you want to shoot. Hopefully, this is a lesson you already know and have been putting into practice for some time now. If not, now is the perfect time to start.

Photo# 3: The Stars Fell

On the night this image was made my girlfriend and I had been out chasing the Milky Way through the mountains. There was nothing planned as far as a self-portrait was concerned. This was one of the last photos to be made that night and it came about completely by accident. It is the only exposure I made of us under the stars, which to me makes it even more special, but I digress.

Incorporate the environment

Consider your environment as another subject and use it to enhance the image. This may go without saying when working with landscapes or nature photography, but it can’t be overstated when it comes to portraiture and working with human subjects in general. In the case of this image, the stars wheeling overhead become almost a completely separate subject. Add in the human element and it produces a wonderful duality between man (or woman) and nature.

Here we see a few of the environmental elements which came together in the photo. Some of them may be familiar.

Open yourself up

Let’s face it, not everything goes to plan. There have likely been many times a shot didn’t pan out, your camera wasn’t set on the ISO you needed, or the light faded before you could click the shutter. Other times everything goes completely to plan. So much goes to plan in fact, that you consider it a job well done and stop thinking creatively.

While it’s great when everything goes right, we shouldn’t stop looking for the next exceptional image. Be open to those great moments that produce great work even if they go beyond what you had set out to do originally.

We were on the verge of packing up and heading back to camp when I had the idea for our spur of the moment self-portrait. I had already produced all the images I wanted to make so we had chalked it up as a success. But as it turns out, the image I never intended to make that night ended up being the best.

Trust your instincts

The reason this photo came about was due to a feeling I had that the image was there before I made the exposure. I was told later that my exact words were, “Want to try something weird?”

Even though it had already been a successful night of shooting the stars I knew there was one more frame to take and that frame should include us. It wasn’t something that was planned but it turned out being one my most cherished images to date.

When shooting any type of image it always pays to go with your gut. More often than not, your instincts will be right. If it feels like a photographic opportunity is presenting itself then it’s usually a good idea to follow your intuition and pursue the idea. Don’t think you have astute instincts? Don’t worry. They will develop and mature as you do as a photographer.

Conclusion

Remember, strong images are made by more than just perfect camera settings. Begin looking beyond your exposure and aperture to understand how your photos impact you and ultimately the viewer. The methods mentioned above will give you a great start to producing consistently better images time and time again.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post How to Compose Better Images and Make your Images More Extraordinary by Adam Welch appeared first on Digital Photography School.

Digital Photography School

October 28, 2016
Overview and Test of the New Cactus V6II Wireless Flash Trigger for High-Speed Sync
Cactus Image recently launched a new version of their radio trigger for speedlights and strobes, the Cactus V6II. In this review, I’ll go over the features of this trigger, how to use it, and do some example photo shoots to test it.

Features of the Cactus V6II Wireless Flash Transceiver

This is a 16 channel system with 4 groups. That means 16 systems can run concurrently, and each photographer could have four sets of flashes of which they can control the power (and zoom for the RF-60/TTL Flashes). It runs off two AA batteries, mini-USB 2.0, or a 5v DC input. Like most modern flash triggers, it runs at 2.4Ghz, which helps it work reliably up to 100 meters. It supports High-Speed Sync up to 1/8000 sec (if your camera goes that high).

The mini-USB port also allows you to update the firmware on the device, giving it a certain amount of future proofing. The main difference between the V6 and the V6II is that the latter allows you to use High-Speed Sync across a range of cameras and flashes, including that of the Fuji X series (which lacks the ability normally). The V6II HSS is based on the use of camera and flash profiles. This allows both Cactus and the photographer to make profiles for flashes they may not already have in the system.

The Cactus V6II transceiver box.

This means there’s practically universal support for any flash you may have. The exception is flashes that have a high sync voltage. The units are cross compatible between systems, so you can use Pentax cameras with Olympus flashes, etc.

Camera and flash compatibility list for the v6II

There are two High-Speed Sync modes; Normal and Power. Normal High-Speed Sync works up to 1/8000th of a second and uses a pulsing flash fire. Power Sync uses the full power flash as a normal fire, but allows you to exceed the normal sync-speed of the camera.

Getting started with the Cactus V6II

The trigger comes in a nicely designed box, containing the user manual, the trigger, and a hotshoe foot. Unlike other hotshoe feet, this one doesn’t have a screw thread for a lighting stand. It’s not an issue as I wasn’t expecting one anyway. The unit can be configured as either a transmitter or a receiver by selecting Tx or Rx from the power switch.

When it is on-camera as a transmitter, you have the four groups visible on the camera left-hand side. Marked A, B, C and D, pressing one toggles it on and off. This way you can select a specific group of flashes to change settings on. This works especially great with Cactus’ own flash, the RF60. Using the dial on the back you can change the power of the flashes on the group, or by pressing in the dial, swap to the lens zoom setting and change that instead.

The unboxed Cactus V6II

On the right hand side at the front is the test button. You can press it to test that the signal is going to either the RF60, or to another V6II set to receiver mode. One other useful feature is that there’s a hotshoe on the trigger, where you can add your existing trigger system, or another flash. Using your current triggers will allow the High-Speed Sync signal to pass through the V6II and into your flash system.

Setting up

My main portable system is based around Godox v850 flashes (more precisely, the Neweer versions rebranded as the TT850 – it’s the same flash). I also have the more powerful AD360, which responds to the same trigger (the older FT-16), so I find it a really useful system. All of the flashes are High-Speed Sync capable and have profiles in the trigger. I don’t actually use the built-in profiles for High-Speed Sync with Fuji cameras.

The Gear Setup for HSS

Using the older triggers, I set up the flash as normal. Once it’s all working I take the trigger off the camera and put the Cactus V6II on instead (switched to Tx mode). Next I put the old (FT-16) transmitter on top of the hotshoe on the V6II. Finally I set the flash to HSS mode by pressing a two button combination on the back. Each system has its own way of turning on HSS. Yes, this does mean you only need one Cactus V6II trigger with this system to get HSS working.

To get started, press the Menu button on the back right of the V6II unit. Turn the dial to Camera and Flash Setup. Set Camera to Auto, then set Flash to the brand that you use. Next use the Auto Profile for your Flash. For Fuji, you have an additional step, where you make the trigger learn the HSS response of the flash. For the AD360, I set the Flash to Nikon and the Profile to Auto (Nikon).

The Beta Test

So I set it all up, and with my trusty Godox 120cm Octabox on the Ad360, I sweet-talked my son into posing on his bike. That’s roughly three minutes of attention span before boredom hits. I’ve included some behind the scenes shots as well. The exposure was 1/4000th, f/2.8, ISO 200 with a 35mm f/1.4 lens. Even the nearby trees are out of focus. I absolutely love the bokeh in my first shoot with the trigger.

Test Shoot #1

Testing means dragging out a range of people to shoot with. It also means working around their schedule. So this next shoot happened a little later than I would’ve liked, but I still got some good shots.

Once the trigger is set up, your main issue is dealing with power. Normally with manual flash, only the aperture has an effect on the apparent power of the flash. Below sync-speed, you can change the shutter speed to your heart’s content, and it won’t affect the flash. Not so with High-Speed Sync. Any change of shutter speed changes the flash power. The faster the shutter speed, the more flash power you need. It’s a new experience if you’ve gotten used to normal manual flash. Each stop increase in shutter speed requires about a stop of increase in the flash power.

Here’s the first setup and the resulting image.

Behind the scenes shot showing the Godox AD360 flash with Godox 120cm Octabox. Taken by Ola.

The shot with HSS. The background is beautifully out of focus. ISO 200, f/1.8, 1/4000th, 35mm on Fuji X-T10.

I still managed to blow out the sun slightly, but the flash was at full power, so I couldn’t change the aperture to compensate. The octabox was just out of frame too. Normally, I shoot vertical portraits but for articles, horizontal looks better, so I just recovered this highlights in Lightroom.

Test Shoot #2

For the second shoot, I had more time, better planning, and less wind! Due to the model’s availability, it was later than I’d have like, but still had enough light to get shots using HSS (out of want rather than need!).

Here I’ve used my typical short lit Godox Octa setup for this using the Fujifilm X-T10 with a 35mm f/1.4 lens. I wanted to create tension and go for a cinematic feel to the image. The grass at the bottom is well out of focus and gives a slightly ethereal feel to the shot. The black clothes and the model peering out of frame seem to reference things in the past as if a loved one has passed.

ISO 200, f/1.4, 1/1600

For the second shot, I wanted to bring in an additional element – a back light. I could’ve used one of the 850’s, but instead, I opted for the Cactus RF-60 flash. This has the receiver built-in and communicates directly with the Cactus V6II receiver. I set this to Group B and zoomed the flash to 105mm to allow it to throw the light further. Once in HSS mode, it triggered every time along with the AD360. I also went for the 50-140mm lens to get further back and compress the background more.

ISO 200, f/2.8, 1/500th. Shot with the 50-140mm f/2.8 lens.

Here’s how the gear looked behind the scenes:

Headshot variation

For the final look, I went for a headshot, so the Octa was moved to give her a soft loop light. I got the model to hold a reflector (in this case a California Sunbounce silver-white mini, using the silver side for contrast). It’s very similar to the last setup with the Cactus RF-60 acting as a kicker.

ISO 200, f/2.8, 1/500th.

Here’s the setup shot:

By swapping the side the Octa is on, so the kicker and the key are on the same side, you get a very different look for only a few minutes work.

Cross Platform Test: Fuji Camera – Canon Flashes

Using a second Cactus V6II trigger, I added a Canon 580EXII Speedlite to the setup to use with the Fuji camera. In this case, I set the flash up as Canon with an Auto Canon Flash Profile. Again with the flash set to HSS, I went through the learning process for HSS, and the flash worked perfectly with the Fujifilm in HSS mode. The 580EXII was set to ETTL, and I could control both the flash power and the flash from the V6II transceiver on the camera.

I still have my Canon 5D MarkIII (not for much longer), so I did a quick test with that as a system check. Again I used the Canon 580EXII Speedlite on ETTL, set to HSS. Because both transceivers were set to Auto, switching the units off and back on began a new detection cycle, successfully recognizing both flash and camera as Canon. After one or two test fires, it all worked perfectly. No pretty models for this demo, but something close to my heart instead.

Shooting the Fuji X-T2 using a Canon 5D MarkIII. The Canon 580EXII flash was set up off-camera, with the trigger set to auto-detect the camera, and the receiver set to auto-detect the flash. Set to ETTL mode, both the power and zoom of the flash can be controlled from the trigger. The flash was bounced into the ceiling. ISO 200, 1/500th, f/1.8.

Firmware Updates for the V6II

Another feature of this trigger is you can update the firmware as new features and profiles are added. During my testing period, two firmware updates became available. I also had the chance to test a beta version of the new Fuji X-T2, another testament to Cactus’ support for their product. For the public updates, I simply downloaded the updater app, ran it, and followed the instructions.

Cactus Firmware Updater

Pros of the Cactus V6II Triggers
- Gives you High-Speed Sync ability across a range of camera systems and flashes.
- Firmware upgradeable.
- Works directly with the Cactus RF-60 flash.
- Good range of channels and groups.
- Power Sync allows additional sync speed options for non-HSS flashes.
- Can work with only one transmitter and your existing triggers.
Cons of the Cactus V6II Triggers
- Clunky – the shape isn’t as elegant as many others with a hotshoe passthrough.
- One of the units I had suffered from a really tight battery clip. It’s more an annoyance than a real con as the batteries last a really long time. The clip on the other unit was perfect.
- For Fuji users, there’s more work to get it going. For everyone else, no problem.
Verdict

I’m delighted with the Cactus V6II wireless flash trigger. It really works.

During the short time I’ve had the trigger, I’ve used it on a few magazine shoots, as well as the fun shoots I did to test it. It’s been great. Their support has been fabulous, and there’s a lot of information on their community page.

Would I recommend these triggers? Absolutely. They bring a new dimension to shooting portraits outdoors that can change your style completely.

googletag.cmd.push(function() {
tablet_slots.push( googletag.defineSlot( “/1005424/_dPSv4_tab-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78623” ).addService( googletag.pubads() ) ); } );

googletag.cmd.push(function() {
mobile_slots.push( googletag.defineSlot( “/1005424/_dPSv4_mob-all-article-bottom_(300×250)”, [300, 250], “pb-ad-78158” ).addService( googletag.pubads() ) ); } );

The post Overview and Test of the New Cactus V6II Wireless Flash Trigger for High-Speed Sync by Sean McCormack appeared first on Digital Photography School.

Digital Photography School
October 28, 2016