The Nowak Family, 22 June 2019
Tip #1: Plan Ahead
- Select a location based on lighting, backdrop, and space. I calculated that the sun would drop behind the treeline at a certain time, providing even lighting on everyone. Patchy sun on subjects' faces, squinting, and lens flares never are flattering in group photos. Likewise, a distracting setting or a crowded space won't look good.
- Calculate out the space needed to comfortably sit everyone without blocking anyone. Plan for the guest of honor or most senior family members to be in the center. In this case, I chose to seat everyone in groups by sub-families.
- Bring in furniture or props to use to layer people on. Don't be afraid to use items of different heights, and to utilize chair arms, stone walls or stairs.
- Remove distracting items like banners from the background, and add fillers such as plants to add interest in bare spots.
Tip #2: Prepare the Gear
- Set up the camera on a sturdy tripod. I set the tripod and camera on a deck about five steps above the patio to offer a flattering portrait angle. Use the highest resolution possible to ensure crisp faces if you plan to enlarge or crop the image. I recommend a prime 35mm lens to provide a wide enough angle to fit everyone without being too far away with a closer lens or distorted on the sides with a wider angle lens. I didn't have a wireless remote trigger with me, so used a wired version that allowed me to press the shutter from several feet in front of the camera.
- Run test shots to ensure proper composition, exposure and color balance. I tweaked my original plan by adding one Profoto A1X light with a round diffuser to soften any shadows on faces from the natural light angle.
- Set the camera to shoot 20 consecutive images at intervals of two seconds. Given that the first two shots will be lost to the photographer dashing into the arrangement, that results in 18 final photos.
Set up and test shots while waiting for the sun to drop behind the treeline
Tip #3: Prepare the People
- When the light is right and everyone is present, work quickly to sit everyone as planned. Work with individual families, giving each person a specific location and showing them how to sit. Details such as where to put their hands, how to lean, the best way to cross place their feet make them feel more comfortable. For example, everyone should sit near the front edge of deep-seated furniture, and pillows can be placed behind anyone who needs extra support.
- Start assembling the photo with the more senior family members who will have the most patience, leaving small children until last. Work quickly since even the most patient adults tend to run out of steam quickly in photo sessions.
- Tell everyone what to expect: there will be a series of twenty photos over forty seconds, then they can relax for a moment. Explain that you plan to take three sets of photos, so if everyone cooperates, all images will be complete in three minutes. Most everyone can sit still for three minutes! Acknowledge that it's awkward to stare at a camera and smile in silence, but explain that talking during the photos will make their faces appear contorted.
Tip #4: Run Fast!
- Give the group a count of three to get their their attention, hit the shutter button, and dash fast to your spot in the image. Relax and Smile!
- Tell everyone to remain in place, and survey the group quickly and make any minor adjustments to positioning. If they are like our family, you will need to remind them not to talk, since the silence does feel awkward.
- Repeat the process two more times.
Tip #5: Edit Carefully
- With 54 final images to choose from, don't be surprised that there isn't a single shot with 25 people all looking the same way with their eyes open.
- Remove any distractions in the foreground and background that couldn't be adjusted earlier. Remove and logos or stains from clothing. Depending on the size that the image will be printed as, gentle cosmetic editing will make everyone feel their best when they see the final product.
- Never, ever reveal whose heads needed to be swapped from similar images to create a final composite photo with everyone looking their best.
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Gear for these Photos: Canon 1DX markii, Canon 200mm f/2.0 lens, Gitzo monopod and RRS ballhead, Profoto Silver/White reflector and diffusers.
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Canon 1DXmarkii and 5Dmarkiv camera bodies, Canon 85 f/1.4L, Canon 135 f/2.0L, Canon 200 f/2.0L, Gitzo Monopod with RRS ball-head, Profoto reflector and diffuser, Westcott Eyelight with white reflecting screen and Manfrotto stand.
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The photographs below of the XBarre Studio in Gladstone, New Jersey, are a great example of my work with a small business to create a brand via photographs. Capitalizing on the great space and natural light, I included outdoor photos of the restored barn and signs, and indoor images of the barre studio space. I created digital photographs that showcased the studio's natural and welcoming feeling, while simultaneously accentuating the skilled and professional capabilities of the instructors. The results were dynamic and portrayed the outstanding exercise studio exactly how the owner hoped.
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Cheers to the newlyweds!
Following are a selection of images from our 3-day photoshoot that showcase the faces behind these great businesses that really are "The Heart of Chester."
Larry Guizio, A World of Birds
Umut Bitlisli, All Computers Go!
Ayush Rai, Melange
Steve Jones, Black River Candy Shop
Marisa DeAngelus, Taylor's Ice Cream
Debbie Carcuffe, A Portal of Healing
Melinda Scotti, Bountiful Gardens
Mike Canzano, J. Emanuel Chocolatier
MaryEllen Alcock, Chester Floral Designs
Stephen Barbieri, Antiques By Chester Crafts
Devon Carroll, Aslan Gathered Goods
Danielle Hester, Comfortably Chic
Shabo Hadzovic, New York Pizza
John Boehs, Boehs Cabinet Shop
Joe Lubrano, Publick House
Karen Wolfe, Sub Pub
Heather Koby, Fatrabbit Creative
Steve Tylee, NitroFlex Gym
Glen Boralsky, Chester Meat Market
Laurie Anderson, J. Jill Clothing
Marco Rojas, Fresco Mexican
Kurt Alstede, Alstede Farms
Jane Shatz, The Hive
Sean Henry, Redwoods Restaurant
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All photos taken with a Canon 1DXmarkii, Canon 200mm f/2.0 set at f/2.0, Gitzo carbon fiber monopod, RRS ball head and lens foot bracket, Profoto white and silver reflectors, and Profoto diffuser.
]]>Check out a slideshow of the 20-member cast set to "Into the Woods" theme music, and a selection of shots below.
- Accept the conditions at the venue. It's a given that the lighting for photography will be dismal, that the best vantage point for shooting will be inaccessible, that there will be obstacles between the photographer and musician, and that additional strobe lights of any kind are taboo. Set your mindset to accept the conditions and make the best of them.
- Select the best equipment for the setting. A camera that excels at an extremely high ISO and has an excellent dynamic range is critical to capturing the best shots. In the photos below, my ISO ranged from 2500 to 3200. Canon's 1DX mark ii excels in dim lighting, producing crisp portrait shots at crazy-high ISO settings. It is equally important to choose top-quality L-lenses with the widest available apertures. Below, I used Canon's new 85mm f/1.4 IS L lens and the 35mm f/1.4L lens. In all shots, I shot wide open at f/1.4.
- Choose your point of focus wisely. With a plane of focus just millimeters thin, the focus point virtually always should be the subject's eye that is closest to the camera. Understand that this means that props or other musicians will not be in crisp focus. I embraced this trait and love that Kristy's husband--playing the guitar in the background--is blurred out through the harp strings.
- Use support. Tripods are key to camera stability but usually are too cumbersome in a crowded concert setting. A monopod can provide support and stability during a long concert. I swear by Gitzo carbon fiber sticks and Really Right Stuff ballheads. An L-shaped arca-swiss bracket on each of my cameras allows me to switch quickly between horizontal and vertical orientations.
- Shoot copiously. Singers and public speakers naturally contort their face while doing their jobs. Capturing flattering action photos where the subject's mouth, eyes, face and hands are in optimum positions means shooting and sorting through many images. Shoot far more images than you think you will need, often in rapid fire, to catch the exact expression desired. Don't be alarmed if it takes hundreds of photos to acquire a handful of perfect finalists.
- Shoot monochrome as a last resort. The multi-colored spotlights created dramatic imagery here, but this isn't always the case under unflattering fluorescent lights. Black and white imagery can alleviate harsh or unflattering color casts, and capitalize on the high contrast of whites and blacks in the scene.
Check out Kristy's latest album, "Stained, Glass Heart" on iTunes, CDbaby, Amazon or Spotify!
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Produced on glossy metal, check out my Broken Glass image on the wall of 70 South Gallery during the month of October.
Photo Details: Canon's 5DS R body, Zeiss Otus 85mm f/1.4 APO Planar for Canon mount, ISO 500, f/1.4, 1/160 second, natural late afternoon light only.
ARTISAN&ARTIST: Silk Cord ACAM-307N
The Japanese company ARTISAN&ARTIST was founded in 1991 by a photographer and artist eager to create high quality accessories for Leica cameras. Over the decades, the company has expanded to produce bags and straps for all camera systems. The straps continue to be most popular for Leica and mirrorless cameras, which are lighter in weight than professional systems. But, a new 10mm wide tape-style attachment (as compared to the 6mm tape attachments and the ring attachments) that debuted this spring provides more than enough strength to support large camera bodies and lenses. The strap's materials are impressive: 100 percent silk cording, strong nylon tape attachments, and Italian leather connectors with extensive stitching. (Check out this fascinating short video on the silk strap production!) The result is absolutely beautiful, but also cool, smooth, flexible and totally versatile. This is the unique strap that professional and advanced-amateur photographers have been waiting for!
I enjoy using the A&A silk cord wrapped around my wrist three times. It feels smooth and moves with me. It doesn't block any controls or access ports, and allows me to quickly switch between the horizontal and vertical grip on the 1DXmark2. I attached it to the two right-side hooks, but the cord could also be attached to the two top metal hooks. When my camera is mounted on a tripod, I loop the silk cord into a loose knot and it easily stays out of the way. I can't be certain that the wrist-wrap would catch the camera if I dropped it, but I believe it would slow the drop enough for me to catch the camera. It also deters theft if I were shooting in a city environment. Although the slim, unpadded cord isn't comfortable for carrying 10+ pounds of gear on the neck, it has proven invaluable to loop over my shoulder or neck for a few moments when I need an extra hand -- absolutely beating the alternative of placing the camera on the ground or on an unstable surface.
Spider Pro Hand Strap
I have been using the Spider Pro hand strap on my 1DXmark2, 5DSR and 5Dmark3 since I became hooked on their wonderful holster system many years ago (watch for a future review on this blog!) It fits my slim hand perfectly, but easily adjusts larger. The underside is padded and lined with velvet, while the outside is available in a variety of leather colors. An additional leather strap to snap around the wrist in included with the strap, but is optional for use. My favorite aspect of the hand strap is that it feels incredibly comfortable and secure. It molds to my hand and holds it firmly to the camera body. While my hand could slip out during a serious drop, it feels secure and gives me confidence when I am moving quickly on a photoshoot.
It's impossible to claim that either the A&A silk cord or the Spider hand strap is superior because they each have great strengths. I swap them regularly depending on the type of assignment and location of a shoot. Here's the bottom line:
A&A silk cord advantages:
- streamlined and stylish!
- top quality materials
- sleek and pliable; comfortable and adaptable for many shooting situations
- doesn't block any ports or camera controls
- allows use of horizontal or vertical shutter controls
- allows for cross-body carrying for short amounts of time
- can be easily used on a tripod
- the cord feels cool to the touch
A&A silk cord disadvantages:
- provides little support; doesn't pull hand to the camera grip
- the cord will cut into shoulder if heavy equipment is carried at length
Spider hand strap advantages:
- provides wonderful support; allows for hours of carry time without wrist or hand tiring
- camera feels most secure in my hand
- can be easily used on a tripod
- very well made; after four years of frequent use there is no sign of wear
Spider hand strap disadvantages:
- accessing the card port is possible, but requires some manipulating
- the hand strap cannot be used properly with the vertical grip
- no cross body or shoulder carrying ability
Corporate Headshots: Natural Light and Natural Backdrop
These examples photographed in the lobby of a large office building with a ceiling of glass utilize only natural sunlight with reflectors and diffusers to manipulate the light. They feature a more contemporary feel, while maintaining the professional look that is required. The horizontal and square formats further modernize the image and are more flattering because the negative space frames the subject. Note that for professional shots, I ensure that lighting on the face is always uniform; this isn't the venue for dramatic shadows.
Gear: Canon 1DXmarkii, Canon 200 f/2.0L shot at f/2 (I LOVE the compression it offers and the way that it makes any background melt away), Gitzo Series 3 Monopod, RRS MH-01 LR ball head, Profoto 47" diffuser, Profoto 47" silver/white reflector.
Corporate Headshots: Studio Lighting and Backdrop
Some companies require a uniform look for all their employees, particularly if the images will appear together. In this case Profoto studio lighting with soft boxes provide consistent and flattering illumination. Backdrops can be black, solid white for a high key effect, or textured. My preference for the most flattering corporate photos is a handpainted medium grey canvas roll. The camera angle and position of the subject can be tweaked to be most flattering to each person and to offer a slight amount of variation to a set of images.
Gear: Canon 1DXmarkii, Canon 135 f/2.0L shot at f/2.8, Gitzo Series 3 Tripod, RRS BH-55 Ball head, Profoto B2 pair of lights with soft boxes, Profoto Air Remote TTL-C, Monfrotto Light Stands.
Unboxing this lens was an experience in itself. The 200/2 arrives in its own suitcase (overnight, thanks to B&H!). The heft of it is a testament to its quality. I'm sure that the glass is the size of a salad plate!
For size comparison, Canon's largest 70-200, the f/2.8 IS L, is shown on the left and the 200 f/2.0 on the right below, both with hoods attached and Canon factory foot replaced with an RRS arca-swiss mount:
My initial test shots showed an almost Zeiss-like appearance, with awesome subject crispness and a sharp fall off to a buttery bokeh background.
The image below is remarkable because it completely lacks chromatic aberration when shot at f/2.0; unlike most other L-lenses shot wide open, there is no purple fringing in the high contrast areas.
Notice the extremely shallow depth of field at f/2 and the creamy blur of the foreground of the shot:
I knew that the initial images were beautiful, but I quickly remembered that I also loved the images from other Canon L-lenses. How much different are the 200 f/2 shots as compared to, for example, the acclaimed 135 f/2.0L and 70-200 f/2.8 IS L? To find out, I ran a series of tests. My experiment was less scientific and quantifiable than other comparisons that can be found online (Yes, I've memorized results of other lens tests from the fantastic French DxOmark website), but my results were indisputable. Instead of posting all the test images, I simply will summarize my conclusions. The 200 f/2 in comparison to the 135/2.0 and 70-200/2.8:
- Shows significantly better contrast with whiter whites and blacker blacks. In fact, it's so crisp that black text on a white page appears muddled with grey with the other lenses.
- Greater compression than the 135 on the background (I love compression!)
- Some vignetting on the periphery of the image, but not any more severe than the 135 or 70-200. I could easily eliminate the vignetting in Lightroom CC, but I actually like it.
- Softer, blurred bokeh, with no "bokeh bubble" lines (see comparison snapshot below.)
- No purple or green fringing in high contrast areas -- chromatic aberration is nonexistent in all of my test photos, but was apparent in comparable photos taken with the 135 and 70-200.
- Crisper image at f/2 than the 135 or 70-200 at f/2.8
- Really excellent, vivid color rendition
- Super fast focus!
While the above judgements are based on pixel peeping at 800%, below is a quick screen shot of the same image taken with three lenses and equal framing. The essence of the 135/2.0, 70-200/2.8 and the 200/2.0 are immediately apparent:
A few sample shots from week one:
Conclusion:
Shooting with the 200/2.0 garners attention and comments from people passing by, many gasping "how many millimeters is that thing?" The 200mm focal length isn't what is unique about the lens. I have enjoyed shooting at 200mm for 30+ years, but recognize that it isn't always the idea focal length -- too long for conveniently taking portraits and too short for many sporting or wildlife applications. Nonetheless, what makes this lens utterly remarkable is the combination of brilliantly crisp focus on the subject, a flattering level of compression, and a gorgeous fall off of focus into buttery soft bokeh (thanks to it's quality construction and 2.0 maximum aperture). The bulk of the lens mounted on a 1DXmarkii is substantial, but nothing that a top-notch Gitzo/RRS monopod and head can't alleviate. Nailing shots will take practice, particularly tracking fast action with such a razor-thin depth of field. But, a photographer who masters this lens can create art so unique and of such a high caliber that the lens is worth every penny.
]]>- Heat, sunlight, and humidity can cause fading, discoloration and warping in all types of artwork. Never hang photographic art directly above a heating unit or fireplace where it could be subject to drying heat. Although my products are coated to help protect against UV exposure, avoid hanging art in direct sunlight. Also, keep artwork away from high humidity areas, like bathrooms.
- "Less is more" is my rule when cleaning all photographic fine art products. A feather duster or soft, dry art brush works best for keeping your art dust-free. Never spray any cleaning product or water on any artwork. Ammonia products are deadly to fine art acrylics and metals, and any type of moisture can damage fine art canvas. Cleaners can even harm glass-covered prints because the moisture can seep between the glass and frame. And blowing on your print may inadvertently deposit water droplets that can mark your print. Also, do not use furniture polish on wood frames.
- Use two nails in the wall instead of one to support the weight of the product. The nails/hooks can be separated by a few inches in the middle of the artwork or placed on the edges of the product. This distributes the weight more evenly and helps to prevent warping on frames. Multiple hanging points also helps to keep the artwork hanging straight.
This 20x30" example is produced on ¼" fine art acrylic, backed with Dibond, and hung with one-inch stainless posts.
These 16x16" and 16x24" examples are produced on ¼" fine art acrylic and mounted with ⅝" posts, which hold the image securely about ¾" from the wall.
A 4x8" fine art acrylic example with ¼" acrylic, Dibond backing, and no wall mounting.
A fine art acrylic sized 4x6" with ⅛" acrylic and sans wall mounting is displayed here on a 5" black easel.
Gear for this natural light shoot at sunset: Canon 1DXmarkii, Canon 5DSR, Canon 135mm f/2.0L, 50mm f/1.2L, 35mm f/1.4L ii, Gitzo Series 3 Monopod, RRS ballhead, Spider Dual Holster, Profoto 47" Silver/White Reflector, Profoto 47" Diffuser, Ona Beacon Lens Bag.
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I received my Beacon this week, days after they began shipping from Ona, and tested it on location in fields on a shoot for an upcoming album cover. It paired perfectly with the awesome Spider Dual Holster because it stayed comfortably behind me and didn't knock equipment attached to my hips (as more traditional camera bags do). I was easily able to switch lenses simply by rotating the bag in front of me. The Beacon was remarkably comfortable for several hours of wear. Not that bags need to match, but I found the black Beacon looked great with my classy black Billingham bag and also with my dark truffle leather Prince Street and Brixton bags from Ona. I did find it more comfortable to carry the Beacon with several lenses along with another bag holding two camera bodies, as compared to carrying two shoulder or messenger bags.
It's key to plan what you want to carry in the bag before heading to the fields because not all lenses will fit inside the bag. I always use lens hoods on my Canon L-series lenses when shooting, both to cut potential glare on the glass and to protect the front elements of the lens since I do not use filters. Because none of my eight lens hoods are interchangeable, I need to carry each attached to its lens. This makes for an extremely snug fit for some lenses, so it's key to position the lens within the Beacon strategically in order to close the bag. The center portion of the bag is slightly narrower, while the zippered covers allow a bit more space to fit the portion of a lens with hood. This will not be a factor for everyone--in fact, non-L-series lenses may rattle around a bit loosely in the bag if dividers are not used to secure them. The L-series lenses fit perfectly without lens hoods. Most Canon "white lenses" either will not fit or will not fit with their lens hoods and foot attached. This has little impact for use storing lenses in the studio, but could be significant in the field. For example, if a 70-200 2.8Lii is attached to your camera and several black lenses are in your Beacon, there is no space to fit the white lens if you switch since it will not fit in the bag with the hood/foot, nor will it fit with two other lenses.
I found that three lenses, two lenses and a battery/cord pouch, or two longer lenses could fit comfortably inside the Beacon. I have included photos below of various configurations to illustrate my points.
The shoulder strap is removable and the latches swivel, allowing the bag to move freely with you.
Heavy-duty nylon fabric with leather trim and brass hardware.
Holding the Canon 35 1.4Lii, a ThinkTank battery pouch with four sets of spare batteries, and the 50 1.2L. The smaller black pouch is included and may be attached to the walls with a velcro strip that is on the back of the pouch:
Holding the Canon 35 1.4Lii, Canon 14L, and Canon 50 1.2L; black pouch included:
Holding the Canon 70-200 2.8Lii and Canon 135 2L. Note that the 70-200 will fit perfectly, but neither the lens hood nor foot can fit into the Beacon:
Holding the included pouch, Canon 100 2.8L Macro and Canon 135 2L. Three dividers are included with the bag:
Holding the included pouch, Canon 1.4X Extender, Canon 35 1.4Lii, and Canon 50 1.2L:
Conclusion: I love the new Beacon lens bag and am excited by how it will fit into my on-location photoshoots! It's well made (as I have come to expect from Ona), stylish, and extremely practical both for protecting my lenses and carrying them. Hats off to Ona for another great product!
Straight from NYC, enter the beautiful and classy Hayley (whom I am delighted to have watched grow-up), and debonaire Nico, both looking fabulous ...
Gear used for this shoot: Canon 1DXmarkii with Canon 135 f/2.0L; Canon 5DSR with Canon 50 f/1.2L and 35 f/1.4Lii; Spider Dual Holster; Gitzo series 3 monopod with RRS ballhead; Profoto 42" diffuser and 42" silver/white reflector; Ona bags.
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I set some strict parameters for myself from the outset to guide the project – manipulating light and depth of field would be the cornerstone of my work. There would be no artificial light – strobes, studio lights or onboard flash units. I used the highest resolution camera on the market, Canon’s 5DSR, and a variety of Canon’s L prime lenses (14 mm through 200 mm) depending on the scope of the image and the compression that I wanted to achieve. Every image was taken with a wireless remote on a Gitzo series 3 systemic tripod with an RRS B-55 ballhead to provide maximum stability and image crispness.
Capitalizing on the angles of the light was key. The mid-afternoon light spilled onto the spiral staircase in one of my favorite photos, along with the mid morning sun beaming through the cellar door to spotlight the old flannel shirt left behind ages ago.
I used a photographic technique known as HDR (High Dynamic Range) to create the landscape shots and a few interior shots, notably the “cobweb” photo taken in virtual darkness in an alcove of the cellar. This technique layers multiple photos taken at different light settings to create the most vibrant and detailed images. For example, the “cobweb photo” required nearly a dozen images, including one that kept the camera shutter open for nearly six minutes, during which time I couldn’t breath or risk moving a hair. It felt like eternity as I became convinced that spiders and rats might be crawling all around me!
Some images were taken with an extremely high depth of field to capture the detail and expanse of the landscape. Others intentionally were taken with a depth of field just millimeters deep. This created an almost dreamy effect in some of the photos, including the ivy on the stone wall, the light through the window on the floorboards, the lockers, or the door latch to the attic.
An incredible coincidence emerged after I completed the work that this property is part of my family history, making the project even more remarkable and the images most meaningful.
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Canon 1DXmarkii, Canon 135/f2.0L shot at f/2.0, Gitzo series 3 Systemic tripod, RRS B-55 ballhead, Profoto 47" diffuser, Profoto 47" silver/white reflector, Tether Tools Case Air Wireless, iPad Pro.
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There are so many ways to make the subject in a photograph more "interesting":
- Light: The word "photography" originates from the greek words that mean "drawing with light," so it logically follows that the creative use of light in photos can be transforming. Consider the angle, quality, color and quantity of light (natural and manufactured) when composing every image.
- Composition: The composition of every image is critical to the final product. Think hard about what appears in the frame with your subject and where the subject is placed. Utilize strategies like framing, rule of thirds, and leading lines to draw attention to your subject.
- Interaction: Every photograph tells a story so pay special attention to how your subjects interact with each other, how they interact with their environment, and how you interact with them.
- Equipment: Manipulate the aperture, shutter speed and ISO in every image to create the most interesting effects. This might include a depth of field just millimeters wide, a subject frozen in motion, an artistically blurred subject, or a highly compressed image.
- Editing: The initial image captured may be just the "rough draft" of the final product. The vast options for post-production editing give photographers endless possibilities to layer images, alter key properties of the subject, and manipulate the final photograph in subtle or dramatic ways.
The possibilities are endless! I can't imagine a more creative and rewarding form of artwork!
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The large, heavy construction screams quality, as I would expect in an L-series lens from Canon. The bulging, convex front lens element is marginally protected by a built in petal shaped lens hood. Consequently, traditional lens caps and filters cannot be used with this lens -- and great care is needed to assure that the glass is not damaged. While I wouldn't shoot in a downpour, it's a bonus that the 14Lii is weather sealed.
The 14/2.8Lii is insanely wide and not for everyone. This genre of ultra wide lenses (defined as a focal length shorter than 15mm) can be a challenge to use. Most people believe that ultra wide angle lenses are for "getting it all in", but images rendered can appear as a broad expanse with no compositional interest or clear subject. Force yourself to get closer to your subject when using an ultra-wide lens to push key elements to the center of the frame. Monitor the composition at the edges as much as the center of the image. And remember that these ultra wide angles lack the compression of their long cousins, so the difference between what is far and near is exaggerated. The 14/2.8Lii can create stunning architectural photos which make interiors appear more spacious, although you must take special care to keep the camera body level and at the critical height to ensure that all lines remain parallel. Alternatively, this specialty lens can be used to create some crazy angles and dramatic effects using every day items.
Example 1:
I am standing in the same location for both of these shots. The first is taken with the new 35mm 1.4Lii at f/1.6 on Canon's 5DSR. Because of the incredible resolution of the 5DSR, the shot has a near 100% crop. Even with the wide aperture and generous crop, note the clarity of the subjects and the background, as well as the scope of what appears in the image. The second photo was taken seconds later with the 135 2.0L on the 1DXmarkii. Have I mentioned that I LOVE compression? Notice how close and soft the background now appears, and how the family seems to pop off the photo in a 3D-like manner.
Example 2:
The first shot below is cropped from a 50mm 1.2L, while the second is taken with the same 135/2.0L as above. Both shots are beautiful, but the feeling is different because of the way the lenses compress the image and blur the background.
Example 3, 4 and 5:
Same two lenses as above, but also note that images from the 50/1.2L have greater saturation and contrast, while the 135/2.0L has a dreamier feel. There are instances where the more punchy, broad and almost industrial look of portraits taken close with a 35mm lens wide open can look brilliant. The walking shot in my 12/31/16 blog post is a great example.
Example 3:
Example 4:
Example 5:
Example 6:
I love this example because both shots were taken from the same spot wide open (at their largest aperture) and are fantastic, yet completely different in the story that they tell. The first was taken with the 50/1.2L and the second with the 135/2.0L.
Bottom line: when choosing a portrait lens, select based on the composition you plan for the image. But, be sure to look beyond the subjects in your photo to consider how you want the background to look. When shooting from the same position with similar aperture settings, a longer focal length will provide greater compression and a shallower depth of field.
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Canon 1DXmarkii, 35mm f/1.4L ii (walking photo) shot at 2.2 and 135mm f/2.0 (sitting photo) shot at 2.2.
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And in honor of my father-in-law, a truly wonderful man who served our country for so many years.
Eleven year old Tiarnan pauses for a quiet moment with his grandfather.
Photos 1, 2 & 3: Canon 1DXmarkii, Canon 35 f/1.4L ii shot at 1.4
Photo 4: Canon 1DXmarkii, Canon 135 f/2.0 shot at 2.0
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Because Dave and Mary were absolutely the stars of the day, I feel compelled to share a few great shots of this beautiful and very fun couple.
PS. For gear heads out there that have asked, the photos with Mr. Trump were taken in near darkness thanks to Canon's new flagship 1DXmarkII and Canon's 35 f/1.4 II lens. No other camera I have used would have produced this level of detail at the required ISO of 5000! The photos of the couple outdoors were taken with Canon's 5DSR and 1DXmarkII, coupled with the 135 f/2.0 (all shots taken wide open at 2.0) and 50 f/1.2 (shot at 1.4).
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I put my own spin on these portraits. I believe that natural light trumps studio strobes every time. Mid-winter sunlight in the northeast is clean and bright--unmatched with the help of diffusers and reflectors. And, an insanely shallow depth of field (using Canon's L glass wide open between f/1.2 and 2.0) makes any background melt. These shots are not about smiles (although they can work magic at times), but about expression.
Check out these awesome actors and actresses ... and a fun phone shot at the end showing the surprising on-location set up I used to capture them.
1. The Large Rectangle
The art is arranged within an imaginary rectangular line. Margins inside the rectangle can be equal (2.5 inches in the first two examples) or uneven (as in the third arrangement.)
2. Center Line (with Bottom Row Aligned)
An invisible horizontal line between the top and bottom rows of images grounds the arrangement. The bottom side of the top row of photographs sits on the line, while the top side of the lower row meets the invisible line. All margins are 2.5 inches. The base of the bottom row of photographs is level, top of the first row is not. The symmetry provides balance and order to the arrangement.
3. Bottom Row Aligned (No Center or Top Alignment)
A triangular arrangement with a peak in the center of the top row is always flattering. All margins are equal at 2.5 inches.
4. No Exterior or Center Alignment (Circular Pattern)
Even without center alignment or a straight exterior base line, these arrangements work because they have symmetry and/or a larger image grounding the display.
5. Staircase (Top and Right Side Aligned; Stepped Alignment on Left Side)
Staircases and landings offer a fun location for arrangements that follow the rising stairs. In this case the top and right side of the arrangement mimic the strait line of the wall, while the bottom and left side track the rising stairs.
- High resolution screens require high resolution photographs. With retina displays and high resolution smartphones dominating the market, web designers are utilizing attractive, large format photographic backgrounds.
- More data = more potential. High quality pictures also mean that you can edit and crop photographs if needed without degrading the photo's appearance.
- Low quality photos cheapen your business image. Photos taken with a phone or point-and-shoot camera make your site feel cheap with grainy, pixelated images. This sends your visitor the message that you are an amateur.
- New photos keep your website fresh. Pictures are an immediate sign that you have updated your site, and they show visitors that they will find fresh content on your site.
- Building trust. Images that are relevant to what you are writing or selling build a trust with your clients and underscore your business message.
2016 will bring higher quality screens and more creative websites, all loading at speeds faster than ever before. Give me a ring to discuss how unique images can make your business stand out among competitors. Following are a handful of examples of images I created that helped sell products and services in 2015.
I am absolutely thrilled to share that I completed all 100 days of my colossal project that began on the Summer Solstice in June. I'm especially proud of how the images developed and the complexity of some of the shots from the last week. I was determined to finish with a bang ... and how couldn't I when I begin the final week with a black evening gown and a sparkling 2015 white Porsche? Click to view a slideshow of the complete project.
Quick recap: 100 days of images, each taken of one subject outside in only natural light. Canon’s flagship 5DS R mounted with Canon’s 50 mm f/1.2L lens was the only one that could be used. And, every shot had to be taken “wide open” at an aperture of f/1.2, which creates an extremely shallow depth of field. The lens at this setting is one of the most challenging to shoot with, and it’s now among my favorites. The project was inspired by a broad-scoped challenge in “The Great Discontent” magazine — the parameters for the project were my own choice. The daily goal was to be creative, unique, and true to my style — it wasn’t about the most flattering portrait or hokey poses, rather about manipulating light, perception, angle, depth of field, and composition for the final product.
Fun facts: No typical smiling shots; in fact, only five out of 100 have smiles — and those were completely spontaneous grins. Out of 100 pics, 68 are color, 26 black/white, 2 color/black-white mixed, 2 split toned for a sepia effect, and 2 partially desaturated. Most shots were taken in Chester, NJ, although about 20 were taken in the Adirondacks, Poconos, Bernardsville, Gladstone, Delbarton, Elmwood Historic Cemetery in New Brunswick, Bucknell University, and Lehigh University.
A special thanks to all the individuals and businesses that allowed me to shoot on their grounds. And, most important, hats off to my six awesome models for joining in my creative endeavor!
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Note: Check out a recent blog entry for the story behind this swan song shot!
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Dr. Swaintek-Lamb (center) and her beautiful and talented staff in Bernardsville, NJ:
Individual staff portraits are perfect for their website, brochures, Linked In, conferences, and other advertising. Photographing the women in natural light outdoors provided a more flattering, modern, and friendly look compared to a staged studio shoot. This echoes the friendly and approachable style of their office.
I also photographed numerous patients with their new perfect, sparkling smiles. I produced these images on 16-inch square fine art metal to create a stunning wall collage that is the perfect testament of Dr. Patti's talent (and much more personal than stock photos of strangers.)
I included images of their state-of-the-art equipment in use -- great pictures to use in their blog entries or website articles.
And... a fun shot to capture the spirit of the office staff!
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For a sharp look, shoot and crop for a longer, narrower 1:2 ratio that mimics the layout of the team:
When printing and/or framing for team members, add the team and year for posterity and print in a 2:3 ratio (i.e. an 8x12" print) instead of the more typical 4:5 ratio (i.e. 8x10" print)
After the traditional team shots, capture the players informally for some magical memories. In the following shots, graduating Seniors who have spent years playing together show their lighter side.
Adding graphic designs, names, years, motos and more makes the memory all the more special ... especially when produced on a fun high-gloss surface like fine art metals or acrylics, like below.
Check out Kristy's awesome original song on iTunes or on CDbaby! And, watch for another cover with a wonderfully mystical photograph in the coming months.
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DAY 10
Will basketball be cancelled because of the thunder?
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AAAhhhhh!!!
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One minute 'til midnight.
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What am I supposed to do?
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I feel bugs under my feet.
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I've probably missed the whole World Cup game by now.
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I could go really fast ...
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Just because ... !
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Each day I must remind myself that the photograph I take is not about perfection, but about the compilation of a set. This is a learning process, and I am tremendously excited about it. I share the first nine days of photography below and welcome your thoughts.
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Did you know that every time you take my picture, I lose part of my soul?
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Do I look like a character from "Children of the Corn?"
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I can see you.
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There's a car coming behind you.
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Can you wait to take my picture until I get my hair cut?
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Welcome to my lair.
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Can I have a dog up here with me?
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Can I just go play?
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Can we take my senior portraits here?
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Both bags have a shoulder strap with extra leather padding where the strap sits on your shoulder (the Bowery's strap is removable) and a rear pocket. The Prince Street also has a useful removable hand strap. The Bowery has one interior leather pocket and one clasp on the front, while the Prince street has two of each. The Bowery also has two very small pockets on each side, which are virtually useless because they are hard to access even with small fingers. Interior padding is the same, but the Prince Street comes with more removable dividers. The inside flap of the Bowery is made of leather, and while the Prince Street has canvas inside the flap (the leather is much nicer, but probably was probably omitted on the Prince Street to make it lighter.)
The Bowery comes with one divider, and the Prince Street with a removable divider that sits along the back wall to hold a tablet, and three smaller internal dividers (only two are shown below.) Velcro allows the dividers to be easily moved and repositioned. Ona lists the exterior dimensions of the Prince Street as 12 ½ x 10 x 4 ½ inches, and the internal dimensions as 12 x 9 x 4 inches. The smaller Bowery model reportedly is 10 ½ x 7 x 4 inches on the outside, and 10 x 6 x 4 on the inside. This is obviously inaccurate since the nice interior padding mades it impossible for the Bowery to be both 4 inches inside and outside. I measured the Bowery interior depth at 3.25".
For my purpose, these inaccurate measurements on the Bowery were a deal breaker. Shown below is Canon's new 5DS-R with the 24-70 f/2.8 L lens attached. Indeed, as other reviewers reported, the 5D professional line fits inside the Bowery, but I found it extremely difficult to close--too challenging to latch while walking with one hand, it required a two-handed wrestling move. The result when closed (photo below) resembled a stuffed sausage more than a classy rectangular bag.
That said, I would highly recommend this bag to anyone with a prosumer or amateur system because the fit would be perfect and the style and function unbeatable. Shown below is my original 1980 Canon A-1 with a 50mm f/1.4 lens in the Bowery bag.
Good news though for pro-shooters, the Prince Street is a perfect fit when traveling light. With the tablet sleeve removed (A nice option for travel, but Ive never seen a pro carry a tablet to a photo shoot anyway), the 4 ½ inch tall 5DS-R fit nicely inside the depth of the Prince Street. Shown below is the 5DS-R with 24-70 f/2.8 L lens and hood, Canon 135 f/2 L with hood, and wallet, glasses and keys. I love the easy access to my phone in the rear pocket (which does conveniently have a magnetic closure, unlike the Bowery's rear pocket) and the smaller pockets in the front for extra memory cards, batteries, business cards, etc. Because of the 9" interior height of the bag, there remains room for any extras on top of the gear (or under it). As seen in the second photo, there is no "pull" or awkward shaping when the bag is closed.
Here, the Prince Street Holds the 5DS-R with Canon 50 f/1.2 L attached, and the 135 f/2.0 L and 100 f/2.8 L Macro flanking the camera. Plenty of padding keeps the gear secure (something I am a stickler for) and there is additional room across the top for a wallet, flash in padded case, etc. I love that the camera fits perfectly on its side with the grip (and Joby wrist strap) in the up position for quick removal while walking. The third divider and tablet divider are shown outside the bag in this image.
The Prince Street works beautifully as strictly a lens bag. Shown here stocked with the Canon 135 f/2.0 L, Canon 70-200 f/2.8 L IS, and Canon 100 f/2.8 L Macro (all with hoods), the bag can be left open and lies flat against your body. This allows for quick lens switches. Not shown, but another great option, the Prince Street will fit two pro camera bodies each with a lens attached and a divider between the two systems.
A quick comparison between the Ona Prince Street and the Domke F-4 Pro, both which hold a similar amount of equipment inside the padded compartments. I love each equally for different reasons. The Domke seems to expand endlessly and allows me to stuff the side pockets full of extra paraphernalia. And, it's soft, broken in canvas forms to me when worn cross body. But, the Ona is classy, non-camera-bag-looking, and slim enough to lay close to my body without getting in the way. I will be using both, sometimes for the same photoshoot instead of my large, heavy bags.
The Prince Street is shown here with the 70-200 f/2.8 L IS attached to the 5DS-R camera body. The bag will not close with this arrangement.
The next two photos of the 70-200 f/2.8 L IS mounted on a camera body inside the Domke A-4 Pro shows how adaptable this bag can be.
Below, a few close-ups of the Bowery and Prince Street bags. The quality of the leather and the workmanship is stunning. I love the way the strap on the Bowery is easily removable if you want to use the bag inside a larger travel bag.
I find the smaller hand strap on the Prince Street invaluable. I am constantly grabbing for the smaller strap on the Domke bags, and I love the way the handle lays out of the way when the shoulder strap is being used. I dislike, however, that the shoulder strap on the Prince Street is permanently attached. Why can't it be removable, like on the Bowery? The shoulder strap can fit inside the bag while closed to allow for only hand strap carrying (see second photo below), but I'd rather use the valuable space inside the bag for photographic gear and not a thick leather strap. Also, when using the smaller hand strap, the attached shoulder strap prevents it from sitting in the center of the brass bracket, which means the bag cannot be carried evenly without tilting. The third photo below shows Domke's easy solution to this problem--simply align the hand strap under the shoulder strap. I wish that I could cut off this shoulder strap and purchase the removable Bowery strap from Ona--that would solve these minor but irritating problems.
Bottom Line: you can't have too many camera bags and I believe that everyone needs to have an Ona leather bag in their collection. The quality is unparalleled and the look is simultaneously modern and classic. While pricey, these bags will last a lifetime. The Bowery bag is stunning but definitely best suited to amateur gear. The Prince Street won't carry all of your pro gear, but is perfect for small shoots or traveling around town with a bag that doesn't scream "photographic gear." I also will be using it as a lens bag when my camera is in my hand and I need three quickly accessible lenses attached snugly to my body (definitely a classier option with more protection and uses than the shoot sac lens bag, albeit heavier.)
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In this example, the photograph and inscription were specially chosen and created on a vivid fine art metal (see a review of this modern product here.)
Shooting directly into the setting sun without losing detail is a tricky feat:
I love black/white and I love color. Who says you can't have the best of both worlds?
Shooting white on white isn't easy but gives an interesting result with varying tones:
Controlling depth of field with multiple subjects--while keeping bokeh in the background--is walking a fine line:
Shooting as the sun is rising gives pictures a calm, ethereal effect with a touch of morning dew:
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Note: All photos were shot in the late afternoon under thick cloud cover at ISO 200 and f/2.0 to test the lens at it's extreme. They are shown below unedited except for the "lens correction" application when importing into Lightroom 5. Hats off to two of my favorite redheads for tolerating yet another impromptu photoshoot with only moderate complaining.
First shot out of the box: a quick candid with no prep; it couldn't possibly look sharp, could it? Amazing ... I was hooked.
Gorgeous soft bokeh and an incredibly crisp focus point. Shooting wide open at 2.0, I expected a depth of field so shallow that only one eye (the closest always) would be in focus. But, compared to the Canon 50 mm f/1.2L (which I have a love-hate relationship with because of it's extremely shallow depth of field), the results were beautifully gradual in their blur and popped on my 27" screen.
Shooting strait on, every eyelash and freckle is perfectly defined.
Testing the lens at a distance, the background still melts away.
This lens is FAST at 2.0!
Gorgeous color and perfect skin tones make this a perfect portrait lens.
The 135 seemed like it might be my new favorite for portraits, but how did it really compare to my 70-200 f/2.8L IS pride-and-joy? I had to compare apples-to-apples to find out.
Canon 135 f/2.0L: Photo at 135 mm, ISO 400, f/2.0, 1/1250
Canon 70-200 f/2.8L IS: Photo taken at 135 mm, ISO 400, f/2.8, 1/500
Canon 135 f/2.0L: Photo taken at 135 mm, 400 ISO, f/2.8, 1/500
Canon 70-200 f/2.8L IS: Photo taken at 200 mm, ISO 400, f/2.8, 1/500
Result: Full frame on my 27" hi-definition screen, I loved them ALL! Crispness, color, bokeh, everything.
- Crispness without IS: I had worried about my not-so-steady hands with a non-IS (image stabilization) lens like the 135, but it's so fast with its wide aperture that the shots were consistently crisp.
- Vignetting: There was definite vignetting (a darkening/fall off of color around the edges of an image) with the 135 at both f/2.0 and 2.8 (much more than with the 70-200 2.8L IS) but it was corrected completely with one click in Lightroom 5. Besides, I often like the vignette effect on portraits.
- The 135 was considerably faster at 2.0 than my prized zoom, which would enable shooting with even less light.
Then the disappointment: when I zoomed up 8x the size, there was a bizarre "purple fringing" around high contrast areas, such as the word "Canon" on the vintage A-1 camera. Fringing is a ghost like shadow, most often purple, magenta or blueish, that is a form of chromatic aberration. It is fairly common with wide apertures, but I had never experienced it with any of my other lenses. It appeared at both f/2.0 and 2.8 with the 135L lens, but not with the 70-200 at f/2.8. The vignetting was completely correctable in Lightroom 5, but still a disappointment. See for yourself:
First photo above from the 135 Lens (no editing): (note: the purple fringe is glaring on my full screen, but the effect is slightly diminished here because I had to screenshot to post the example.)
First photo above from the 135 lens after correcting in Lightroom 5 (desaturating purple, magenta and blue)
Second photo above from the 70-200 lens (no editing, no purple fringe)
Bottom Line: The 135 f/2.0L is a keeper. There was no vignetting on any of the portraits, which means that this minor flaw isn't a deal-breaker for me. Even without the convenience of a zoom, the lighter weight and maneuverability with this lens makes the 135 prime more comfortable and steadier to work with than the 70-200 white monster. I'll be carrying both in my bag!
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There was lots of information to share in this 12x24" fine art metal -- school, crest, class, player name/number/position, all the seniors' names, and the team moto. Using complementing colors and a creative arrangement, this piece was a standout.
Easel backs are optional, but I recommend the metal bracket shown here for hanging larger metal pieces.
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The following photographs feature design work by Janet Villafane (Villafane Design) and custom cabinetry by Brian Arnold (B.A. Woodcraft). I heartily recommend both for their artistic abilities, design knowledge, top-notch craftsmanship, and for being an absolute pleasure to work with.
With little time or control over location and lighting, look quickly for a neutral backdrop, shoot at a wide aperture, put the sun behind your subject, and spot meter to avoid underexposure.
Tell a story! This shot of twins Tim and Ryan is worth a thousand words.
The seconds before or after the posed shot is often the most priceless. I love the story this shot tell of these sisters.
Tux shots in black & white are vintage and chic!
Details matter...
Capture the girls and boys separately for an entirely different look. For most teens, proms are more about friends than couples.
Don't forget that pic with Mom and Dad...
And any picture of teens interacting...
And, yes, this shot is a must for the record book, but who says it has to be shot in a traditional 2:3 ratio?
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No need to buy special clothing. In the image below, I instructed each child to go to to their closet and choose a nice top and bottom that was light blue, dark blue, grey or tan. I allowed one girl to wear a print, but told the others to stick to solids. The result worked perfectly, and the colors coordinated nicely with the beach scene without distracting from the photograph.
Individual portraits allow for more flexibility. Try spicing up your look with a fun accessory, bright color, or chic look. But, don't take it too far or you will be laughing at the photo in ten years.
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Close-up pictures showing the grain of the canvas.
Always professionally finished on the back and ready to hang.
Attire is key in any group portrait. I recommend avoiding the "matchy-matchy" look of the 1990's and the crisp white shirts with khakis look of the 2000's. Avoid competing patterns and choose a few complementary colors for everyone to choose from. For summer beach portraits, my favorite is navy-light blue-grey-tan combinations.
The ocean isn't always the most interesting background for your picture. Look for opportunities to utilize the sky, and place the setting (or rising) sun in the top corner for group portraits. Experiment with backlighting by placing the sun directly behind your subject. Expose for the sky if you want a silhouette (2nd photo below) or spot meter for your subject to keep faces properly exposed (3rd photo below.)
Remember that beach photographs are by nature less formal. It's normal (and somewhat desirable) to have hair out of place or sand on your skin.
Four 8x12 consecutive shots of Jack winning a face-off on the lacrosse field will hang in a row over his desk:
The fine art metals are available in dozens of sizes. This one is an 11x14 stand alone:
Notice how thin and glossy this sheet of fine art metal is and how it will hang about an inch from the wall.
The back view shows the box bracket used to hang the artwork. The metal art also is available with no bracket (to display on an easel or shelf) or with four stainless pegs mounted in the corners.
Way to go class of 2014!
That's me in that cherry picker bucket!
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Gitzo: A great tripod experience led me strait to the series 3 monopods by Gitzo, specifically the GM3551 (see my explanation in yesterday's blog post, but this code represents a Gitzo Monopod, series 3, carbon (5) leg, 5 sections, 1st edition of this model.) I chose the 5-section version because I often do need a shorter monopod so that I can shoot while sitting on the ground, and so that it is easier to carry inside a large camera bag if needed. The monopod extends from 21.3 inches to a stunning 75.6 inches. I thought that I couldn't possibly use a monopod well over 6 feet until I first used it in the stands of a hockey game and had the option of grounding the rubber foot on a lower level, and subsequently was able to hold the camera on the monopod high above a lacrosse team huddle to capture a unique angle of the game.
Gitzo reports that the GM3551 weighs only 1.37 pounds but its carbon strength can support up to 40 pounds of equipment. My only distrust is the webbed handle (great for backup, but I wouldn't trust all my gear to this strap) and the screw mount. I worry that the head could unexpectedly loosen from the screw mount, so I will be conscious to check it regularly.
Really Right Stuff: I selected the RRS MH-01LR monopod head with a B2 ASII quick release clamp. This system utilizes the same plates for my camera body and long lenses as my tripod system, which makes the systems conveniently compatible. It is steady, smooth to adjust, and quick to mount--everything that I could need from a monopod.
Similar to my tripod set-up, I knew that I needed a sleek, safe way to transit my monopod when it wasn't in use. I found Gitzo's case intended for its smaller series one tripods to be a perfect fit for the series 3 monopod with head attached. Seen above and below is the GC1100 bag by Gitzo. Gitzo reports that it is 3.6" in diameter and 25.6" long--a size that fits the monopod with head securely with a convenient double zipper, handles and adjustable shoulder strap, and plenty of padding to keep the system safe in transit.
The Really Right Stuff L84 plate is custom made for Canon's 70-200L IS lens. I also purchased a plate that remains attached at all times to my 5Dmarkiii body.
Gitzo: The lightest, sturdiest and sleekest carbon fiber legs on the planet. After much debate, I settled on the Gitzo GT3532LS. For those new to the Gitzo numbering system, the first letter is for Gitzo (G), the second letter is for the type of device (T=tripod), the first digit is the series (3), the second digit is the leg material (5=carbon), the third digit is the number of segments (3), the fourth digit is the edition of this model (second version in this case), the L stands for Long, and the S stands for the Systematic series (no center column.) Other terms that are common include: EX (explorer series), LVL (leveling series), G (geared), T (traveler series), and V (video adapter.)
I chose the series three as the perfect mix between the too-light series 1 and 2 models, and the too hefty series 4 and 5 models. The carbon legs were a key motivation for my upgrade due to the added strength and lighter weight. I chose 3 sections instead of 4 or more for the added stability and quick set-up--these factors were more important to me than a shorter folded length, which is more portable. I love that the Systematic models are the most stable because they lack a center column. The advantage of the quick height adjustability of a column is negated by its inherent instability. Many studies prove that the center column becomes a monopod mounted on a tripod, increasing camera shake.
I worried that I would miss the quick lock release on my Bogen-Manfrotto legs, but now am not looking back. The screw extensions are easy to master after a few tries (yes, I unscrewed them too far more than once), and feel more secure and easier to control than the latch systems. I was also concerned that I would be stooping slightly with the standard length GT3532, so opted for the Long version. While I am only 5'6" tall, I find that the extra few inches of height allows me to stand straight when using the tripod on a slope or stairs. Conveniently, there are markings on each of the three legs that happen to make the system exactly the height I need it to be when on level ground. While adding a couple of ounces to my tripod's weight, the option of having the extra height is worth it to me.
RRS: I hesitated to take a brand named Really Right Stuff seriously until I read review after review gushing about their impeccable quality and workmanship. I knew that I wanted the strong quick release system like Arca-Swiss has manufactured (the Z1 is reportedly excellent), but I was leery of purchasing third party or generic mounting plates for my camera and long lenses. It was an added plus that RRS is manufactured in the US, and I became fascinated with the company's history and products as I studied their website for hours. I considered the smaller BH-40, which is rated to hold most of my gear--but opted for the stronger and larger BH-55 bullhead I took the gamble, waited a week, and knew the second I held it that this tripod head was a work of art. The bullhead glides smoothly, the dials easy to use, the balance simple to calibrate, and the mount quick, secure and flawless.
For portrait orientation
Integrated screwdriver
Screw based leg-lock system with rubber feet attached.
Level
Metal hook under tripod for hanging weights or camera bag. Excellent for holding your gear-bag out of the mud and adding extra stability when you are in the middle of a windy sports field in April!
Amazing how low it can go!
The Gitzo GC-3100 padded tripod bag is a perfect fit for the Gitzo 3532LS with the RRS MH-01 bullhead attached (with padded cover that is included with the ballhead ) The bag is described as 32.3" long by 5.5" wide -- a snug but safe fit. The double zippers make entry easy, the padding is generous, the small pocket inside useful, and the strap adjustable. I also like that it is simple and professional looking, unlike some flashier competitors. A newer version of the bag was just released, but it is significantly larger and more expensive. If you can find the 3100 in stock, you'll find it perfect to carry your valuable gear.
This Really Right Stuff L84 plate is custom made for Canon's 70-200L IS lens. I also purchased a custom plate that remains attached at all times to my 5DmarkIII.
Where to buy: I turn to B&H for virtually all my photographic needs, and they had the Gitzo legs and bag shipped to me in a day. Really Right Stuff can only be purchased from RRS itself at it's California offices. I did call them to discuss my purchases and welcomed their advice and very personal customer service.
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Not sure what special gift to get the person who has everything? I can create custom artwork of virtually any subject imaginable. Pets, a favorite hobby, musical instruments, sports teams, and nature photographs are just the beginning. The professional labs that I swear by will produce breathtaking artwork on fine art metal, canvas, acrylic or specialty papers. There is no limit to what we could create together!
