Glowing Air: Volumetric Lighting

One of my favorite lighting effects is volumetric lighting.  Normally, we see light only when it hits a solid surface or some liquids.  We usually don't see it in the atmosphere itself.  But when there's smoke, dust, fog, steam, water droplets, or other small particles in the air, light becomes visible.  This is the underlying principle for crepuscular rays (sunbeams).  It's also an effect often used by one of my absolute favorite photographers, Rarindra Prakarsa, and to me it looks pretty darn cool.

I met up with some fellow strobists from my local photography club over the weekend and practiced some strobist setup shots at a local park.  There was this spot where steam was coming out from some vents.  We used it as an opportunity to take some shots, and I liked the results.

Anyway, here are a few more examples of volumetric lighting:

Got some more samples of volumetric lighting?  Pls. share them in the comments!  [ Readers from New York and the UK, I'm looking at you! :) ]

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Portrait On a Crop Sensor: 35mm vs 50mm

NON SUBJECT RELATED INTRO:

Before I begin I'd like to apologize about my lack of contribution lately, but after I thought my schedule was stable once again after my return trip from Malaysia, it got unsettled again and we have a very long vacation here (almost 10 days), and I will be traveling to the red sea and taking tons of pictures there.

I already have a long queue of new equipment that I want to talk about and I promise you I will do, so today's post will be a quickie.

THE REAL POST:

While in Kuala Lumpur I went to a nice camera shop where I had the opportunity to try the Sigma 50mm f/1.4 lens, and since there was only me and the shop owner inside I took a quick available light portrait of him using the Sigma 50mm f/1.4 and the Canon 35mm f/2 that I had with me at the time.

I didn't move back or move my subject between the shots, and I shot both lenses wide open, and the Sigma nailed the focus perfectly. You can see in the pictures below the difference in DoF (I calculated it and the DoF for the Sigma at this distance was like 5 cm, while it was 14cm for the 35mm) and how tight the 50mm is (look at the objects in the background). You can also see the effect of the different focal length on his face, I will leave you to observe both pictures for yourself, but it is obvious that longer focal length results in more pleasant portraits.

P.S. The 35mm equivalent focal length for both of these lenses are 56mm and 80mm.

Canon 35mm f/2 @ f/2

Sigma 50mm f/1.4 @ f/1.4

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Quick and Easy Portrait

Here's a simple family portrait I took at our living room that took no more than 5 seconds to do.  All I did was to take a shot in front of a wall.  The clean background can simulate a seamless background at a studio.

The trick to making it work is the lighting.  If you use a pop-up flash or direct flash, the subjects' shadows will be clearly visible on the wall, which won't look very good.  Instead, you have to use a soft light source such as light from a large window (as long as the sun is not shining through it directly on your subjects) or bounce flash (with the flash facing away from the subjects).  In the shot above, I used both ambient light (from a patio door behind the camera) and flash bounced to a ceiling camera rear and right, on TTL mode.

If you don't have an external flash, try using ambient only.  If the ambient is too dim and a popup flash is all you have, at least move the subjects away from the wall so that their shadows hopefully don't show against the wall.

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World's Largest On-Camera Softbox: the Fotodiox 8x12

I've been looking for a hands-free on-axis fill solution.  I've tried the Coco Ring Flash, which worked pretty well and got me the results I wanted.  However, I find it quite bulky and inconvenient to carry.  I wondered whether a small softbox fitted to an on-camera flash would work as well.  I found the Fotodiox 8x12 Softbox from Amazon and gave it a try.  How well did it work?  Hit the jump to find out!




The Fotodiox 8x12 softbox is a foldable mini-softbox designed for hotshoe flashes.  What sets it apart from dozens of other similar hotshoe softboxes is its size.  Fotodiox seems to have chosen the largest size that can still allow the softbox to be used with an on-camera flash.  At 8 inches by 12 inches, its surface is 33% larger than that of the 8 x 9 inch Lumiquest Softbox III, which to my knowledge was the previous recordholder for largest on-camera softbox.  The Fotodiox's extra size translates to a little extra softness.

In the real world though, even at 8 x 12, it can't get you the same soft light as bounced flash, or a large modifier like a more typical-sized softbox or umbrella.  For my purposes though, I was planning to use the 8x12 as on-axis fill.  Other than the Coco Ring Flash, my alternatives would have been popup flash (which is closer to the lens axis but a much smaller and thus harder light source) or on-camera hotshoe flash (not as close to the lens axis and a hard light source as well).  Mr. Strobist did have an innovative technique for handholding a hotshoe flash immediately beside the lens, which I've tried and works very well, but I wanted a hands-free solution so I can use another flash handheld (such as with a handheld umbrella).

The 8x12 is made of fabric, with no solid frame.  The exterior seems to be ballistic nylon.  The shooting surface is made of some sort of polyester, which I believe is similar to that of a "real" softbox.  The interior is texturized silver (not just smooth silver) to help spread the light more evenly and avoid hotspots.  There is also a built-in baffle inside, also made of polyester, to further reduce hotspots.  The baffle is attached to one side and is used by velcro-ing it to the opposite side of the softbox interior.

The 8x12 comes flat.  To use it, I simply fluff it up and attach it to the hotshoe flash using the built-in velcro strap.  The underside of the velcro strap is a bit rubberized to allow the 8x12 to grip the flash more securely.  Nice touch.  I'm confident it will stay on except in extremely strong wind.  At the same time, if it gets knocked off by accident, I'm sure it won't rip the flash head off with it.  Because the 8x12 has no frame per se, it can be somewhat floppy.  I like to use mine with the logo facing downward, which seems to keep it more level than otherwise.

I was pleased to find out that even with a 17mm lens (25.5mm equivalent) and a Nikon SB-600, the softbox did not block the lens -- barely.  With that combo, if the softbox tilts down slightly, it will show up in the shot.  It helps to use the lens hood to keep the softbox from tilting down.

LIGHT LOSS
I still don't have a flash meter.  I estimated light loss using the same testing protocol as with the Coco Ring Flash (I fired bare flash in manual mode and then fired the flash with the 8x12 inserted at the same power, then compared the apertures that yielded similar histograms.)  Using this protocol, it seems that the 8x12 eats up a little more than 3 stops of light compared to bare flash.

With Softbox: 1/128 manual power, f2.8 @ ISO 200

Bare Flash: 1/128 manual power, f/8 @ ISO 200

TEST SHOTS
Here are some test shots in TTL mode taken at sync speed to minimize ambient, all basic JPEG, straight-out-of-the-camera with no adjustments whatsoever other than resizing (except for the one shot below).  Note: there is a yellow tinge in the bottom right hand corner -- that's the desk lamp I used to help me focus on the target (because the 8x12 blocks the AF assist light of the hotshoe flash).

Here's what the 8x12's light looks like by itself and as on-axis fill.  I was about 2.5 feet from the mannequin head, and the wall was about 1.5 feet behind the mannequin head:

8x12 softbox only (SB-800)

Bare flash only (SB-600)

Bare flash as key (SB-600) + softbox as fill/commander (SB-800)

As with the Coco Ring Flash, it seems that TTL gets confused.  I think it's because the flash is facing forward, which causes the camera to use the distance data as part of its TTL calculations.  With a +1.5 exposure adjustment in Lightroom 3, the shots look like this:

"REAL WORLD" SHOTS
I was able to use the 8x12 in real world shots.  For these shots, we were in the desert and the sun was blazing.

Here is a comparison between a shot without flash, and a similar shot with the softbox.  Again SOOC, basic JPEG, no adjustments other than resizing.

No flash

With flash and softbox

MACRO USE
I also tested the 8x12 as a light source for macro flash.  Note: I only tested with the Tamron 17-50 VC (1:3 ratio), not a true macro lens.  These are SOOC, no adjustments.

Without flash

With flash and softbox

SUMMARY

Here are some of the things I like about the Fotodiox 8x12:

• currently about half the price of the Lumiquest SBIII
• 33% larger than the 8x9 SBIII.
• The interior surface is not just white or smooth silver.  It has a bumpy silver surface which I think helps the light spread out more evenly inside the box and reduce hotspots.
• Can still be used for on-camera flash.  Light enough that it doesn't seem to strain the flash head.  
• Does not block the lens at 17mm (25.5mm equivalent) -- the main reason I didn't get the Lumiquest LTP.
• Includes a built-in velcro strap and rubberized interior strip to grip the flash head without the need for a cinch strap.
• Includes a built-in internal baffle for extra diffusion.  I haven't been using it though.
• Much more portable than a ring light.
• Includes a convenient carrying bag with a small strap that I can attach to my camera bag.
• 2 yr warranty.

What I don't like about it:

• It is not rigid and doesn't have any kind of frame, so the sides don't straighten out perfectly.  It flexes like starched dinner napkin.  But even if the sides aren't evenly straightened it seems that the light still looks even (even if I don't use the internal baffle). 
• Takes a few seconds to unfold it, "fluff" it up, and attach it to the flash.  I think it would be faster if the sides had some rigidity.
• Not 100% perfect for fill light because it still casts a shadow.
• Blocks the AF assist light from the hotshoe flash.
• Very tight fit on the YN-560 (which I think has the exact same dimensions as a 580EXII).
• The front part is some sort of thin polyester fabric -- I'm concerned that it might get damaged.  However, from what I gather, that's the same type of material used in 'real' softboxes.
• Carrying bag is extremely thin.  I doubt the bag will last a long time.

Where does the Fotodiox fit in my gear options?  If I'm in a fully controlled environment and wanted fill light, I would use bounce flash, an umbrella, or regular-sized softbox to minimize shadows.  If I'm shooting run-and-gun the whole day (e.g. as an event photographer), the Coco Ring Flash seems to provide less noticeable shadows (because it's closer to the axis).  But for everyday shooting purposes, which require me to take my camera in and out of my camera bag, or when I'm not sure if I'm even going to take any photos, bringing the Coco Ring Flash is too inconvenient, and I would instead use the Fotodiox 8x12.  That's why the Fotodiox's carrying bag has been firmly attached to my camera bag ever since I got it.

If you'd like to get the Fotodiox 8x12 from Amazon, here's the link (note: it's an affiliate link - thanks for helping to support the blog!).

Here are a few more shots with the softbox:

photo taken by my dad!

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Alternative Full Frame Lenses for Nikon

Updated: 4/14/12

The successor to the D700 is anticipated to be released this year.  I'm one of those who are looking forward to that as an opportunity to move up to full frame, either by getting a good price on the current D700, or getting the successor. 
Of course, one of the deterrents to upgrading to full frame is the cost of the lenses compared to similar DX lenses.  Fortunately, even without considering third party alternatives, there are relatively less expensive full frame Nikon lenses that still perform fairly well.  Have a look (unless otherwise noted, lenses are Nikon and prices are for new lenses):

Wide angle zoom
Small sensor: 10-24 ($900), 12-24 (~$1000), Sigma 8-16, Sigma 10-20, Tokina 11-16 2.8, Tokina 12-24 f/4.
Ideal full frame: 14-24 2.8G ($1800), 17-35 2.8D ($1769),  16-35 f/4G VR ($1259).
Decent full frame alternative: 20-35 2.8D (~$700? used), 18-35 f/3.5-4.5D (~$600), Sigma 12-24 ($900), Tokina 16-28 2.8 , Tokina 17-35 f/4

Standard zoom
Small sensor: 17-55 ($1479).
Ideal full frame: 24-70 2.8G ($1829).
Decent full frame alternative: 28-70 2.8 AF-S (~$1000), 24-85 3.5-4.5 VR ($599), Tamron 24-70 2.8 VC ($1299), Tamron 28-105 2.8, 24-85 f/2.8-4D ($680), 24-85 3.5-4.5G (~$300 used)

Telephoto zoom
Small sensor: 55-300 VR ($345), 55-200 VR ($235), Sigma 50-150 OS (TBD)
Ideal full frame: 70-200 VR II ($2600)
Decent full frame alternative: 70-200 VR I (~$1600 used), 80-200 ($1225),  70-300 VR ($540).

Walkaround lens
Small sensor: 16-85 VR ($700).
Ideal full frame: 24-120 f/4G VR ($1200). 
Decent full frame alternative: Tamron 28-105 2.8, Nikon 28-105 3.5-4.5D (~$200 on ebay).

Portrait prime
Small sensor: 50 1.4G ($485), 50 1.4D ($369).
Ideal full frame: 85 1.4G ($1700), 85 1.4D ($1220), 105 2.8G VR, 105 f/2 DC, 135 f/2 DC
Decent full frame alternative: 85 1.8G ($499), 85 1.8D ($470)

4/1/12: I will be reviewing the Nikon 28-70 2.8 and the Tamron 28-105 2.8.

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It's Like Getting Gear for Free

Do you want free gear?  A lens or a flash perhaps?  Here are my favorite ways of getting gear painlessly.

1.  Change we can believe in.

I put all my spare change in a jar.  After a while it adds up.  Ask your bank if they will convert coins into cash.  If not, try Coinstar.  Coinstar normally charges a 9% fee but if you choose to receive your money as a gift certificate with certain partners, there's no fee.  Fortunately, one of those partners is Amazon, which usually has pretty good prices.  Recently I brought a jar of coins to my local Coinstar and got a gift certificate for $88. That's easily enough for a Yongnuo YN-560!

2. Let your bank work for you.

Some banks have reward programs.  I use Citibank, which offers ThankYou points that can be redeemed for stuff.  Signing up for ThankYou points doesn't cost me anything and I would use Citibank's services anyway, so this is like getting something for nothing.

Citibank's ThankYou rewards are pretty diverse and even includes a Nikon SB-900 (81,100 points).  However, I find I get a better deal by trading my points for gift certificates with their partners.  A couple of those partners have camera gear: J&R and Best Buy.  I find that J&R (jr.com) usually has decent prices that are often comparable to Amazon's.

A few tips:

• Check if you get more rewards for your points if you choose higher denominations.  For example, for J&R, a $50 certificate is 6,000 points while a $100 certificate is 10,000 points (17% discount).
• With some partners, you're limited to only one certificate per transaction.  It pays to read the terms and conditions.
• Some rewards are available only to Citi credit cardholders with ThankYou points.  You may want to sign up for such a card to get more for your Thankyou points (last I checked, there was no annual fee).
• With Citi's program, you can earn points by using your debit card.  That's one reason to use a debit card instead of a credit card.

3. Charge!

Many credit cards offer rewards.  It seems to me that the best ones end up with only around 1% cashback, whether it's in the form of cash, rewards, or whatever.  I found a few exceptions to the 1% rule, though:

• Discover: if you exchange your points for gift certificates with certain partners, you effectively get more than 1%.  Here are some of those partners (with camera gear): Brookstone: 50% bonus.  Crutchfield 25% bonus.  Barnes & Noble: 11% bonus.  Dell: 11% bonus.  Overstock.com: 11% bonus.
• Target: this won't get you free gear per se, but this is a great way to save.  If you have a Target credit card, you get 5% discount both at their retail stores and online.  In addition, for every $1,000 you spend you get a 10% discount card for retail stores *and* a 10% code online.  Best of all, the 10% discount is combined with the 5% Target card discount, effectively resulting in a 15% discount!  The net effect is that as long as you use the 10% discount card for a purchase that's more than $100, you effectively get more than 1% cashback.  For example, if you use it to buy a $1000 camera, then you'll get a $100 discount (on top of the 5% discount).  The extra $100 discount you got for spending $1,000 to get the points is like a 10% cashback - far higher than the usual 1% cashback.  Update: Target has canceled its rewards program.

Target's prices aren't always the lowest especially when compared to online prices (though one time I found a Transformers toy at Target for less than $10 while Walmart was selling the same toy for $12).  However, there are some items that are almost the same price anywhere -- online or retail.  Apple and some Nikon products for example.  On those items, a 15% discount is huge!

Just a reminder: credit card interest rates tend to be pretty high.  That's why I always pay my card in full and never carry a balance. ;)

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Mitchell Kanashkevich's Seeing the Light

When I first learned about lighting and flash, my head was full of knowledge about how to control the light and use techniques such as using the flash off-camera to control its direction, balancing flash and ambient, all that good stuff.  What was missing was how to use all that technical knowledge in a way that gave me good results. 

If you're in that spot, this book is for you.  Hit the jump to see why I love this book AND to get an amazing offer!


I read a lot about lighting and most of the books and websites I've seen discuss the mechanics of lighting, such as how to control its quality, direction, intensity relative to ambient, etc.  However, the technical aspect of lighting is only a part of the lighting equation.  Knowing that we can bounce light for example, doesn't tell us where we should aim the light for best results.

That's where Mitchell Kanashkevich's Seeing the Light comes in.  Mitchell is an award-winning travel photographer.  In this book, he discusses his techniques for using three lighting tools: flash, reflector and natural light.

As he explains in the book's intro, Mitchell usually doesn't have the time or manpower for complicated lighting setups, and that's why his techniques are usable for many readers of this blog.  You don't need a crew or a truckload of lighting gear to shoot the way he does.  In all of the examples in the book, he uses only one hotshoe flash or one reflector.  That's it.  Very practical and doable.

As I mentioned, the reason I recommend this book is because it addresses the other part of the lighting equation, which I might call lighting design.  In Seeing the Light, Mitchell doesn't just talk about the technical aspect of how the lighting was setup, but *why* the lighting was setup that way.  His rationale for his lighting setup is consistently applied throughout the examples in the book (with great results).  And if you're looking to get direction about lighting design, this book will help you and show you the approach Mitchell uses to get his results.

Speaking of results, great lighting is just one of the key elements in Mitchell's photos.  Mitchell also uses post-processing techniques to bring out the best in his photos, and that's why you ought to pay attention to this amazing offer:  You can get the two e-books, Seeing the Light and Understanding Post-Processing (reviewed here) for the price of one ebook!!!  Isn't that awesome?  Just purchase both through the two-in-one link on Mitchell's site ( http://mitchellkphotos.com/two-in-one.html ) and enter the code "betterfamilyphotos".  If you must know, I get no commissions or anything -- this is purely a favor from Mitchell to our blog readers.  I don't know how long this offer will last -- be sure to take advantage of this offer before it's gone!

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