May 21st, 2013

How it works *sometimes*0

The idea for the above picture popped into my head almost unbidden. This is how realising that idea came to pass.
Last winter I was mucking about in Leigh Woods shooting ultra-long exposure images of myself, inspired by Alejandro Chaskielberg’s images made by moonlight and published in Burn magazine. I never really made any good images, but became acquianted with the effect and technique. The bright lights of Bristol painted everything an unusual orange, unlike the uncontaminated skies in Alejandro’s work, and I didn’t really have a subject.
The idea went in my mental toolbox.  It was only when the pumptrack was built under the Brunel way flyover that I found a use for it. The image in my head looked quite different. I didn’t anticipate how bright the floodlights would be, relative to the bright mountainbike lights. We used two powerful exposure mountainbike lights to produce the shape hovering above the trail. While setting up I knew I would be a long way from the pumptrack, stuck up on a ramp up to the flyover, so I had a friend assisting and keeping an eye on my gear. She actually found the angle from which this photo was taken, speeding things up immensely. I set up my tripod, dialled in the exposure at around 90 seconds or three laps of the pumptrack. Unfortunately the rear light of the bike did nothing to illuminate the “away from camera” legs of the track so our tame mountainbiker had to ride the track twice forwards and once backwards to get complete coverage. He still persistently laps me when we ride the track, I guess he got in a lot of practice while I sorted the balance of natural, flash and bike light out.
After sorting out these details we made the above image, I wanted my flashes to freeze the rider in the dark under the flyover (top left) and then his headtorch light join with the light of the pump track to make a continuous loop. This was possibly a little unreasonable as it meant riding onto the pumptrack at an awkward angle while looking in the completely wrong direction. Because he hadn’t managed that minor miracle, you can see a gap in the above image. So I asked for another go, however three bmx’ers had shown up and riding the track backwards is considered impolite to other users. They turned out to be polite and we managed to make the picture when they were having a break. In the end I actually quite like having them sat semi-motionless amongst the ethereal tracery over the track itself. The flashes fired badly on the last go and the picture worked better when I cropped out the ‘frozen’ rider. Sometimes you get that better picture by going with the flow, just a little bit.

Bristol Bikefest0

The old trails of Ashton Court held their own for the Bristol Bike Fest. Six thousand bike-passes were made over their scarred faces. The brand new trail showed its first sign of wear but was addictively fun to ride (post race) all the same. I’m looking forward to less guilt about riding in the wet and a lot more pump, jump and rail. Not to everyones taste, but there is Leigh Woods, 50 Acre, the Orchard and more for those who fancy a bit of rough & rooty .

Brighton Hardcourt Bike Polo Tournament0

 

More here: All Pictures

The Swiss Fast Lane (top speed 1/8000th)3

This post has been knocking around for awhile in the dark pipework behind this blog and in the dusty parts of my mind. It is unashamedly technical and really only useful for the folks who have access to an Elinchrom Ranger with an S type head, a pocketwizard TTL for Canon and a 5D (mk2). Other equipment will almost certainly work, but I can’t tell you how well!

About a year ago, Alex Ray from The Flash Center came through Edinburgh riding herd on David Hobby. He mentioned that with a certain Elinchrom Ranger head and the new “tweakable” pocketwizard TTL (mini TT1, Flex TT5)  transmitter units there was a possibility of synchronising the flash burst and the open shutter far beyond the normal flash synch speed of a camera. This wasn’t the incremental increase found when using speedlights, but the ability to synch at any shutter speed, no matter how fast. Purely by coincidence I had the very equipment to do this already. All that was needed was to play with the HyperSynch delay on the transmitter.

For the stopping of fast objects with artificial light, the norm is to use a strobe with a short duration in a dark area and use the duration of the flash to act like a very fast shutter. This is limiting for a “location” photographer who only has a single cheap, slow, flash head.

The Pocketwizard and Elinchrom trick ensures the shutter will sample some part of the flash output. The shutter is open for less time than the flash is switched on for. At normal speeds, the flash waveform will be shorter than the time the shutter is open for. This means the flash exposure is not affected by the shutter speed at all. At the high speeds involved in this trick the shutter grabs a  portion of the flash waveform. This means that the flash will be less powerful than normal and the flash exposure determined by the power of the flash (in two different ways), ISO, aperture and unusually, the shutter speed.

This is a touch unusual as shutter speed does not affect flash exposure in the normal (sub 1/200th) realm of flash photography. However in this case, it determines how much of the flash output is seen by the sensor. It also affects the size of any unexposed or dark bands, where the shutter is open but no flash is present, or where the flash waveform is rising or quenching.

The flash power not only affects the maximum light output of the flash, but also its duration (and thus shape). At full flash power it is possible to get a solid exposure of all but the very lowest part of the frame. At lower powers the flash exposure drops steadily with shutterspeed and the top of the frame sees a dimmer flash output while the lower part of the frame is cut off. It seems that this trick works at its best with the Ranger dumping its maximum output into your subject, your sensor will only see a small portion of this. That said, an Elinchrom Ranger has 1200Ws of power to burn, so with a bare head it is perfectly possible to work with the lights at a distance while outside.

 

Exposing properly using this technique requires some mental leaps by the photographer. All of the exposure controls vary oddly as the flash exposure transforms from being strictly aperture dependant to also being determined by shutter speed. The “suck it and see” approach is the main exposure technique when using this trick. This is because the camera meter will never sees the flash output, and a light meter won’t understand the shutter speed dependency of the exposure. I found myself thinking of the flash contribution to the exposure as being an “unmeterable ambient”. A bit like a lightning pulse, except for the advantage of triggering the lightning yourself and the same brightness being the same every time. This is complicated somewhat by the tendency of the camera to panic at the attempt to trigger the pocketwizard at very high shutter speeds. The symptom of this panic was the setting of the shutter speed from the chosen value to 1/200th without warning. This problem seemed intermittent, but nonetheless annoying. Perhaps engaging the HSS mode of the Pocketwizard would fix this. The intermittency of the problem meant the symptoms were hard to reproduce. The short term solution was to switch the pocketwizard off and on again, along with the camera for good measure.

The fact that it works in the presence of ambient light is probably the biggest advantage of this trick for me. Indeed, when working with a single head, it seemed the more ambient light present, the better. Working at very high shutter speeds drastically limits the contribution of the ambient light. In order to include ambient light with a shutter speed of around 1/8000th of a second, at a reasonable aperture,  I was normally forced to abuse the high ISO abilities of the 5Dmk2.

The high shutter speeds means a wide aperture is possible in broad daylight. To make the big strobe look like daylight and to dump most of the full power, I tend to use the flash far away without any reflector. Big lights, far away is the opposite of the normal Strobist thinking but I find the results appear more natural at first glance. The light affects the entire scene very evenly, much like a low sun, however it is completely under the control of the photographer. I borrowed a 50mm f/1.2 lens and made some photos with it set wide open.

The ability to freeze fleeting details that are normally invisibly fast can add additional layer of interest to a photograph. I was struck by the ability of the flash to freeze translucent substances such as sheets of water. This worked best with the flash providing a backlight with fill being povided by the ambient. The reverse works equally well but it can be easier to arrange the artifical light behind a subject and it is easier to control the shape of the flash light with modifiers.

The magic delay value set in the Pocketwizard transmitter seemed to be -2500, the maximum allowed by the software. The reciever was a standard plus 2 Pocketwizard. It would be interesting to see what the optimum delay value was if Pocketwizard allowed a larger range to be set. The drawback is that at this delay value the use of normal hot shoe flashes is limited. A dark band at the top of the frame is observed from 1/250th with the exposed portion of the frame being relegated to the center half of the frame by 1/1000th of a second and closing to a tiny slit at higher speeds.

Hundred Metre Club: Promo shoot2

They are well worth a listen: http://www.myspace.com/thehundredmetreclub/

Shooting a band portrait is a new one for me. I am happy doing lit work and I can light groups, however band photos are another realm of art. There are some rules such as No Brick Walls & No Instruments. However the main aim is to allow the band to carry some message through the photo.

I went about this by not directing the shoot at all. Setting the lights into a safe but interesting configuration and waiting for a moment. John, John, Dean and Hugh were comfortable enough chatting amongst themselves. I made sure they didn’t stray out of the lit zone or form a straight line and waited. I made quite a few frames. Waiting for 4 people to have interesting expressions similtaneously with a 7 second recycle time is a long game and light and patience was slowly falling. To get ‘insurance’ I finished off getting the band to look at me and working through some deliberately goofy poses. The idea being they would settle out of the poses and I would get a second of relaxation in which to shoot.

We then moved to a tighter and more posed arrangement in some rockpools. The wind prevented deploying a soft source as planned so I worked though some arrangements until I found a three light cluster to the right could fake a soft source and some on axis fill gave me some shadow control. The light was fading quickly now and a 1/10th second shutter speed let me put some camera shake blur into the image.

Holiday snaps0

Travelling to Rome I was unsure of wether to bring my camera. I’m glad I did. There was a folk festival in a field out by our hotel, people of all ages were dancing and singing. I like the Cartier-Bresson quote: “Wherever enough goes on so that I could approach them on tip-toes and take my photographs without disturbing them”. There was noise, excitement and several other photographers. People were unusually gracious (ushering me to the front of the stage!) and it was easy to turn up and shoot with only a few words of Italian.

These are snapshots, there is no story or underlying reason to make them bar that photography is fun and people look awesome when they dance.

Also it seems Italians know how to light. They remembered to push light out into the crowd so people weren’t dancing in a black pit. This made capturing the atmosphere of the festival a lot easier!

Portraits over 3 years0

I have been shooting headshots of  Edinburgh University Sports Union’s committee for three years now. Often I’m shooting the same people in different committee positions. Meanwhile my lighting has been evolving. I have more kit available and considerably more know-how. Here is a comparison of my shoots over the three years:

 year 1
Year 1: Unfamiliar rental kit and a wierd location. I pulled over a golden divider wall to make a cleanish background and put two light lights in the ’safe’ 45/45 configuration.
Year 2: Arranged a speedlight to flood a neutral coloured wall. Large silver brolly camera high right, softbox for fill. Using lots of large modifiers in a right space (to get the background) was a bit intimidating for some of my subjects.
Year 3: Weather was good so used a wall outside. Lit the background with a gridded flash aimed to rake across the stonework. Two lights to rimlight and a rotabox stood off a few meters as the mainlight.
Year 1
I’m happiest with the single left photo from year 2, however the setup had a flaw in that it created a “dark eye” on the right that was underlit by the high mainlight and was’nt filled properly by the softbox. The lighting had to work on ten people of different ages, sexes and builds. The year 1 photos hit a problem with cases of “rugby player brow” due to the all the lighting being set high and aimed down. The year 2 low softbox was specifically tailored to deal with this, but did’nt always get both eyes. By year 3 I just dropped my mainlight to head height and made sure if was sufficiently backed off not to vary in exposure dramatically across the face or be a distraction when shooting. It could have been closer to the middle for more even exposure, but I was fine with how it fell. A subtle gradient in lightroom could even things up if it looked like a problem. I concentrated on giving my light a bit more depth, making sure there were shadows and a decent hair/side/backlight that I varied from person to person.
Year 2
The examples I am happiest are generally the women. I hypothesise this is because a generic light looks better on ladies and OK on blokes, wheras a special “bloke” shooting light would make the men look great would’nt work on the ladies. There are a number of other factors that may explain it, but thats my first thought. As a compromise in the 3rd year I walked the rimlights around to form a side light when shooting the men, this was a change I could make while chatting to the subject and getting them in the right spot for all the other lights. Over all three years I used a marker on the floor so I could guide people easily into the right place.
Year 3

O Me of Little Faith0

I’d left Dave (Zzathras) and Dave (Davefitch) further down the hill and headed upwards through the forest. The pack and head in my backpack making me sweat through the Buffalo that had been cold back in the flat. The juniours were descending already and I had’nt found a worthy spot. I wanted views, distance and perspective. Just to wet my whistle (and rest my legs) I set the head up and made a few exposures of the first juniour riders at an “ok” looking corner. Camera hard against the ground to keep the course tape out of the way, focus locked and panning. I cursed myself for a lazy fool and packed the kit up again to resume climbing to the vantage point I was sure awaited. Why was I wasting my time with this “small fry” stuff, I should be making “epic” pictures somewhere! In hindsight, of course, I much preferred these images to some of the epics I tried to set up. It was too soon I reached the top of the course, empty handed and sweating so I could’nt see through my glasses. There was no epic vantage point. I tried one location slightly further down and got peanuts. Frustrated, I decided to go with the only shot I had in my head. At the very bottom of the course was a well built jump sure to attract spectators. I could light the jumping rider and pull back to include the fans.
When I got there, I discovered fans were thin on the ground, but I was knackered and out of lucozade and haribo. Screw it, I would work the angles and try to find a picture.
The result: Meh. However I’m “inspired” to keep lugging that darn light to other DH races and see if I can do better.

Samhuinn 20090

Its freezing cold, breath is misting in the air and I’m sweating profusely. On my back is my biggest camera bag, chock full and on my front is another sack full of rope and metal. Behind me is the registry office and I’m meant to be inside it. Halloween revellers pass, glimpsing at us with our painted faces and finding us photographers still as freaks in a melange of wierdness. Time goes on and the other photographers in our team head into position, cameras in hand. I’m not in position, my camera is’nt near my hands and the kit I’m carrying does’nt allow me to make a good backup plan. I’m to be on the third floor, flashes rigged, tripod up and harness on ten minutes ago. Dan and Ania, my last companions have to move soon. The day of packing and checking, the practice shoots and careful organisation are sliding down the drain because someone, somehow got the time wrong. Soon the Samhuinn procession will come down the Royal Mile, surrounded by spectators and I’m going to miss it.

The man with the key appears, sometime after eternity (subjective I suppose) and I’m in. Racing for the wedding chamber on the second floor. I dump my sacks and run through the kit, assembling it as fast as I can. I’m muttering “Do it like you practiced, just faster, same order”. Its pitch black outside so the flashes get rigged first. Three all sliding home onto one light tripod. The tripod and each flash clipped to a rope, the rope clipped to some stout plumbing. Full power, full zoom, the throw from the second floor out to the stage outside St Giles is long and right at the edge of what my kit can do. The time-lapse camera is prepared, the cable release is shorted, meaning that when the camera is switched on, it will motordrive for the entire event. 10s exposure on shutter priority, the light goes from dim to blinding during the performance and that’ll give the camera a chance to cope with the flares. Focus checked, double checked and triple checked. The camera is clipped and placed next to the flashes on the huge windowsills. Last but not least is my two hand-cameras. 5D bolted onto a titanic 500mm F4 from lensforhire.co.uk and a 1D with a 70-200mm for some flexibility. The 500 goes on a borrowed tripod and all the gear is clipped back to the building. I’ve dumped all my insulating layers and in only a long-sleeve t-shirt I’m out on the ledge in the chill October air. The crowd have gathered but the main procession is’nt in place yet. I plan to use the time to dial in my aperture for the flashes, around f/5.6. The pocketwizard on my 1D can’t reach the flashes, just two windows down, its AA batteries are somehow kaput. The TTL1 on my 5D is fine but there is no time to swap. I push the 1D to its highest usable ISO, 1600, crank the lens as wide as it will go and machinegun the procession, trying to pan with my subjects between the slaps of the shutter.

C1D_1355

The procession reaches the stage and its game on for my flashes, the 500mm lens ultra-tight on the performers. The 5D can’t focus the big glass at the dim start of the ceremony so I’m manually focusing. Its a BIG focus ring but a nice tight lens so I do ok. Its VERY tight for the fire-dances so I switch to the 70-200mm, VERY time consuming with all the ropes, straps, tripod set about me. The 70-200mm is finally in the tripod and the flashes are doing OK. I’m hoping the time-lapse camera is still shooting but I can’t move to check it, even as the chill begins to settle through my shirt.

Fire dances and swirls, flightless birds are driven off by painted men and the stage goes red. The Red-Men are showstealers, stacking human beings to the beat of battling drums. The pyro guy is on the stage and the flare goes off, I expose a few frames at 1/20th before zapping the shutter to the maximum 1/250th I can squeeze from my strobes. A second flare backlights the performers and the hags are on the stage. Hags tear the hearts out of the red men and the Wild Hunt starts to encroach upon the stage. Somehow I find time to trade ISO for flash power, dropping each flash to half and throwing on a warm layer. Giant insects are battling a tree and I’m switching up for my 500mm for the fight of the kings.

The Kings are huge with recurved legs, I can’t include all of one in the frame. They duel with flaming swords and staves, posing and finally one is set ablaze and they fall. The Cailleach is onstage revealling with shockingly white hair and bloody teeth. She revives one (or both..) and friends and performers begin to mob the stage.

The drummers flank proceedings and the crowd surges in. The dancing begins and slowly dies down, my work is over. The gear goes into the bags and I meet my escort home outside, we work late pulling together an edit for the BBC website and other news outlets before slinking off to the after-party at Three Sisters.

Sheer bloody persistence0

I had this photograph in my head for months. Every time we rode to this staircase on the way out to the Pentlands, I would poke myself about it. I was certain there was a good picture to be made. I tried a few times to get myself and another party out there for a shoot, but it was only last night I succeeded. This is a pretty frequent occurance, finding a location or visualising a photograph long before it can be taken. They don’t always work out, angles don’t always fall the way you remember them and locations can lose their magic in the wrong light. This was’nt quite the photo I originally imagined, the light was far better than I had remembered and fell perfectly for the lighting technique I used.

I used my big Elinchrom Ranger pack, tucked into my bag with the head on a tripod on a steep and greasy slope. The final photograph used a gridded reflector to allow the Exposure Enduro on the bike’s handlebars to fill the bottom of the scene. I got focus by getting Simon to shine the light in his face until I managed to dial in the manual focus (using live view). The staircase was otherwise pitch black, preventing the orange sodium lights contaminating the bike’s light or the flash light.

The thing that really made the photo possible, however, was the titular persistence. Simon rode the staircase about twenty times, tirelessly wheeling his bike back up the staircase, stopping halfway so I could check focus and then cheerfully repeating. Only once did he stumble on the descent, but that landed him nearly over the wall. Each time I needed to change the power of the flash I had to run a steep marathon of brambles, thorns and a slick slope which could only be climbed by lunging for tree stumps near its summit and clawing up through the snow and mud. This process took around five minutes, the flash power was changed three times and its pocketwizard ran out of battery once. The exposure was made by bending backwards over the wall and tucking the camera hard onto my left shoulder. It was only marginally possible to see through the viewfinder. We tried triggering the flash while Simon was partway down the descent, but it seems easier to find him in the top image. One hundred and fourty eight exposures were made over two hours for the images you see here. I’m glad we made them, it is good to get them out of my head.

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