Print of the week "Tattoo shadow" by vanishedtwin

The selected print of the week is available for purchase in many different mediums over at www.redbubble.com. Click on the photo and check out your ordering options.

Print of the week "Tattoo shadow" by vanishedtwin

The selected print of the week is available for purchase in many different mediums over at www.redbubble.com. Click on the photo and check out your ordering options.

Happy Birthday Scarlett

The last three years have gone by so fast.

Happy Birthday Scarlett

The last three years have gone by so fast.

Flash Facts - Calculating manual flash

guide number = f/stop x flash to subject distance

flash to subject distance = guide number / f/stop

f/stop = guide number / flash to subject distance

These three equations are all that you need to know in order to manually calculate flash exposure.

For instance the LumoPro LP160 has a guide number of 140 @ ISO 100. So, if I place the flash 10 feet away from my subject the equation would look like this:

f/stop = 140(guide number) / 10 (flash to subject distance)

If you solve the equation you would set the aperture to f/14 to have the correct exposure.

You can plug in any two variables to get the correct flash exposures needed. Just keep in mind that these formulas are a good starting point. The end decision of exposure is up to you.

Flash Facts - Calculating manual flash

guide number = f/stop x flash to subject distance

flash to subject distance = guide number / f/stop

f/stop = guide number / flash to subject distance

These three equations are all that you need to know in order to manually calculate flash exposure.

For instance the LumoPro LP160 has a guide number of 140 @ ISO 100. So, if I place the flash 10 feet away from my subject the equation would look like this:

f/stop = 140(guide number) / 10 (flash to subject distance)

If you solve the equation you would set the aperture to f/14 to have the correct exposure.

You can plug in any two variables to get the correct flash exposures needed. Just keep in mind that these formulas are a good starting point. The end decision of exposure is up to you.

Flash metering

We had a great time shooting a wedding up at Timberline Lodge on Mt Hood this past weekend for Chad and Sadie. This is the third time that I have shot a wedding at Timberline, and it is one of my favorite venues.

As with most location shoots there comes a time when your equipment seems to make a different decision than you do when you push the shutter. It happens to everyone at some point. The most important thing is how you react in that situation. My number one rule is: "Don't panic." I do not always adhere to the rule, but I have it none the less.

For me it has been the way I meter and control my flashes. I have just not been able to get the consistent results that I am looking for when I use a TTL system.



Over this past summer I found myself starting out with TTL via my Nikon SU800 and found it lacking consistency from frame to frame. Have I always had this problem? Nope, not really. In some cases it works out just fine when I am looking to simply brighten a scene, or when I am in close with a single subject and want to let the background be swallowed by shadows.

I find manual metering the best way to get exactly what I want when I want. In fact I have also started to use manual control when I have my flash mounted on camera. I set my distance and just have to keep it in mind when I am following subjects. Then it is a simple matter of making minor adjustments on the fly.



This past summer I have put my Nikon SB900 up against my LumoPro LP160 and found myself switching from the Nikon to the LumoPro on just about every shoot.

I have found that the interface on the LumoPro LP160 is easier to make quick adjustments on. Not that the SB900 has a terrible control layout, but I find that simpler controls are easier.

In the TTL vs. manual battle it looks like manual is the winner for me. One exception to all of this is Nikon's Auto FP High Speed Sync. That is a fantastic feature and there are many times that I would be lost without it. And that is why I will keep my Nikon flashes, but my day to day work horse is going to stay my LumoPro LP160.

Flash metering

We had a great time shooting a wedding up at Timberline Lodge on Mt Hood this past weekend for Chad and Sadie. This is the third time that I have shot a wedding at Timberline, and it is one of my favorite venues.

As with most location shoots there comes a time when your equipment seems to make a different decision than you do when you push the shutter. It happens to everyone at some point. The most important thing is how you react in that situation. My number one rule is: "Don't panic." I do not always adhere to the rule, but I have it none the less.

For me it has been the way I meter and control my flashes. I have just not been able to get the consistent results that I am looking for when I use a TTL system.



Over this past summer I found myself starting out with TTL via my Nikon SU800 and found it lacking consistency from frame to frame. Have I always had this problem? Nope, not really. In some cases it works out just fine when I am looking to simply brighten a scene, or when I am in close with a single subject and want to let the background be swallowed by shadows.

I find manual metering the best way to get exactly what I want when I want. In fact I have also started to use manual control when I have my flash mounted on camera. I set my distance and just have to keep it in mind when I am following subjects. Then it is a simple matter of making minor adjustments on the fly.



This past summer I have put my Nikon SB900 up against my LumoPro LP160 and found myself switching from the Nikon to the LumoPro on just about every shoot.

I have found that the interface on the LumoPro LP160 is easier to make quick adjustments on. Not that the SB900 has a terrible control layout, but I find that simpler controls are easier.

In the TTL vs. manual battle it looks like manual is the winner for me. One exception to all of this is Nikon's Auto FP High Speed Sync. That is a fantastic feature and there are many times that I would be lost without it. And that is why I will keep my Nikon flashes, but my day to day work horse is going to stay my LumoPro LP160.

Mountain top wedding

This weekend we are heading up to one of our favorite places to shoot weddings.

Very excited to go to Timberline Lodge and shoot Sadie and Chads wedding!

Mountain top wedding

This weekend we are heading up to one of our favorite places to shoot weddings.

Very excited to go to Timberline Lodge and shoot Sadie and Chads wedding!

BASIC OFF-CAMERA FLASH WORKSHOP

Saturday, Sep 3, 2011
Begins at 5pm
Tryon Creek State Park, Portland, Oregon 97219


map



This workshop is an outdoor introduction to off camera flash. We will be running through the beginning basics of getting the flash off of the camera and then learning how to control it in different lighting scenarios such as the setting sun and outdoor locations.

This is a free workshop, but you need to register in order to attend. Please email info@vanishedtwin.com to register or for any questions.

This is going to be a hands on workshop, so you will need a camera, flash and a trigger.

BASIC OFF-CAMERA FLASH WORKSHOP

Saturday, Sep 3, 2011
Begins at 5pm
Tryon Creek State Park, Portland, Oregon 97219


map



This workshop is an outdoor introduction to off camera flash. We will be running through the beginning basics of getting the flash off of the camera and then learning how to control it in different lighting scenarios such as the setting sun and outdoor locations.

This is a free workshop, but you need to register in order to attend. Please email info@vanishedtwin.com to register or for any questions.

This is going to be a hands on workshop, so you will need a camera, flash and a trigger.

Setting up the shot - High Key Ash

Camera - Konica Minolta 7D
Lens - Tamron 90mm f/2.8
Exposure - 1/45 @ f/2.8
Focal Length - 90mm

Lighting - Brand X strobe
Light Modifier(s) - 60" Westcott shoot through umbrella, and large diffusion panel.
Trigger - Pocketwizard


For this shot I set up a large diffuser for the background and placed a strobe behind it to blow out the background and also to give some back light through her hair.

For the key light I used another strobe shooting through a Westcott 60" shoot through umbrella.
With her looking down her hair fell forward a bit and i increased the power from the light behind her to let the back light eat up some of her hair.

I wanted to capture a high key image of Ashlee and the honesty in her expression.

Setting up the shot - High Key Ash

Camera - Konica Minolta 7D
Lens - Tamron 90mm f/2.8
Exposure - 1/45 @ f/2.8
Focal Length - 90mm

Lighting - Brand X strobe
Light Modifier(s) - 60" Westcott shoot through umbrella, and large diffusion panel.
Trigger - Pocketwizard


For this shot I set up a large diffuser for the background and placed a strobe behind it to blow out the background and also to give some back light through her hair.

For the key light I used another strobe shooting through a Westcott 60" shoot through umbrella.
With her looking down her hair fell forward a bit and i increased the power from the light behind her to let the back light eat up some of her hair.

I wanted to capture a high key image of Ashlee and the honesty in her expression.

Smugmug

I have been asked quite a few times who I use for my online print service, and the answer is Smugmug.

I have been with Smugmug since September 29, 2006. I actually received a one year pro account as a gift for a wedding I shot. At first I used a separate service to host my website, and then I would direct my clients to my Smugmug site.

Through the years I learned more and more about what Smugmug could do. The more I learned about the customizing options the more I loved to service.

Eventually I moved my main website into my Smugmug site and have been very happy with the services, and options. There were many stumbles along the way as I learned what I could and could not do with the new site, but once I figured out how to build HTML pages in Smugmug it was all aces from there.

Smugmug has three plans. Basic, Power and Pro. The services that are available are pretty fantastic. From basic sharing to custom photography products Smugmug is definitely worth a look.

You can give them a try for 30 days and see what I am talking about. You will not be disappointed.

Smugmug

I have been asked quite a few times who I use for my online print service, and the answer is Smugmug.

I have been with Smugmug since September 29, 2006. I actually received a one year pro account as a gift for a wedding I shot. At first I used a separate service to host my website, and then I would direct my clients to my Smugmug site.

Through the years I learned more and more about what Smugmug could do. The more I learned about the customizing options the more I loved to service.

Eventually I moved my main website into my Smugmug site and have been very happy with the services, and options. There were many stumbles along the way as I learned what I could and could not do with the new site, but once I figured out how to build HTML pages in Smugmug it was all aces from there.

Smugmug has three plans. Basic, Power and Pro. The services that are available are pretty fantastic. From basic sharing to custom photography products Smugmug is definitely worth a look.

You can give them a try for 30 days and see what I am talking about. You will not be disappointed.

Behind the curtain...

Once upon a time I spent my days playing music, and little else. I have played in so many bands that I can't remember them all. When I look back on that part of my life there is one band that I remember clearly. That band was called godsend 50.

We played together for a couple of years, and they were some of the best years of my life. I will always look back on them with a bit of regret. Like most bands it ended poorly.

In 1995 I was in a car accident that damaged my back and neck. Like most immortal young people I did not listen to my doctors and tried my best to perform like nothing had happened. After a very short time my constant pain turned me into an asshole. The band was made up of three very strong personalities and my disposition from the accident did not help at all.

Needless to say we split up and that was that. After a long length of time we got back together to play some music for ourselves and that was that.

We all moved on in our lives. Some of us stayed involved in music, and some did not. I kept playing until music moved me out to the Pacific Northwest. A couple of bands later I landed my dream gig. I was signed to a label and all I did was play music all of the time. I woke up and went to my drum set every morning.

Music took me across our country, but it brought me back to Oregon and the beginnings of my family.

I traded my drum set for a stroller and started a family that would take some years to complete.

My past was packed up and I moved forward.

For years I thought that all of my old practice tapes from godsend 50 were lost in one of my many moves across the country.

Today I found them all, and the memories of those days came flooding back. So, Aaron and Nick I want to thank you for those days and those memories. One day I hope to go back to Minnesota and record the version of Elsa's Dream that I am listing to right now.

I think that we had some pretty great moments there, and I raise this drink to you two.

Behind the curtain...

Once upon a time I spent my days playing music, and little else. I have played in so many bands that I can't remember them all. When I look back on that part of my life there is one band that I remember clearly. That band was called godsend 50.

We played together for a couple of years, and they were some of the best years of my life. I will always look back on them with a bit of regret. Like most bands it ended poorly.

In 1995 I was in a car accident that damaged my back and neck. Like most immortal young people I did not listen to my doctors and tried my best to perform like nothing had happened. After a very short time my constant pain turned me into an asshole. The band was made up of three very strong personalities and my disposition from the accident did not help at all.

Needless to say we split up and that was that. After a long length of time we got back together to play some music for ourselves and that was that.

We all moved on in our lives. Some of us stayed involved in music, and some did not. I kept playing until music moved me out to the Pacific Northwest. A couple of bands later I landed my dream gig. I was signed to a label and all I did was play music all of the time. I woke up and went to my drum set every morning.

Music took me across our country, but it brought me back to Oregon and the beginnings of my family.

I traded my drum set for a stroller and started a family that would take some years to complete.

My past was packed up and I moved forward.

For years I thought that all of my old practice tapes from godsend 50 were lost in one of my many moves across the country.

Today I found them all, and the memories of those days came flooding back. So, Aaron and Nick I want to thank you for those days and those memories. One day I hope to go back to Minnesota and record the version of Elsa's Dream that I am listing to right now.

I think that we had some pretty great moments there, and I raise this drink to you two.

ExpoImaging Rogue light modifiers

The Rogue Honeycomb Grid and the Rogue FlashBenders are speedlight modifiers from ExpoImaging. The modifiers are light weight, small, and wonderfully flexible. Making room for them in your camera bag is very easy, and once you see what they can do you are definitely going to be able to clear out some space.




The Rogue Honeycomb Grid is a simple yet very effective four piece grid modifier for your speed lights. The set is comprised of the main housing bezel, two grids, and the grid strap. The Rogue Honeycomb Grid is designed to produce three different angels of light at 16, 25, and 45 degrees. The two grid pieces on their own produce the 25 and 45 angles, and when they are stacked together they produce a 16 degree angle of light. This modifier is very easy to use to control your light. Popping the grids in and out of the mount is a breeze.



The Rogue FlashBenders is a positionable light modifier that can be used many different ways and comes in both small and large sizes. You can shape the Rogue FlashBenders by simply bending them into the position that you want, and the three ribs in the Bender will keep it in position. You can used it as a bounce card, roll it into a snoot, or even use it as a flag. One of the most flexible light modifiers that I have ever used.



Mounting this line of modifiers onto your flash is incredibly easy with the use of the elastic band with hook and loop fasteners. There is also 2 snap points on the strap to adjust the length. The strap holds the modifiers rock solid in place and I have not had any trouble with them falling off or slipping out of alignment. In fact this is, in my opinion, the best on flash mounting system that I have used and I hope that there are plans for a stand alone hook and loop mounting strap in the near future.


I used a Flash Bender for the main light in this photo. To get the light as soft as possible I brought it as close to the model as I could.
With this set up the Flash Bender will give to lots of nice contrast, and with the fill light you can dial it in with as much shadow as you want.



The performance of these modifiers is absolutely fantastic! With a little room in your bag and these modifiers you get big lighting options. After shooting with the Rogue Honeycomb Grid and the Rogue Flash Bender for a few weeks now I have grown to love both their solubility and versatility.


In this shot I used the Rogue Flash Bender to camera right as the main light and then set up the Rogue Honeycomb Grid as a hair light from behind.


Here is the flash Bender as the main light with out any fill. I then added the Rogue Honeycomb Grid as an accent light and allowed it to flare into the lens as an added effect.

I have used the Rogue Honeycomb Grid, and Rogue FlashBenders both in studio and out on location. They work very well as both main lights and as accent lights. The material that they are made of is very durable, and I have no worries about them getting damaged in my bag or out on location.


For this shot above I used my Rogue FlashBender on the LumoPro LP160 to camera right, and feathered the light toward the model.



This is a pretty straight forward shot. I mounted a LumoPro LP160 fitted with a Rogue Honeycomb Grid to a 10' stand and raised it to full height.

I chose this spot because there was a natural light hot spot in the foliage. I used that natural light for separation of the model from the background.

For this shot I used a LumoPro LP160 fitted with a Rogue Flash Bender to camera left for the main light. I opened up the Flash Bender to it's full height and with to use it as a bounce for the main light.



I have found that using the Rogue FlashBenders as your main, and then the Rogue Honeycomb Grid as an accent or separation light is a very versatile combination.