Adjusting The Sun

Landscape photographers have a good deal in common with wedding photographers; they have to hike great distances hauling heavy equipment, their subjects that have impossible dynamic range, and they are never quite at peace with the weather.

The first problem can be addressed by simply employing native bearers or wives. They carry the tripod, gadget bag, 14 different lenses, and water bottles on their heads and you simply stride through the dripping jungle or the local council gardens with them in a long line behind you. A solar topee is not absolutely necessary but it makes a nice touch. It is wise to determine if the natives or the wives are friendly before you put the topee on...

The impossible dynamic range is a stiffer problem. Brides WILL insist on wearing white, or some variation of it. Grooms WILL wear black. You have to make the dress and the tux look good so sometimes you have to adjust the dynamic range of your camera to try to accommodate this. Just when you get enough detail in the two extremes you note that everything else has gone dull gray... Grit your teeth and post process it.

Adjusting the weather or the angle of the sun is not easy - even Joshua needed help doing that - but you can use the sun that is overhead to help you out. Remember that you don't just have one light source up there -you have two. The vast bowl of Western Australian blue sky is an immense fill light, but unfortunately biased in its colour temperature. You might have to retreat under a tree and get a polariser to remove the blue from the scene. You might have to overpower the sun with a close-range burst of light from a Canon or Nikon speed light.

You might have to get an assistant to shade your subject with a diffusion panel - here the wedding worker has the advantage as it is easier to shade a bride than Bluff Knoll. Remember that there are any number of HDR programs available as plug-ins for your computer and if you are prepared to explain to the bride why her complexion has come out
looking like that, you can get great effects in the bridal dress. Those of you who are booked for a lot of  brides and grooms on pebble beaches under a storm-wracked sky in Yorkshire may care to remember this. You'll be the darling of the English photo magazines...

The Adventitious Photographer _ By Kaye-Sarah Serah

The philosophy of " What will be, will be " has been useful for centuries as an excuse for not planning properly, not behaving properly, and not taking responsibility for what has actually occurred. Didn't work out so well for the Austro-Hungarian empire in 1918 but was a real money-spinner for Doris Day in the 1950's...

With that in mind I packed the roller bag for yesterday evening's belly dance shoot in Wellard. Not normally known as the capital of Middle Eastern culture, the suburb was playing host to Shimmy Skirt - a Khaleegi group. Khaleegi is colourful, if noisy, and demanded equal colour in the photos.

I've decided to keep the studio Elinchrom flash units in the studio. These days for an outside shoot I pack three Nikon speed lights, three or four different folding light stands or clamps, and a small Lastolite folding softbox. Together with a dreadful old background stand kit, a couple of muslins, and an umbrella, this comprises a pretty good mini studio for groups up to 8 people.

What sort of lighting setup do you get with this? Main through the softbox, fill into the umbrella, and choose whether No.3 light will be a background wash or a hair light suspended from the crossbar of he backdrop set with a Manfrotto nanoclamp. ( Yay nanoclamp. Small and useful.)

As it was Khaleegi, I wanted washes of colour - Honl speed light gels did that - I have indulged in two more packets of assorted colours. If you fire through them onto a light backdrop the colour is pastel - if you fire into a dark backdrop it is intense - so simple. If you look straight into the flash when you fire it you don't see squat for the rest of the evening.

Note that in the small space of a mini studio, the command system of the Nikon D300-series cameras ( and the others of the ilk...) is great - you can order the intensity of two additional groups of flashes as well as the one on the camera and you can vary these right from the camera position itself. It is a light-code control rather than a radio signal, but as long as the remotes can see the command flash, it works brilliantly. If you need to, you can code it up so that the flash from the camera does not actually appear in the final exposure.

So - what was, was. Thank you Doris. And what was looked pretty good - because I planned the shoot and took the right gear. Please come into the shop and let me bore your ears off with other how-to information. They pay me to do it.

Uncle Dick

Reflect On This - Lastolite and Promaster

After all my ranting about using fill flash for weddings, I finally have to admit that it is not the only way to deal with lighting. There is an alternative. Pine-knot torches...no, just kidding. I really mean reflectors.

Observe the fine efforts of Mel, our organisational expert. She rounded up all the reflectors and backdrops and strung them out along a backdrop kit holder - you can browse all the different sorts with ease. You'll note a number of interesting surfaces there on the rack.

The standard white reflector is joined with silver or gold - either as a two-sided unit or right there on one surface. You can soften or intensify the reflected light, or choose to add warmth to it with one of the gold surfaces. There is even a black surface to act as a flag or light absorber for dramatic contrasts.

Note the green flash there in the middle - we have a large foldable backdrop made by Promaster for the blue/green screen technique. It is self-supporting and fortunately the surface of the screen is a matte cloth - this means that with careful lighting there should be very little bleed through of colour to your main subject.

Of course we alway have the triangular Lastolite reflectors with the integral handles - these are particularly useful to solo workers as they can be held safely in one hand and manipulated around the subject - or can be effectively propped up against the operator's knee for under-fill without rolling away down the nearest slope!

Last inmage is of the Redwing disc-holder. It goes onto a light stand or other support and clamps a circular reflector so that you can position it without needing an assistant to hold it.

Note that all the reflectors are eco-friendly and do not consume electricity in operation. You can also use the silver reflective ones to hide under when aliens flying saucers come over your studio. They are a popular accessory in Roswell, New Mexico...