www.youtube.com/watch?v=39ms0jx5ueA

Rick, Hal & Juan where in Japan for PhotoFest Japan, and we had a blast and we very much enjoying teaching and learning from all the participants. While we were there, we took the opportunity to record a number of photo tips for you on video. Enjoy!

In this segment, Rick and Hal talk about using fill flash to add definition to your subjects and make them stand out. We shot this segment at the Tsukiji fish market in Japan, the worlds largest! Take a look.

Oh, I almost forgot, this video was shot entirely with the iPhone 4, the video quality from this iPhone is amazing. We shot almost all the photo tips videos from Japan using the iPhone4 while we recorded sound externally using a Zoom H4n recorder and Sennheiser EW100 G3 wireless mics. In order to keep the iPhone 4 steady we used the awesome Zacuto Zgrip iPhone Jr.

Did you know that this and all the other videos here on DPE are available via an iTunes podcast channel? Why is this cool you ask? If you subscribe to the DPE Instructional videos podcast channel on iTunes, whenever we upload a new instructional video it is automatically downloaded to your iTunes, and you can then sync it to your iPhone, iPad or iPod, and watch the videos anytime, anywhere. How cool is that?

So, make sure to head on over to the DPE Instructional videos podcast channel on iTunes and subscribe, and while you are there, make sure to give us a positive rating on iTunes. Thanks!

An accessory flash may not come to mind initially as an important tool for wildlife photography, but I never go out on a shoot without one. I recommend that you pack a flash in your gear bag before you next venture into the field.

Outdoors, a flash can be used for what’s called daylight fill-in flash photography. When an animal is backlit, a flash can fill in the strong shadow that obscures the animal’s face if the subject is within the flash’s range.

These two pictures of a saw-whet owl illustrate the value of using daylight fill-in flash. In this situation, I could have used my camera’s spot meter and set the exposure for the owl, but the sky would have been way overexposed. Therefore, daylight fill-in flash was the way to go.

To do this properly, you need an accessory flash with variable flash output control—that is, plus or minus flash exposure compensation. Accessory flashes are much more powerful than a camera’s built-in flash.

One technique is to set your camera on the aperture priority mode, turn you flash and set it to fully automatic, and then let the camera/flash metering system do the work for you. In many cases, you’ll get an OK result – and in some cases even a perfect result.

Me? I use the following method – when I have the time.

First, set your camera to the Manual exposure mode. Turn off your flash. While in the Manual mode, set the exposure for the existing light conditions. Take a shot, and check your camera’s LCD monitor to make sure you have a good overall exposure of the background. You also may want to check the histogram to see if either side is abruptly cut off. That means details aren’t being recorded, and this is something you can’t always see on the LCD.

Next, turn your flash back on and take a picture with the flash set at -1 1/3 (just a recommended starting point). If your picture on the camera’s LCD monitor looks too much like a flash shot, reduce the flash output to -1 2/3. If it’s still too “flashy” continue to reduce the flash strength in one-third increments until you’re pleased with the results.

If the subject is too dark at the starting point of -1 1/3, increase the flash output to, say, -1. If your picture is still too dark, increase the flash exposure until you’re pleased with the results.

This technique works because even in the Manual mode, the flash operates in the TTL (through the lens) Automatic flash metering mode.
You can extend the flash range by attaching a flash extender to your flash (I use the Better Beamer). You also can extend the range by increasing the ISO settings. As you increase the ISO setting, your camera’s image sensor becomes more sensitive to light. So, in effect, the light from the flash travels farther.

Sure, you could always decide to go without a fill-flash and try to open up the shadows in your editing program, but that works only to a degree. The more you open up a shadow, the more digital noise you’ll see in those shadow areas. You also may see a real lack of detail. Remember, the image sensor can only capture a certain range of exposure, from light to dark. Go past that in either direction, and you’ll have problems.

Always strive for the best possible in-camera pictures, which sometimes call for daytime fill-flash. That way, you can spend more time outdoors taking pictures—and having fun with your photography—and less time in your digital darkroom.

Explore the Light,

Rick

I love any camera gear that can do more than one job. That means I can pack less and pack lighter when I travel. I’m even happier if I can put something I’m already carrying to a different use. I was recently looking for a way to use my tripod, which I alway carry, as a stand for a speedlight and maybe an umbrella. You don’t need a lot of equipment for great lighting in the field. I made this portrait of my wife with just one speedlight, a shoot-through umbrella and a reflector.

My first idea was to use a Bogen super-clamp to attach an umbrella bracket to one leg of the tripod, but I figured it would be a bad idea to clamp something down too hard around the carbon-fiber leg of a tripod. I’m also trying to pack as light as possible and super-clamps are relatively heavy for their size.

I came up with a simple solution using parts I already have, and mostly parts that I would pack normally anyway. I took the tripod quick release plate off of one of my cameras and attached a cold shoe adapter to it using the mounting screw on the plate. Now I can mount a speedlight to the tripod and adjust the angle with the ballhead. The best part is that I’ve done this for free and without adding any weight to my camera bag.

Cold shoe mounted to the camera plate

So, what if I want to use a light modifier? I can attach the brass mounting insert from an umbrella bracket to the quick-release plate. Then I can mount the umbrella bracket to my ballhead. Now I can get a better quality of light, and I’ve only added an umbrella bracket and a small umbrella to my regular kit.

Umbrella bracket mounted to the camera plate

Of course you could buy an extra quick release plate to use with your lights, and Really Right Stuff even sells a Flash Mount for their clamps, but why spend the money if you don’t have to? If you usually use your camera on your tripod and your off-camera lights at the same time, this will not be the solution for you. But if you normally use either one or the other, this is an easy way to get more use out of the equipment you already have. If you’re shooting with a friend who has a tripod, bring along an extra umbrella bracket and you’ve got a mobile 2-light studio!

Know any tricks to help keep my camera bag lighter? I’d love to hear them!

This is Episode number 2 of the Digital Photo Experience Podcast with Rick Sammon & Juan Pons.

In this episode we introduce the DPE gang, talk about current photo events, what Rick and Juan have been doing lately and we answer photo related questions from you.

Listen to the podcast:

To get the enhanced version of the podcast with images and chapter markers, subscribe to the podcast via iTunes here: DPExperience Podcast on iTunes

For those that need a plain mp3 feed click here

To download the mp3 file directly click here

If you would like to send us questions for consideration in future episodes, go to our Podcast questions form and send them our way.

Hope you enjoy this episode.

Show Notes/Links

• The DPE Team
• Black Rapid straps
• Winter Wings Festival in Klamath Falls, Oregon
  
• Juan’s Winter in Yellowstone photo workshop
• OutdoorPhotoGear.com Holiday gift recommendations
  • Aquatech Gloves
  • Accessory cases:
    • Think Tank
    • Pelican
    • Lenscoat
  • Cleaning kits and supplies
  • Batteries and chargers
  • Black rapid Straps
  • Bean bags
  • Gift Certificates
  • Kelby Training
• Winner of the first photo caption award announcement, make sure to listen to the podcast to see if you won, and if you did make sure to contact us by sending us a DM via twitter at @DPExperience
• Rob Knights response DPE post to a question on the first podcast
• ASMP Model & Property release article
• BetterPhoto.com Model & Property release article
• Pocket Wizard
• Radio Popper
• Ray Flash
• Westcott Apollo Softboxes
• Spider Lites
• The Strobist
• Joe McNally
• Focus Stacking in Photoshop CS4
• Helicon Focus
• Andy Williams
• Real Magic by Wayne W. Dyer
• Perception and Imaging by Richard D. Zakia

Don’t forget to tell us about your “New Years Photo Resolutions” on an upcoming post.

To understand why I choose manual mode, we have to think about how the other modes function. It doesn’t matter if you shoot in Shutter Priority, Aperture Priority or Program mode. All those modes give the camera some control over your exposure. The camera reads the scene with its built-in light meter and calculates the best shutter speed / aperture or both for the given scene. Fast moving concert lights can really play havoc with the built-in light meter.

When you look at the stage shot of Widespread Panic, you can see that there are a group of lights along the back of the stage. As these lights move, the light meter in the camera keeps adjusting and when the scene gets brighter the camera will start to underexpose the rest of the scene. As the lights go down the scene gets darker and when the camera adjusts and the scene gets overexposed. Shooting in manual mode allows me to keep the shutter speed / aperture and ISO settings I want and the camera won’t adjust anything as the light changes.

So when the lighting is tricky, remember: Manual Mode Rocks!

The top image was shot with a Nikon D2X and 17-55mm f/2.8 Nikkor lens at 1/60 of second at f/2.8 at ISO 200 while the bottom shot was taken with a Nikon D700 and 70-200mm f/2.8 Nikkor lens at 1/160 of a second at f/2.8 at ISO 1600. Both were taken using Lexar Professional media.