The Switch – Moving from Canon to Nikon, Part III

The Switch – Moving from Canon to Nikon, Part III

This is Part III of a series on moving from an all-Canon setup to an all-Nikon setup for four weeks. Will I go back to Canon at the end of four weeks? I have no idea… Previously, in the Switch series: Part 1: I talk our marketing VP into letting me go Nikon for a while. Part 1.5: which was mislabeled Part 0.5, in which I gawk at a violin. Part II: The Nikon gets abusive. In this part, I’m going to focus on just one thing: Nikon’s external flash system. CLS, you’re pretty cool Nikon’s CLS, or Creative Lighting System, is pretty well-known for its simplicity and reliability. On the Canon side, I’m used to working in ratios to set exposure between groups. This is a tad… unwieldy, to say the least. For example, if I want three groups for my external speedlites, I have to jump through some… convolutions. First, I have to have my friend Syl Arena’s book, The Speedliter’s Handbook handy, because Canon’s manual doesn’t really do even a halfway decent job of explaining this.  I have to set the ratio for my first two groups (A and B), then go into the master speedlite’s menu to set FEC (Flash Exposure Compensation) for my third light. Uh… wha? For a better explanation, go to page 144 of Syl’s Speedliter’s Handbook. With Nikon, on the other hand, you get this: This is if you’re using the on-board camera to control your remote speedlights (which are in two other groups, A and B). But you can, of course, control external speedlights with a master on-camera. Here’s what that...
Notable Storytellers – Sara Lando

Notable Storytellers – Sara Lando

Welcome to Notable Storytellers, a feature where we point you to some of the best visual storytellers around, from photographers and videographers to VFX and graphic artists. Sara Lando is an Italian photographer who first came to my attention through her work on David Hobby’s Strobist blog. An occasional contributor there, Sara is a commercial photographer based in Milan, Italy. I devour Strobist.com with regularity, and remember seeing Sara introduced as the European correspondent last year. I also remember reading an article by her on photographer Christoph Martin Schmidt. Her recent series of articles, however, weren’t about another photographer, or even a technique – not necessarily, anyway. These were more of an “approach philosophy” piece. I quote David Hobby: Picture a tiny Italian woman gesturing continuously as she uncorks a full brain dump (from a very, very creative mind) on all of the little things that many people never think of when photographing others. As I was listening I kept thinking, “Someone should be writing this stuff down RIGHT NOW.“ I read the article. Then read it again. It was, I realized, pretty damn good. And insightful. So I clicked through to her portfolio, and got a really wide grin on my face. I love finding photographers whose work inspires me. It used to make me groan at the distance I have to cover to get that good, but now it just drives me. Sara’s work is definitely, without a doubt, inspiring. What fascinated me about Sara’s portfolio is the range she covers. Not in terms of subject matter — she sticks mostly to people — but in terms of...