Sample Images from the Nikon 800mm f/5.6

Sample Images from the Nikon 800mm f/5.6

I’ve been out testing the Nikon 800mm f/5.6 lens we just got in, and have a few sample images to share. I went out to the Redwood Shores region of the San Francisco Bay Area to shoot the skimmers that show up around here every spring, and got a handful of other birds as well. The full-up review is coming soon, so stay tuned for that. Black Skimmer   Images © Sohail Mamdani. All rights...
The Lightroom-Photoshop Connection: Sending JPEG Files Back and Forth

The Lightroom-Photoshop Connection: Sending JPEG Files Back and Forth

Seán Duggan is a fine art photographer, author, educator, and an Adobe Certified Photoshop Expert with extensive experience in both the traditional and digital darkroom. His Lightroom Viewfinder series provides photographers with the tools they need to effectively use Lightroom for organization, editing, and printing.  The Lightroom-Photoshop Connection: Sending JPEG Files Back and Forth by Seán Duggan Seán Duggan is the co-author of Photoshop Masking & Composting, Real World Digital Photography, and The Creative Digital Darkroom. He is on the faculty of the School of Visual Arts in New York City and leads workshops all around the world. See all of Duggan’s Lightroom tips below: • Lightroom Keywording Tips • Adding Value to Your Image Archive with Keywords • Adobe Lightroom Tips for Beginners: Merging a Travel Catalog with your Main Catalog • Adobe Lightroom Tips for Beginners: The Island of Lost Files • The Lightroom-Photoshop Connection: Sending JPEG Files Back and Forth • The Lightroom-Photoshop Connection: Sending RAW Files Back and Forth...
Top 10 Recommendations to Kick Off Wedding Season Right

Top 10 Recommendations to Kick Off Wedding Season Right

Wedding season is nearly upon us and in honor of this wonderful, yet sometimes stressful time, we have asked our friends at SnapKnot to share some of their wedding photography wisdom and what couples should be thinking about when choosing a photographer. Planning a wedding may not be easy but their community of expert wedding photographers will help make planning a piece of cake! SnapKnot’s 10 Recommendations to Kick Off Wedding Season Right: Tried and True Methods from their Experienced Photographers 1. Choose a wedding photographer you get along with. “This might sound strange, but look for someone that meshes with your personality. When a client and I share much of the same personality and interests, the wedding day goes that much smoother because it becomes a much more intimate affair rather than just a business transaction. Meeting in person, or even just on Skype, is a great way to get a feel for the photographer. If the meeting is awkward and forced, you can bet it will be that way on your wedding day and the same is true for if you feel comfortable during the meeting.” –  Daniel Aaron Sprague “Don’t just look at price and pictures. Be sure that your photographer’s personality and ways of interacting will mesh with yours and with your bridal party and family. Remember, this is a person who is going to be following you around for 8+ hours on your wedding day. He or she will see you in your underwear (or less). Make sure it is a personality that you will not get weary of a couple hours in.” – Deborah Hurd Photography 2. Know...
Playing with Nikon’s Big Guns.

Playing with Nikon’s Big Guns.

Not so long ago, I did a post about Canon’s new “Big Guns”, the 600mm f/4 II and the 1Dx. We’re now waiting for Nikon’s newest super-tele, the 800mm f/5.6, to ship, but I thought I’d take the newest flagship camera from Nikon out for a spin with the venerable 600mm f/4 that they’ve had out for a while.   Initial impressions Shooting with the Nikon D4, with regards to ergonomics and handling, was a substantial change from the D3s. It’s not as angular as that body, something I think Nikon’s been changing lately. The buttons have more feedback to them, and don’t feel soft. The body itself is more bulbous and contoured (dare I say, more Canon-like?), and feels way better in my hands than the D3s. The shutter button is angled down a bit, allowing my finger to lie on it in a more natural fashion. One annoyance is that the AE-L button has been replaced with a little joystick, and I miss that. There’s also a live-view button inset into a rocker switch that lets you move it between photo and video modes, as well as the 8-way d-pad that’s carried over from the D3s. All in all, I liked the changes to body. It’s a more pleasant camera to shoot. In the field My experience didn’t start off well – which was my own dang fault. I’d set the Nikon’s CH (Continuous High) mode to 11 frames per second. Why this wasn’t set to the max by default puzzled me, but I shrugged it off and went out to the Coyote Hills Regional Park in nearby...
Small Flash, Big Box: Using the LumoPro Flash Bracket

Small Flash, Big Box: Using the LumoPro Flash Bracket

There’s no shortage of lighting modifiers for small flashes like the Nikon SB–910 on the market today. From the Apollo softboxes we rent, to grid kits, snoots, umbrellas, and beauty dishes, small flash has really come into its own, especially for photographers working on location. Now there’s a new accessory for Strobist-style shooters that will let you use a much wider variety of softboxes with your existing small flashes, including the high-end modifiers from companies like Profoto. I used it with two Profoto softboxes a couple of weeks ago for a portrait, with excellent results. The acecssory is called the Lumopro Speedring Bracket, and it’s basically a softbox speedring modified to let you use one or two flashes in a standard softbox. If you’re not familiar with speedrings and softboxes, take a look at the article “Understanding Softboxes” on our blog. It describes what speedrings are, and how they are used with various modifiers. The Lumopro bracket is essentially a speedring with two adjustable arms protruding from it. A standard stud allows you to to mount the speedring onto a swivel adapter so you can tilt your setup to angle it. I was doing a shoot for costume designer Katherine Nowacki, who needed a bright, airy headshot for her website. I placed her on a balcony with setting sun directly behind her to act as a rim light. My initial idea was to use a reflector to get some fill light into her face, but then decided I wanted something more powerful to balance out the ambient. I went with two Profoto softboxes, a 3’ Octabox and a 1×4’...
Blowing out the Background

Blowing out the Background

The image above was not shot on a white background. It has a minimal level of adjustment in Lightroom to it, mostly to clean up the edges, but that’s about it. It was taken in front of the greyish-blue wall in the lobby of the BorrowLenses.com offices in San Carlos. The thing about a relatively light-colored background is that it lends itself to a surprisingly large number of options for photographers. Though grey backgrounds work best for this, you can with some tweaking, turn just about any light-colored background — grey, blue, beige — completely black, as I demonstrated in this article on how to kill your background completely. In this article, I’ll show you how to blow out that background completely to make it look like you’re shooting in front of a white backdrop. The setup for this portrait was exceedingly simple. I placed one Nikon SB-910 in a Lastolite Ezybox Hotshoe and one bare-bulb, with the included diffuser attached. The SB-910 in the Lastolite softbox was placed on camera-left, while the bare-bulb SB-910 was placed directly behind Ben, and slightly below the level of his shoulders. It was pointed up at an angle at the wall behind Ben, as shown below. I set the flashes to manual, making sure that the flash hitting the wall was about 2 stops brighter than the flash on Ben’s face. The diffusion in the softbox cut the power of the light on Ben by another 1/3 stop or so, I estimate. That was it. It took a bit of tweaking the power on the lights and the aperture for exposure and...
Daylight Savings Time is Here: Don’t Forget to Change Your Camera’s Clock

Daylight Savings Time is Here: Don’t Forget to Change Your Camera’s Clock

Unlike your computers, tablets, and smartphones, the clock in your camera doesn’t typically do the “Spring forward, Fall back” routine required to keep its clock accurate. If you don’t go in manually to change the time and date on you camera, the EXIF data it stamps your files with will have an inaccurate time/date stamp. While it’s not the end of the world if your photos show a time that’s an hour off, having your clock accurate is always a good thing. Knowing the exact time an image was taken can help you if you want to replicate the exact atmospheric conditions in a landscape shot at a later time, for example.  Having accurate timestamps is especially important if you’re doing any kind of geo-tagging of your images using a GPS tracker or your iPhone to record a GPS track file and apply it to your DSLR photos in Lightroom or Aperture. This article will show you how to adjust the time on your Nikon or Canon camera, as well as how to adjust your photo timestamps if you forget. Not all cameras use the exact same menu setup, so please check your camera’s manual for instructions specific to your gear. On a Nikon (we’re using a D800E in this example) go to your “Setup” menu and select the “Time zone and Date” option. Now, rather than changing the actual time once you’re here, you can simply change the “Daylight Savings Time” option and your camera will automatically jump its clock forward an hour. Switch it form “Off” to “On.”   On a Canon camera (We’re using a 5D...