This is some sort of large machine.
Doing a little work for a racing team, and came up with this for their newsletter. I like it a lot, but I think it’s much too dramatic for the purpose it was meant to serve. Could a brooding black and white really work on a white and navy newsletter? I’m going to try, but I’m not holding out much hope.
Nikon D200, Nikon 50mm f/1.8, Minolta strobe triggered by remote.
More happy accidents.
I’m still not sure how exactly this happened. I was shooting in the studio triggering a bounced flash remotely, and apparently I tried this one with no flash. The auto white balance (which was doing a nice job with the mixed strobe/fluorescent lighting) apparently fell on its face on this one, producing what turned out to be a very interesting yellow cast.
Nikon D200, Nikkor 50mm f/1.8.
This is one of the many places I’ve been instead of here.
Starting to combine my interests in music and photography.
Nikon D200, Nikkor 50mm f/1.8, Minolta strobe triggered remotely bounced off the ceiling.
Photography and music are sort of related.
It’s true. Just look at Zack Arias. That guy can shoot as well as anyone on the planet, and the music industry is his thing (and really, his site is fantastic. Great photographers who share their knowledge are the greatest of all). I have been a musician for a lot longer than I’ve been a photographer, and I would love to unite the two.
This shoot would have worked a lot better with better equipment, but there are always resourceful ways to cheat. Things with lots of shiny surfaces (like very chromey guitars) don’t usually do well with hard light, but I still don’t have any umbrellas (because. . . I haven’t ordered them yet). So what do you do? Bounce one big flash cranked to mega power off of the (fortunately white) ceiling! Part of me feels like this would look better with a pure white background, but part of me likes the tones and the textures of the gray. I could have made it white (well, if i could have dug up a few more batteries), but I didn’t, partially because this shoot ended abruptly when my megaflashzilla decided that was as far as it wanted to go on my sort-of-mostly-charged AAs.
While the title and the instrument suggest country music, I can assure you mine is not of that persuasion. I just love Telecasters- something about that lipstick pickup in the bridge makes the sweetest tones. If you’ve played one, you know what I mean (though you may disagree. That’s why there are Les Paul players). Just like having a camera that’s more than you really need can make the experience sweeter, my guitar playing is not nearly up to the task of needing an American Standard Telecaster. But it plays like magic, and that’s fun. In a way, the Teelcaster is the K1000 of the guitar world (yeah, I have one of these too). It hasn’t changed much since a long time ago, it has an almost comical lack of features by modern standards, and it’s still awesome. Except you can still buy a new Telecaster.
For the record, I am still on hiatus . . .
Nikon D200, 50mm f/1.8 (but not at f/1.8 of course), one Minolta strobe on full power bounced off of my white ceiling, one perfect guitar.
What wlil become of you?
I need to figure out what I’m doing with all of this film by making a longwinded rant about it. Though I am not ready to do that, I did get bored and set this up under my desk.
Nikon D200, Nikkor 50mm f/1.8, optical slave triggered ghetto Quantaray high just left of camera.
It isn’t often that I add a new category to my “categories.”
One of my goals (and the way I’m justifying the expense of digital gear) for this year is to become a confident portrait photographer. I don’t need to be Zack Arias (whose work is fantastic), but I want to feel like I know what I’m doing. Fortunately, I have roommates to drag to my bedroom-turned-studio for impromptu self-education sessions. I am fairly happy with the light here considering my constraints (one undiffused light, limited space and backdrop options), and I know where I need to work. More of these may appear from time to time.
Nikon D200, Nikkor 50mm f/1.8, strobe that was free.
Around and around and around again.
I think this is pretty self-explanatory.
The exciting news is not that the camera body got here today (which was expected), but that the lens and CompactFlash card arrived a full four days earlier than UPS predicted. That was definitely a nice Friday surprise.
Nikon D200, Nikkor 50mm f/1.8, off-camera flash (“Promatic FT700”) medium-high right with printer-paper-and-electrical tape barndoor assembly triggered optically with the onboard flash.