Light Stands

    For a compilation of the morning walk images, click here.

Left to right: 12-foot Avenger, a paint pole, a Flashpoint Nano 8.5', and a Manfrotto 6',* 

I just received a pair of Flashpoint Nano light stands I purchased from Adorama. I have more lightstands than I'll ever need, but this particular model brings something new to the table.  Extended, its height is 8.5', and when collapsed, it's only  22.5". It's taller than the 6' Manfrotto stands that collapse to 19". For an additional 3.5" in storage space, I gained full 2.5' of elevation, which is nothing to sneeze at.

Here's the rub: If I use the catalog measurements for each light stand, the installation of the requisite umbrella/flash mount and a suitable speedlight would add about 10" to the overall height. This means that the face of the flash would be positioned at about 6' 10" with the Manfrotto.  The Flashpoint is taller by an additional 30", giving me a working height of 9' 4".

In practical terms I can position my light well above the eye level of a rather tall subject. This means that I have greater flexibility to position my light for better facial modeling. 

If you examine the photo from last week's post, you can see that there the light is almost perfectly level with my subject's face. Notice that the catchlights (highlight in my subject's eyes) are centered on the pupil, and there is almost no shadow beneath her nose and chin. Raising the flash/umbrella combination higher would have given my subject's face a more three-dimensional look, and would have darkened her knuckles a tiny bit. The shot was made with the 12` Manfrotto which, looking back,  I should have extended a bit more.

Lightstand Ethics: While useful, photographers must be aware that lightstands in public thoroughfares can present a tripping hazard to pedestrians, so I only use them when I'm sure it can be deployed safely. If you have access to an assistant, one could collapse the legs and use it like a monopod, making it much less hazardous and easier to move from place to place. In years past, I've attached a battery-powered, blinking red hazard light as a warning.

Stability: I usually have a carabiner somewhere in my bag. This allows me to use my camera bag as a makeshift weight to help to keep the light stand from tipping over. In a pinch, I've used bungee chords and gaffer tape to the same effect.

The Big One: My last two assignments of 2020 were shot in areas not normally open to the public, so I brought a 12-foot Avenger Light Stand to the "set" (far left, top of post). It normally rides across the floor of the back seat of my car, available for use when needed. Even though I seldom extend it to its full height, the correspondingly longer legs provide a more stable platform when using softboxes or large umbrellas.

Paint Pole Solution: Having a VAL (voice actuated light stand) allows me to make photos in situations where a stationary light stand might pose a tripping hazard to pedestrians (second from the left).  In the photo, I'm using a 4' paint roller extension pole. Cissie (my assistant) is quite capable of hoisting the paint pole to shoulder height if needed. If I have a locally conscripted assistant who can't raise the extension pole that high, I'll use a chair, or something similar, to support the weight. I normally carry a compact monopod in my bag, and bring the paint pole for heavy and/or bulky lighting setups.

The New Flashpoint Lightstand. You can see that the new lightstand (third from the left) seems to be half-way between my extended paint pole and the shorter Manfrotto unit. I'm looking forward to using it, since it seems to be just the right combination of height, weight, and compactness. When working on location, I carry my equipment in a rolling duffle bag, and the collapsed length of 22.5" will fit with room to spare.

The Manfrotto 5001B. This was the "go to" light stand, thanks in part to David Hobby's anointing it as the ideal starter portable light stand. Proportionally, it seems to match perfectly with his go-to light modifier, a compact double-fold shoot-through umbrella. It is also favored by Bob Krist, travel photographer for National Geographic Travel. It turns out that a pair of these lightstands will comfortably fit in a Pelican 1535TRVL Case, a sturdy case that complies with federal carry-on regulations. The 5001B is still a good choice, but you may be forced to have you subject sit down if you're alone and want to do something creative in the lighting department.

Be Gentle: The Flashpoint stand is a not the most robust piece of equipment, but it is a compromise of size, weight, and price point. Please, be careful with it, and learn to deal with its shortcomings. BTW, if you can spend a little more of a stand that's slightly shorter, click here to read David Hobby's current preferred entry level stand. I've bought LumoPro branded products before, and they're worth the extra money.

*Visual Dissonance: I had to attach an umbrella bracket to the Manfrotto to hold the flash. The speedlight is actually 6" higher than it should be.

It Came Upon A Midnight Clear -The Gingerbread Monolith

12/25/20: Read the original article by clicking here.

December 25, 2020 will always be remembered by San Franciscans as the day we were visited by aliens (purported) with a taste for gingerbread (confirmed). Mysteriously, a monolith appeared on the hills of the Corona Heights Park. Apparently the original Christmas post went viral, and soon everyone had seen, or made plans to see, this tribute from outside our planetary bubble.

I woke on Boxing Day (December 26) to a text message about the artifact, and after eating a hearty breakfast, set forth to see it for myself.

1/400 second, F 8.0, ISO 200, flash assisted.

On my ascent, I was met by legions of walkers who had already examined what was left of the monolith, each more than willing to blame animals for defiling the monument. When I finally arrived, I confirmed the carnage without assigning blame. It appears that somebody double-dog dared this woman to touch the artifact and then step away without laughing. She lost. Or so I imagined.

1/400 second, F 8.0, ISO 200, flash assisted.

Soon dozens of visitors came to view the ruins, and more than one dog sniffed at the soggy gingerbread remains, wondering to themselves, "Is my human watching?". It appeared the monolith was made from plywood to support the gingerbread siding. And I can easily imagine animals chowing down on the makeshift gingerbread house, sharing in the joy Hansel and Gretel must have felt when they nibbled on the witch's house.

After the dog walkers and energetic climbers had visited the structure, families with young children started to arrive. It's hard to tell their reactions, covered as they were with masks. I am sure this will be a moment long remembered, although I suspect that seeing the structure in all of its glory would have been truly awe-inspiring. One could only imagine the artwork the monolith would have inspired if regular school resumed in January. Le Sigh.

The Kit: This morning, I indulged myself and used my X100T in the auto-focus mode. Oh the joy! I also brought a flash, a Flashpoint Zoom Mini, aka Godox TT350 Mini Thinklite flash. I also carried a generic flash cable for Canon cameras. My understanding is that the Fuji's pin contacts were located in the same locations as the Canon's, and that the cables were SUPPOSED to work. Unfortunately, I have yet to find a Canon configured cable that provided proper synchronization, so I only use the cable when prepared to shoot in the fully manual mode. For these shots, i simply used the flash on-camera with satisfactory results.