The Quilt

 This photo was the second photo assignment of the day, and even though I spent almost two hours of "run and gun" at a Memorial Day celebration, I have seldom been more energized that I was during this shoot. 

The assignment was to photograph this quilter with her submission for the upcoming County Fair. I was ecstatic when I found out i would be photograph inside one of the pavilions, which meant relative security and a complete lack of wind. While the artist went to  hang the quilt, I started unpacking. When the quilt was hung, to take a no-flash shot to see what the ambient lighting looked like.

From this first attempt, you can see the structural details of the ceiling and the accents provided by the ceiling lights. You can also see that the ambient does provide some light on the subject, although not enough to bring out the true colors of the quilt. I was very encourage by the graphic aspects, so I proceeded to create my flash lighting solution.

I decided to approach the photo from a typical copy lighting setup. I set up two identical speedlights set on light stands adjusted to a height that approximated the half-height of the hanging quilt. Shoot through umbrellas were used as modifiers and positioned at an equal distance for the lens axis line. 

If you look at the above photo, you will see a red arrow pointing to a my accent light, which was a 200 WS flash with a grid mounted to help contain any potential light spill. It did provide a the glancing light that gave my subject's hair the separation from the darker background. I believe there was some lens flare created by the flash, so I made a small gobo (shade) out of gaffer tape to reduce it.

Now here's the fun part. From my camera position the lightstand is aligned with the open garage door on the far wall. In fact, the lightstand is practically invisible. This means that the accent light is coming from an existing location, and the effect is therefore believable, although greatly exaggerated. 

The final photo was simply cropping out the left edge of the frame. What remains of the garage door suggests a light source for the viewer, and that little hint helps make the photo a little more "believable". 

You can see from the cropped portrait (above right) that the accent light did a proper job of highlighting my subject's hair. Notice that the accent light is placed so it did not create a highlight on the side of the subject's nose, an important thing to remember.

I can never leave well enough alone, and in this photo I am bothered by how the (camera) right edge of the quilt gets lost in the dark background. I didn't notice the problem until the end of the session when I was at the end of my allotted  time. At the last moment I tried to add an accent light as I had done on camera left, but couldn't get one to trigger properly. I couldn't get the effect I wanted, so I resigned myself to come up with a solution for future use.

If I could replay the whole scenario, I would have taken my fourth speedlight and set it to S1 mode so it would be optically triggered by the flash I had placed on the left side of the frame. Since I didn't have another light stand, I could have simply used the ball-headed clamp I had in my camera bag and attached it to the back of a chair. I would have positioned the chair just out of the right edge of the frame, and aimed it directly at the right edge of the quilt. Then I would move the chair away from the camera, until the light skimmed in front of my subject. This way I could get light on the edge without affecting the seamstress herself. I don't know if it would have worked as planned, but at least next time I can try.

On June 1, the photo was published. I was shocked at the size. It takes up more than half of the page. It was cropped a bitt, but I suspected it would be, as I always provide some "extra" on the edges so the photo can be adjusted to fit the available space. The quilt is shown in all its glory, and the colors and details really pop in spite of the limits posed by printing on newsprint. All the effort it took to set up the twin copy lighting setup was all worth it.

Flash In A Tree

This One Is Ready To Pick: My New Best Friend, 

Facebook continues to present me with new videos about the IT32. Content creators have moved past just listing the features, and now that the flash is readily available to consumers like me, many so-called "professional" photographers are editorializing on whether this little flash is capable of playing with the big boys and taking on some professional level applications like weddings and modeling modelling sessions. That's a pretty heavy lift for a flash smaller than a can of Spam.

Let me put in my two cents. The IT32 was not, is not, and never will be a flash worthy of riding in my Domke Camera Bag. It will be in my shirt pocket whenever I carry a camera just for the joy of looking for something new. In that task, the flash can extend my vision to capture images that are beyond the exposure limitations set by my camera's sensor. 

• Fixed Internal Battery: Having a built-in battery is convenient, but prevents you for changing batteries when it's drained. No matter what the literature says, you won't get the maximum number of fleshes listed, and when in the field, every other request from you client will be "Just one more please".  Sure, you could carry a second TT32, but now we are committing to carrying more equipment, exactly what we were trying to avoid.
• Tight Control Panel: This flash is just so small, it's almost too small. While it can be configured to fire multiple flashes from the camera mounted controller, the configuration process is not exactly straightforward, and one I did not find intuitive. Besides, if you need to control multiple flashes, you would be much better off with a larger dedicated flash system. Now the current S2 family of flashes, while larger, offers the user a larger, easier to use interface.

I say that photographers should just purchase the flash and use it in the way it is best suited, namely as a convenient, pocketable flash with both manual and TTL flash metering, and an easy way to experiment with off-camera flash. Sure, start out in the on-camera TTL mode, and then you can experiment with off-camera exposures by gently separating the flash body from the flash foot. Later on, a simple ball-bungee can be used to attach the flash to a fence or pole for a completely different look. You can use the TTL feature as long as you like, knowing that full manual controls are available when you're ready to experiment..