Great shots! I'm so jealous, I'm a big fan of McNally, his work, and his books.
Thanks, Tim! You'd be a fan of the man himself in person, I'm sure. He's a hoot and a half and just such a pleasure to be around and listen to. The man is filled with fascinating stories.
And you make very good points about the CLS system constraints. For my use, which is mainly studio or working with light very close to the subject outdoors, CLS is perfect and nearly flawless. I suspect as my ideas grow bigger (which they already have, thanks to this workshop), I'll discover more limits...and have the Radiopoppers with me just in case.
Really, though, I learned that Joe is an incredible teacher and a great guy. And the logical way to light any scene is to expose for ambient first and add lights one at a time. It really does work!
Thanks for stopping by!
These are simply stunning shots! I'm going to have to look into workshops a bit in coming year!
As for the lighting thing - I learned it just a bit differently, "Expose for the ambient. Add additional lights, one at a time, to resolve any remaining issues. Repeat as necessary." Basically, don't add lights just to be adding lights. Add lights to achieve a pre-determined effect or to solve a problem. But it all amounts to the same thing in the end
Do you find his workshops just by keeping up on the his blog/site? The upcoming workshops are mostly the 1-day and/or landscape workshops (other than the 2-day in Houston I can't attend).
This workshop was a collaboration with Syl Arena's Paso Robles Workshops. I actually found out about it through Twitter after I posted about wanting to attend the Within the Frame workshop in Italy (which I gave in and signed up for ), and April replied asking if I'd looked into this PRW workshop with McNally. The stars just aligned because I was already flying out there for business the week before the workshop.
I follow many photographers I admire on Twitter and have stumbled over a few workshops I want to attend that way. I'm also looking into the Sante Fe Workshops, which I learned about from religiously reading David Hobby's Strobist blog.
My obsession started right here, though, when I attended a Muench Workshop in Scotland. It was incredible and really set the bar high for the type of workshops I look for.
Finished the book today, gotta get to a seminar!:ian
Lover of God and Fisher of Men for Christ
Bodies: Nikon D300 & D70
Lens: Sigma 28-70/2.8, Nikon 18-70, 50mm/1.4, 70-200
Lights: SB-600, Alien Bees 400 & 800
I saw Joe's seminar in South San Francisco as well (how I missed April is beyond me ). Anyway, after that, I was convinced of the Nikon's superior out of the box features--it comes across as a sales job at the seminar because it was so easy and because McNally is both good at what he does and good at explaining it.
That doesn't mean you can't get similar results with Canon's system--you can. Just look at Kerry's take. There are some very good photos there. What Nikon does give you is more freedom to create because there is less to think about technically leaving you free to think more about what you want to accomplish.
Moderator Journeys/Sports/Big Picture :: Need some help with dgrin?
That doesn't mean you can't get similar results with Canon's system--you can. Just look at Kerry's take.
You'll need to look at April's whenever she can get to it...I shoot Nikon. Your statement is true regardless because she also got awesome photos. The same lighting scenarios can be achieved with Canon as with Nikon, it's just a bit tougher to do so with Canon. And way more annoying to deal with if you have short time constraints like we did.
It seems like your color balance between the ambient light and flash is very good -- did you have the flashes filtered, or did you tweak the white balance after, or nothing was needed in these situations?
It seems like your color balance between the ambient light and flash is very good -- did you have the flashes filtered, or did you tweak the white balance after, or nothing was needed in these situations?
Good question! I didn't tweak my white balance in post at all, even before applying some of the more artistic processing. In some cases, I placed a CTO gel on the speedlight to warm it up a little and balance more with the daylight. In the first post, my speedlight was gelled in 3 and 7. In 4, only the speedlight camera left was gelled since I was using it to fill in the natural sunlight streaming through the open door. The background speedlights and hair light were not gelled in that one and were a bit cooler, which didn't bother me. In 6, the warmth came from light bouncing off all that wood of the barrels.
The rest in this set were not gelled, probably because I was moving too quickly to think of it most of the time.
You'll need to look at April's whenever she can get to it...I shoot Nikon. Your statement is true regardless because she also got awesome photos. The same lighting scenarios can be achieved with Canon as with Nikon, it's just a bit tougher to do so with Canon. And way more annoying to deal with if you have short time constraints like we did.
I thought you were hanging with Syl?
Moderator Journeys/Sports/Big Picture :: Need some help with dgrin?
Only on the last day, when they mixed the Nikon/Canon groups. Syl happened to stop by while I was shooting and helped calm me down, even though I was a Nikon shooter.
Awesome series. I really like #2 and #6. I have been meaning to get Hot Shoe Diaries for a while now. It's been on my wish list. Think I will cross it off and head on down to the bookstore I frequent today, as I know they carry it. I pick it up everytime I am in there.... Heading over to your blog now!
Santa Fe Workshops
I have taken 6 workshops in Santa Fe - it is a center of learning for all levels of photography based on your interests. The light in Santa Fe is amazing - they have incredible world class teachers with a proven track record of providing some of the best photographic programs for teaching.
I took a beginning workshop from Sarah Meghan Lee there about 8 years ago there and it laid a great foundation. The studio lighting and Lightroom/PS workshops were also great immersion lessons.
Editing to add that any of the Muench Workshops would be an incredible experience and are on my list. I have also taken a few classes at the Julia Dean Workshops in Venice, California
Thanks for posting this. I have been wanting to take a workshop from Joe McNally for a long time. I didn't know about the Paso Robles workshops - they are driving distance for me so I will have to take a look.
Great series of images, and great explanations of how each shot was lit. I love how nicely images can look with great light straight out of the camera.
You did not expressly state how the flashes were each triggered. Were all the speedlites triggered with the built in flash via CLS, or were PWs involved?
If you are shooting manual flash only, you can use Vivitar HV285s ( much cheaper than SB888s, SB900s etc ), or other manual flashes with a PC cord to a PW as well, whether shooting Nikon, Canon, Contx or whatever of course.
My experience with the Canon wireless system is that indoors it works well for me, but out of doors it can be much more problematic. With PWs and manual flash, Canon seems to work quite well indoors or out.
You did not expressly state how the flashes were each triggered. Were all the speedlites triggered with the built in flash via CLS, or were PWs involved?
I mainly used the built-in flash to trigger my off-camera lights. I know at least once I placed the SB800 on my camera and used it as a master to control more groups, but only once. And not for the one time I used four lights, in image #4, which would have been the smart place to do that.
Most of the time I had only about 20 min. to shoot before it was time for another photographer to take over, and the built-in CLS allowed me to move more quickly and efficiently.
I had my Radiopoppers with me, but I never took them out of the bag.
Cool, I wondered if the built in flash was able to work in the bright sunlight of your first shot. Very impressive demonstration of the CLS system.
I think it worked because the people themselves were directly blocking the sun, and the signal may have even bounced off them to hit the flashes camera right. I thought nothing of it that first day, but as you say, very impressive. I appreciated it so much more by the end.
In an earlier post I led everyone to believe that Radio Poppers work with Canon but they also work with Nikon. Sorry about that. IF you haven't given these a look take a peak at them.
I have taken 6 workshops in Santa Fe - it is a center of learning for all levels of photography based on your interests. The light in Santa Fe is amazing - they have incredible world class teachers with a proven track record of providing some of the best photographic programs for teaching.
I WISH I could say the same thing for Georgia. I live in Middle GA (Warner Robins/Macon area) and the closest opportunities we have for training are in Atlanta and there are not too many offerings there either. I did attend the WPPI Atlanta Road Show this year and it was awesome!! I just wish I had more chances for some training. The other downside is that I work a regular J.O.B. and the classes/seminars usually happen in the A.M.
Lover of God and Fisher of Men for Christ
Bodies: Nikon D300 & D70
Lens: Sigma 28-70/2.8, Nikon 18-70, 50mm/1.4, 70-200
Lights: SB-600, Alien Bees 400 & 800
Comments
Thanks, Tim! You'd be a fan of the man himself in person, I'm sure. He's a hoot and a half and just such a pleasure to be around and listen to. The man is filled with fascinating stories.
And you make very good points about the CLS system constraints. For my use, which is mainly studio or working with light very close to the subject outdoors, CLS is perfect and nearly flawless. I suspect as my ideas grow bigger (which they already have, thanks to this workshop), I'll discover more limits...and have the Radiopoppers with me just in case.
As for the lighting thing - I learned it just a bit differently, "Expose for the ambient. Add additional lights, one at a time, to resolve any remaining issues. Repeat as necessary." Basically, don't add lights just to be adding lights. Add lights to achieve a pre-determined effect or to solve a problem. But it all amounts to the same thing in the end
My Photos
Thoughts on photographing a wedding, How to post a picture, AF Microadjustments?, Light Scoop
Equipment List - Check my profile
Who is wise? He who learns from everyone.
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I follow many photographers I admire on Twitter and have stumbled over a few workshops I want to attend that way. I'm also looking into the Sante Fe Workshops, which I learned about from religiously reading David Hobby's Strobist blog.
My obsession started right here, though, when I attended a Muench Workshop in Scotland. It was incredible and really set the bar high for the type of workshops I look for.
Must. Attend. McNally. Workshop. Quick!
Jase // www.stonesque.com
Bodies: Nikon D300 & D70
Lens: Sigma 28-70/2.8, Nikon 18-70, 50mm/1.4, 70-200
Lights: SB-600, Alien Bees 400 & 800
That doesn't mean you can't get similar results with Canon's system--you can. Just look at Kerry's take. There are some very good photos there. What Nikon does give you is more freedom to create because there is less to think about technically leaving you free to think more about what you want to accomplish.
You'll need to look at April's whenever she can get to it...I shoot Nikon.
www.steveboothphotography.com
Pool/Billiards specific...
www.poolinaction.com
thanks for the insight!
Good question! I didn't tweak my white balance in post at all, even before applying some of the more artistic processing. In some cases, I placed a CTO gel on the speedlight to warm it up a little and balance more with the daylight. In the first post, my speedlight was gelled in 3 and 7. In 4, only the speedlight camera left was gelled since I was using it to fill in the natural sunlight streaming through the open door. The background speedlights and hair light were not gelled in that one and were a bit cooler, which didn't bother me. In 6, the warmth came from light bouncing off all that wood of the barrels.
The rest in this set were not gelled, probably because I was moving too quickly to think of it most of the time.
I thought you were hanging with Syl?
Some great images too, well done.
Work hard, play harder. bloggy
Only on the last day, when they mixed the Nikon/Canon groups. Syl happened to stop by while I was shooting and helped calm me down, even though I was a Nikon shooter.
Website • Blog • Facebook • Twitter
These images are SOC -- straight out of camera, no post processing, no cropping, no fixing of white balance -- no photoshop!
I've seen the SOC version of the other images in her original post and they're pretty much the same except for minor tweak like toning and sharpening.
You really can get great images without post if you get it right in camera.
For the Canon shooters have you ever heard of Radio Poppers. Great product for controlling ocf while still having ettl.
www.cameraone.biz
Noteworthy point!
I have taken 6 workshops in Santa Fe - it is a center of learning for all levels of photography based on your interests. The light in Santa Fe is amazing - they have incredible world class teachers with a proven track record of providing some of the best photographic programs for teaching.
I took a beginning workshop from Sarah Meghan Lee there about 8 years ago there and it laid a great foundation. The studio lighting and Lightroom/PS workshops were also great immersion lessons.
Editing to add that any of the Muench Workshops would be an incredible experience and are on my list. I have also taken a few classes at the Julia Dean Workshops in Venice, California
Thanks for posting this. I have been wanting to take a workshop from Joe McNally for a long time. I didn't know about the Paso Robles workshops - they are driving distance for me so I will have to take a look.
Flash Frozen Photography, Inc.
http://flashfrozenphotography.com
Great series of images, and great explanations of how each shot was lit. I love how nicely images can look with great light straight out of the camera.
You did not expressly state how the flashes were each triggered. Were all the speedlites triggered with the built in flash via CLS, or were PWs involved?
If you are shooting manual flash only, you can use Vivitar HV285s ( much cheaper than SB888s, SB900s etc ), or other manual flashes with a PC cord to a PW as well, whether shooting Nikon, Canon, Contx or whatever of course.
My experience with the Canon wireless system is that indoors it works well for me, but out of doors it can be much more problematic. With PWs and manual flash, Canon seems to work quite well indoors or out.
Moderator of the Technique Forum and Finishing School on Dgrin
I mainly used the built-in flash to trigger my off-camera lights. I know at least once I placed the SB800 on my camera and used it as a master to control more groups, but only once. And not for the one time I used four lights, in image #4, which would have been the smart place to do that.
Most of the time I had only about 20 min. to shoot before it was time for another photographer to take over, and the built-in CLS allowed me to move more quickly and efficiently.
I had my Radiopoppers with me, but I never took them out of the bag.
Moderator of the Technique Forum and Finishing School on Dgrin
I think it worked because the people themselves were directly blocking the sun, and the signal may have even bounced off them to hit the flashes camera right. I thought nothing of it that first day, but as you say, very impressive. I appreciated it so much more by the end.
http://radiopopper.com/
www.cameraone.biz
I WISH I could say the same thing for Georgia. I live in Middle GA (Warner Robins/Macon area) and the closest opportunities we have for training are in Atlanta and there are not too many offerings there either. I did attend the WPPI Atlanta Road Show this year and it was awesome!! I just wish I had more chances for some training. The other downside is that I work a regular J.O.B. and the classes/seminars usually happen in the A.M.
Bodies: Nikon D300 & D70
Lens: Sigma 28-70/2.8, Nikon 18-70, 50mm/1.4, 70-200
Lights: SB-600, Alien Bees 400 & 800