Bob St. Cyr was granted the Canadian Association of Photographic Arts Maple Leaf and Associate Fellowship Awards for photographic achievement, service and exceptional contributions to photography. Bob has also won national and international awards for his photography. Although Bob is familiar with digital photography and employs it from time-to-time, he primarily prefers to work with medium and large film format lens and pinhole cameras. He also enjoys the challenge of constantly working to better himself not only as a photographer but as a darkroom craftsman from processing his film to black and white printing. His work has appeared in Canadian Camera Magazine, Pinhole Photography, and Photo Life Magazine, among other publications. What follows are his thoughts on measuring light for pinhole photography.
©Bob St. Cyr
Even before I added pinhole imaging to my fine-art photographic practice, I saw the value in having a handheld light metre. My first light metre was the Sekonic L-408, which is a great metre with a fixed 5° spot as well as the incident dome. Some of the things I like about this metre aside from its technical offerings is the fact that it operates with a simple AA battery, is light-weight and of modest size. Eventually, I traded up to the L-508 and finally to the L-608.
Because I work with medium and large format lens and pinhole cameras, I purchased the L-408 again, so I have two meters to work with, depending upon which gear I am working with. However, I tend to keep the L-608 primarily with my Toyo large format gear because of the 1° spot option. Both metres cover most of my exposure needs and do so quite readily and easily.
© Rob Duncan
If you’ve always relied on your in-camera meter or histogram and are comfortable with your workflow, change can be hard to take. Aspiring portrait and wedding photographer Rob Duncan had been shooting for 3 years before he decided to take the plunge and invest in a hand held light meter, the Sekonic L-358, all in the name of efficiency.
After watching a number of tutorials on Sekonic, Snapfactory, MAC-On-Campus, and AdoramaTV, Rob tackled his first shoot, a portrait session with Alexandria. Continue reading
The Eddie Adams Workshop would like to announce the 26th Workshop, which will be held October 11-14, 2013 in New York. The workshop is an intense four-day gathering of the top professionals in photojournalism, along with 100 carefully selected students.
The workshop’s purpose is to create a forum in which an exchange of ideas, techniques, and philosophies can be shared between both established members and newcomers of the profession.
The only tuition-free workshop of its kind, 100 students are accepted based on the merit of their portfolios from a pool of college students, professionals with three years or less experience, and U.S. military photographers.
Applications will be accepted until May 31, 2013.
- October 11-14, 2013
- Jeffersonville, New York
All who qualify should apply at www.eddieadamsworkshop.com.
Eddie Adams Workshop on Facebook.
© Tommy Næss
Tommy Næss is an amateur photographer living in Oslo who says, “photography is about catching moments, situations and people – as a part of everyday life as I’m living it.” Seeking a little more structure, Tommy has embarked on a portrait-a-week project in order to get some experience in planning shoots and communicating with subjects.
Using Tri-X black and white film that he develops himself, Tommy is going for a documentary style. Why film? Aside from the slower pace of the work and the style, Tommy admits to being a “hopeless nostalgic when it comes to analogue cameras and techniques.”
© Jorge Queiroz
Graphic designers often make great photographers. They already have a fine tuned eye for composition and color and once they get the more technical bits down, they’re off and running. Jorge Queiroz is no exception. We first ran into his work on flickr, where a Sekonic L-758DR on a poppy lime green background caught our eye.
© Jorge Queiroz
He says that his graphic design background taught him to “see the details in things” and to see just how much you can do “using just a few objects, working with light, color, shape, and composition.” As an added bonus, he found that it made communicating with art directors easier since he knew the lingo!
Ian Brenes is a photographer in Vancouver, Washington whom I stumbled on while researching shooters on the Internet. When I found out he is only 21, I felt like I had stumbled in real life. His work is professional and mature far beyond his years. More than that, the writing on his blog is clear, informative, and valuable for photographers of any age. He is impressive, and we will be watching his career with anticipation.
It also turns out Brenes is simply a nice guy. He very happily was willing to break down a session of product photography he did with a pair of problematic footwear. Here is how he surmounted lighting issues and came up with a final shot, in his own words.
I work almost exclusively with off-camera, multi-light setups. Not only do I compose the subject, I compose the light as well. To create a realistic looking image, you have to be able to set your strobes in such a way they emulate the way real light would interact with the subject. With this added level of creativity comes a greater degree of difficulty to achieve an accurate exposure. As someone who aspires to one day get into high-end commercial photography, accuracy is everything. Even with shoots that I do for fun, I hold the mentality that there is no do-over, and so I aim to get everything as close to perfect in-camera as I possibly can. Having a light meter allows me to do this much more efficiently and easily because I am able to directly measure the output of each light source as well as get a 100% accurate overall exposure reading.
To illustrate the difference that metering can make, let’s do a shot comparison of a particularly difficult subject to work with: my Creative Recreation Cesario Lo’s in solar/black (solar being CR’s term for ridiculously bright yellow). Not only are they obnoxiously bright, large portions of the shoes are made out of a very shiny plastic material that reflects light easily. If I could compare it to anything I would say it was like shooting a car – the angles the lights hit had to be just right or else reflections would be cast all over the shoes.
Here is the original image, shot before I had a light meter:
Join host Joe Brady as he puts the combination of the Sekonic L-478 meter and the ColorChecker Passport to work out in the field to get perfect color and perfect exposure when shooting landscape photography.
In this free webinar, you will learn the benefits a handheld meter has over your camera’s metering and how creating a custom exposure profile can insure perfect exposures every time. Add to this the ColorChecker Passport’s ability to create a custom color profile for your Raw files and you will have the best starting point possible for your image edits.
Joe will also explain how to factor in filter compensations and some tips and techniques to get the most tonal range out of your camera’s sensor.
Perfect exposure and perfect color will give you the best digital image file as you create your Landscape Masterpiece.
This Webinar has been archived.
With the launch of Amazon.com in 1995, the online retail experience had arrived to stay. What the launch of that site also heralded was the decline of the tactile shopping experience. Without being able to hold a book or garden tool or necktie, the importance of excellent product photography was more evident than ever.
Allison Earnest has published a book with Amherst Media entitled Lighting for Product Photography. Many aspects of this critical area of photography are covered. The rear cover reads, in part:
Allison Earnest walks you through the process of photographing products for commercial applications, demonstrating how to light even the trickiest of shapes and surfaces for accurate, appealing images. Step-by-step images and ample setup shots show how theory translates into practice, making it easy to master each technique.
With no other book on the market quite like this guide, Earnest has clearly written it with a specific audience in mind. “It’s geared toward photography students and people photographers who wish to diversify their photographic skills and photograph products and ‘things’ for commercial purposes,” she says.
“If you had the chance, the opportunity, to inspire a future American president, would you?” This is the question photographer and lighting expert, Matthew Jordan Smith is asking in his new project Future Presidents.
Future Presidents is all about inspiring young children and their parents to dream big. His goal is to travel to all 50 states capturing images that answer the question, “What would you do if you were the President of the United States?” Continue reading
© Sean Nel
“Can it be done without a light meter? Yes, absolutely! Just like you can unlock your front door with a paperclip if you spend enough time on it…”, says the team behind Shoots Imaging, a commercial stock photography studio. In their line of work, they have to be ready to shoot anything and everything. In this article, posted on their blog, they wonder, are light meters another tool in your box of tricks or are they just a bit old school? Continue reading