One Bottle of Wine, One Light Tent and Two Elinchrom D-lite-it 4's.

A very simple set-up to photograph the bottle of Pomerol wine shown above:

Agfa Isolette

I originally posted a little about this camera here: Girl with Agfa Isolette, but this time around I just got a better pic of the camera. More about it at the Camerapedia website, simply CLICK HERE.

Some time or the other I need to get all the ingredients to develop my own film and then I may have a stab at actually using it.

Nikon D300s, Nikkor 40mm f/2.8G AF-S DX Micro, 80x80cm light tent, 2xElinchrom D-Lite-it 4's shot through their softboxes on either side of the tent.

Photographing Weddings is Fun!

Although stressful at times, and tiring to shoot when it stretches to a 12 hour day, I have always enjoyed shooting weddings! I really love to work with people, especially people who are having a whole lot of fun themselves, and at weddings mostly people are very happy, relaxed and in a great mood.

Being properly prepared ahead of time takes most of the stress out of it, however no matter how well you prepare there are always going to be a few surprises along the way, but if you have done the groundwork ahead of time then you should be able to handle the little niggles that come along a whole lot better.

What has always helped me a lot is building a very good relationship with my clients ahead of time, so that on the day they trust me and don't have to stress themselves worrying about whether I am up to documenting their one off very special event that will (hopefully) never be repeated ever again. Some photographers can't deal with that sort of responsibility and hate to shoot weddings, but it is exactly that aspect that gets me revved up! Bring it on!

Premier Hotel, Cullinan South Africa

Bride and Groom Kissing outside the Chapel

An oldie from my days of film, and still one of my favourite wedding photos. I was shooting with a Nikon F801s camera and a Nikkor 50mm f1.8D lens, a real workhorse combination that served me well for many years!

I would still be happily shooting film but in South Africa it became harder and harder to find anybody who could still process film properly and without leaving smudgy fingerprints on my negatives. I think that as time went on and the old film guys who knew what they were doing in the darkroom retired they were replaced by anyone (young, cheap and inexperienced) who thought they could punch the right buttons on the mini lab machine, and the darkroom art died out.

This is the way of the world and unfortunately profits drive everything. Having recently moved to Sweden I have discovered that local processing labs simply don't exist, so film use seems to be off the cards unless I decide to process my own... C'est la vie, now I have been shooting digital for a number of years and the "old days" of film remain as a pleasant memory.

Christmas Candles

Nikon D300s, Manual Mode, Nikon 18-105mm DX F3.5-5.6 VR, VR on, hand held, f/5,6, 1/80s, ISO200, edited in Lightroom 4.3.

Elvis Impersonator in the Mall.

...and he was really good at it too!

If anybody in South Africa knows where I can get in contact with him, please send me an email (lanthus.clark*at*gmail.com) with his email address so I can forward some pics to him.

Nikon D90, Aperture Priority Mode, Nikon 35mm f/1.8G AF-S DX, hand held, f/2.5, 1/200s, ISO400, Nikon sb600 pointing upish and bounced off the ceiling.

Venetian Painted Mask - a one light portrait.

Another version of a previous pic (in colour) from the same session that I posted here: Venetian Painted Mask

Nikon D90, Aperture Priority Mode, Nikkor 18-105mm kit lens at 105mm with VR on, hand held, f/5.6, 1/200s, ISO200, Nikon sb600 fired into a bounce umbrella to camera left.

Toni (with an "i"), photographed in my "Strobist" style studio.

Nikon D90, Manual Mode, Nikkor 18-105mm kit lens at 105mm with VR on, hand held, f/11, 1/200s, ISO200.
A Nikon sb600 bounced in an umbrella to camera left set just slightly higher than the subject, and a Nikon sb700 bounced in an umbrella to camera right and somewhat higher than the subject (about 45 degrees), with both sb's on light stands and triggered via Nikon's excellent CLS.
Edited in Corel Paintshop Pro X4.

Hurrah for Simplicity!

As the old saying goes: "less is more"! :-)

Monochromatic Simplicity

Stripped of colour a little discarded moss on a wooden jetty becomes a thing of simplistic beauty.

A Quick Portrait.

Took a quick portrait this evening, setting up lights, shooting and packing back down all done in about 20 minutes!

Nikon D90, Manual Mode, Nikkor 18-105mm kit lens at 90mm with VR on, hand held, f/11, 1/200s, ISO200, two Nikon sb's bounced into two bounce umbrellas, edited in Corel Paintshop Pro X4.

Old Brass Bell shot with a Nikkor 40mm AF-S DX Micro f/2.8G

Nikon D90, AF-S DX Micro Nikkor 40mm f/2.8G, Aperture Priority mode, ISO200, 1/80s, f9.0, two off-camera Speedlights into bounce umbrellas fired via Nikon's fantastic CLS system.

Swedish Country Scene - Alnarp

Nikon D90, Aperture Priority Mode, Nikon 35mm f/1.8G AF-S DX, CPL filter, handheld, f/8, 1/40s, ISO 200  edited in Lightroom 4.

So what exactly does a Circular Polarising Filter do?

I was asked by someone recently what a polarizing filter does and was it worth paying so money much for one? Well, the only way to answer this question is by example, so I set up, with a little help from God and nature, a perfect test area with a huge amount of reflection on wet leaves coming from the diffused light of the sun. Please note, these are for test and display purposes only and are not meant to look remotely pleasant to the eyes.

Here is the special test area unpolarized:

The leaves are wet and reflecting a lot of light into the lens and giving much less than desirable results. Or to use a highly technical term, "it looks yucky"!

Here is the exact same scene, a few seconds later, with the polarizing filter applied. It is simple enough to use, you simply rotate it until the shine goes away! Just remember to look through the viewer while you are doing this or you will not be able to see when you have achieved optimal effect. Live view works just as well.

The first thing you will notice, of course, is that the shine is gone! Vanished into thin air! The second thing that you will notice, is that the greens of the leaves are beautifully saturated, and the picture just looks better in every way. All that shine plays havoc with metering and exposure.

If you intend to photograph gardens, landscapes or shiny cars and buildings a circular polariser is a great idea that will assist you to get much better results by taking away the shine. In landscapes it will also give a beautiful deep blue sky, but it may not look great using wider lenses because the polariser will only turn part of the sky dark blue and it could all end up looking a little strange. Some people like this effect and do it on purpose.

Please note that the polariser reduces the amount of light entering the lens and so in low light shutter speeds may drop too low to hand hold requiring you to use a tripod.

Happy light hunting!