139. Option(al) - February 7-13, 2016
Deron-
You've got two options, well, apparently three, choose correctly.
I apologize. I've been so busy and haven't had the time to put into WPOTM. I'll try harder this week.
You've got two options, well, apparently three, choose correctly.
I apologize. I've been so busy and haven't had the time to put into WPOTM. I'll try harder this week.
Kevin-
This past weekend I was in Los Angeles for a workshop with Nikon Photographer Joe McNally The workshop was titled Flash in LA! and the focus was learning to use TTL (through the lens) flash capabilities and high speed sync of Nikon or Canon flash systems. (There were 8 Nikon photographers in the workshop and 8 Canon shooters). Joe showed work, performed demonstrations, broke us into groups of two or three photographers using the same system brand, gave us assignments, and paired us with models, then roved from group to group coaching us.
One of the models he assigned to our group was former pro-football player Drew Moore. Drew is a very BIG (and very nice) guy. 6’6" or 6’7" and maybe 335 pounds? Joe had demonstrated “Rim Lighting”, where a sports figure is illuminated primarily by lights at 45 degree angles behind the subject. So I decided to take the same approach with Drew when it was my turn to set up lights and photograph him.
Serious consideration was given to submitting the resulting image. It was taken on Sunday so it would qualify, and I had to ask him to undress (from the waist up) for the shot, making it clothing Optional.
But then I recalled that real learning takes place when you repeat what you have been instructed. Unfortunately I lacked a pro-football player when I got back to Palm Springs. Then I realized the Drew and I have almost identical body types. So I became the subject.
Four Nikon Speedlights were used. The key light was just inches above my head, in a small gridded softbox. Two more Speedlights were placed on either side of and behind me, with green gels on each. And one more was placed on the floor, set to a narrow angle, with a red gel on it, and aimed at the white paper background.
The camera settings were manual. 1/250th of a second (flash sync) @ f/8. But the flash settings were all under TTL control. +1 stop for the key light, -2 stops for the green lights and -2 stops for the red light.
Nikon D4s, tripod mounted, 85mm f/1.4 Nikkor.
I am certain that no one would want to mess with a tough looking guy like me, especially in clothing optional mode…
Oh, and I sent this photo to Drew. It made him laugh with delight.
This past weekend I was in Los Angeles for a workshop with Nikon Photographer Joe McNally The workshop was titled Flash in LA! and the focus was learning to use TTL (through the lens) flash capabilities and high speed sync of Nikon or Canon flash systems. (There were 8 Nikon photographers in the workshop and 8 Canon shooters). Joe showed work, performed demonstrations, broke us into groups of two or three photographers using the same system brand, gave us assignments, and paired us with models, then roved from group to group coaching us.
One of the models he assigned to our group was former pro-football player Drew Moore. Drew is a very BIG (and very nice) guy. 6’6" or 6’7" and maybe 335 pounds? Joe had demonstrated “Rim Lighting”, where a sports figure is illuminated primarily by lights at 45 degree angles behind the subject. So I decided to take the same approach with Drew when it was my turn to set up lights and photograph him.
Serious consideration was given to submitting the resulting image. It was taken on Sunday so it would qualify, and I had to ask him to undress (from the waist up) for the shot, making it clothing Optional.
But then I recalled that real learning takes place when you repeat what you have been instructed. Unfortunately I lacked a pro-football player when I got back to Palm Springs. Then I realized the Drew and I have almost identical body types. So I became the subject.
Four Nikon Speedlights were used. The key light was just inches above my head, in a small gridded softbox. Two more Speedlights were placed on either side of and behind me, with green gels on each. And one more was placed on the floor, set to a narrow angle, with a red gel on it, and aimed at the white paper background.
The camera settings were manual. 1/250th of a second (flash sync) @ f/8. But the flash settings were all under TTL control. +1 stop for the key light, -2 stops for the green lights and -2 stops for the red light.
Nikon D4s, tripod mounted, 85mm f/1.4 Nikkor.
I am certain that no one would want to mess with a tough looking guy like me, especially in clothing optional mode…
Oh, and I sent this photo to Drew. It made him laugh with delight.
Paul-
The when cadre of Nikon and Canon cognoscenti opine—which is generally quite often—what they say about the Olympus SLR cameras of yore varies between the grudgingly deferential to the patently dismissive. To a large degree, this is understandable. (Read: No, it isn’t.)
Not only did Olympus have a well-deserved reputation for developing (and improving upon) system mechanics, body ruggedness, compact design without sacrificing features, and the superb Zuiko* optics—they produced an extraordinary range of accessories to enhance their cameras and lenses. Many of these “options” were never manufactured by the competing camera companies for their own models. It is not surprising: A fundamental part the Olympus’ mission was/is to continuously respond to their customers’ desire to experiment with light and create novel new ways of looking at the world.
(Canon compensated for this by airing a number of camera endorsements featuring aging tennis stars. Nikon responded by producing hefty cameras and printing brochures on glossy stock.)
Pictured here mated to an Olympus OMG and a Zuiko 35-70 (f/3.5) zoom lens—for which it was expressly created—is the optional OM-SL3. (SL stands for “Stereoscopy Lenses.”) It is a front-of-the-lens accessory designed to provide photographers the option to create the illusion of depth when shooting two-dimensional subjects. Working on roughly the same principle of the “stereoscopes” that enjoyed great popularity in the 19th century, each of the two-element lenses on the OM-SL3 worked in tandem to combine (with help from the primary lens and the camera sensor) an unusual “optical convergence effect.” This resulted from a combination of the photographed object’s perceived position relative to the viewers’ eyes, and the position of the light at the moment of exposure.
Despite creating spectacularly ethereal and compelling images, the OM-SL3 had a reputation for being difficult to use—in no small part due to the fact that in addition to the camera lens needing to be manually focused, the two stereoscopy lenses needed to be as well. And each lens required a minutely different setting in relation to the other two in order to achieve the stereoptic effect. Additionally, lens filters for the two OM-SL3 lenses were notoriously hard to find. Finally, the accessory retailed for $650.00—a steep figure for photographers on a budget
Primarily for these reasons, the initial factory run of 425 units in 1984 turned out to be the only one for “Stellar,” the manufacturer (and wholly owned subsidiary of Olympus International).
Our story so far: 18-55mm with the lens set at 20mm; aperture priority; pattern metering; ISO 640; 1/8 sec.; f/13. Tripod used. Two lights flank the camera on the outside of the light tent.
Notes:
1) 1) The author would like to thank Mr. Byron Braton—Associate Camera Curator at the American Museum of Photography—for his expertise and generosity in the loan of a rare, mint-condition Olympus OM-SL3 for the writing of this article.
2) 2) The Olympus OMG in the picture was sold in the United States under this moniker. Elsewhere, the model was called the OM-20. It came to market in 1983. By comparison, it is slightly thicker than the Nikon FG, FE, and FM models but slightly narrower—and with a smaller pentaprism housing. (Source: Wikipedia)
3) 3) “Zuikō” ( 瑞光) in Japanese and can be translated as "auspicious optics" or "auspicious light". The name was chosen from many that were submitted as part of a contest to name the lens line. (Source: Olympus)
The when cadre of Nikon and Canon cognoscenti opine—which is generally quite often—what they say about the Olympus SLR cameras of yore varies between the grudgingly deferential to the patently dismissive. To a large degree, this is understandable. (Read: No, it isn’t.)
Not only did Olympus have a well-deserved reputation for developing (and improving upon) system mechanics, body ruggedness, compact design without sacrificing features, and the superb Zuiko* optics—they produced an extraordinary range of accessories to enhance their cameras and lenses. Many of these “options” were never manufactured by the competing camera companies for their own models. It is not surprising: A fundamental part the Olympus’ mission was/is to continuously respond to their customers’ desire to experiment with light and create novel new ways of looking at the world.
(Canon compensated for this by airing a number of camera endorsements featuring aging tennis stars. Nikon responded by producing hefty cameras and printing brochures on glossy stock.)
Pictured here mated to an Olympus OMG and a Zuiko 35-70 (f/3.5) zoom lens—for which it was expressly created—is the optional OM-SL3. (SL stands for “Stereoscopy Lenses.”) It is a front-of-the-lens accessory designed to provide photographers the option to create the illusion of depth when shooting two-dimensional subjects. Working on roughly the same principle of the “stereoscopes” that enjoyed great popularity in the 19th century, each of the two-element lenses on the OM-SL3 worked in tandem to combine (with help from the primary lens and the camera sensor) an unusual “optical convergence effect.” This resulted from a combination of the photographed object’s perceived position relative to the viewers’ eyes, and the position of the light at the moment of exposure.
Despite creating spectacularly ethereal and compelling images, the OM-SL3 had a reputation for being difficult to use—in no small part due to the fact that in addition to the camera lens needing to be manually focused, the two stereoscopy lenses needed to be as well. And each lens required a minutely different setting in relation to the other two in order to achieve the stereoptic effect. Additionally, lens filters for the two OM-SL3 lenses were notoriously hard to find. Finally, the accessory retailed for $650.00—a steep figure for photographers on a budget
Primarily for these reasons, the initial factory run of 425 units in 1984 turned out to be the only one for “Stellar,” the manufacturer (and wholly owned subsidiary of Olympus International).
Our story so far: 18-55mm with the lens set at 20mm; aperture priority; pattern metering; ISO 640; 1/8 sec.; f/13. Tripod used. Two lights flank the camera on the outside of the light tent.
Notes:
1) 1) The author would like to thank Mr. Byron Braton—Associate Camera Curator at the American Museum of Photography—for his expertise and generosity in the loan of a rare, mint-condition Olympus OM-SL3 for the writing of this article.
2) 2) The Olympus OMG in the picture was sold in the United States under this moniker. Elsewhere, the model was called the OM-20. It came to market in 1983. By comparison, it is slightly thicker than the Nikon FG, FE, and FM models but slightly narrower—and with a smaller pentaprism housing. (Source: Wikipedia)
3) 3) “Zuikō” ( 瑞光) in Japanese and can be translated as "auspicious optics" or "auspicious light". The name was chosen from many that were submitted as part of a contest to name the lens line. (Source: Olympus)
Jerry-
When Deron came up with optional I immediately went to google to see what things might pop up using that word. Luckily my wife wasn't nearby because the vast majority of images were of clothing optional beaches/resorts/etc. Hmmm. After scrolling down a bit there was a photo of two pills, a red and blue capsule type, from the Matrix movies. Blue meaning business as usual, red for the unpleasant reality. I liked that photo so after searching through the various medications the family has gathered over the years I found this big gold pill - its a daytime cold/flu medication from Target. Not sure what the gold color hints at, maybe its filled with honey and after this pill all will be sweet. Sure. It did help with my recent cold. I liked how the light from my LED thingamajigger lit it up in the palm of my hand.
Camera was the D750 with 105 micro, f32 @ 1/15th, ISO 6400. Light from the LED panel.
I'm off to see the movie Deadpool with my daughter and her fiance. Hope its fun, at least the company will be good. IMDB gives it 8.8/10.
When Deron came up with optional I immediately went to google to see what things might pop up using that word. Luckily my wife wasn't nearby because the vast majority of images were of clothing optional beaches/resorts/etc. Hmmm. After scrolling down a bit there was a photo of two pills, a red and blue capsule type, from the Matrix movies. Blue meaning business as usual, red for the unpleasant reality. I liked that photo so after searching through the various medications the family has gathered over the years I found this big gold pill - its a daytime cold/flu medication from Target. Not sure what the gold color hints at, maybe its filled with honey and after this pill all will be sweet. Sure. It did help with my recent cold. I liked how the light from my LED thingamajigger lit it up in the palm of my hand.
Camera was the D750 with 105 micro, f32 @ 1/15th, ISO 6400. Light from the LED panel.
I'm off to see the movie Deadpool with my daughter and her fiance. Hope its fun, at least the company will be good. IMDB gives it 8.8/10.
Don-
Finally, I am back online. Small town living sucks when wanting
web access on Friday evening.
But
Anyway
I did a couple different things but I kept coming back to this. I buy these
little gewgaws from amazon. I purchased three different levels to fit
on the camera hot shoe. I use the others to protect the shoe but this one
stuck out to much. Using it you the option of three levels. Completely
useless as I use the level on the cameras monitor or I simply level the
picture in lightroom....anyway 1/125th sec, f/29, ISO 400 and 105mm.
Finally, I am back online. Small town living sucks when wanting
web access on Friday evening.
But
Anyway
I did a couple different things but I kept coming back to this. I buy these
little gewgaws from amazon. I purchased three different levels to fit
on the camera hot shoe. I use the others to protect the shoe but this one
stuck out to much. Using it you the option of three levels. Completely
useless as I use the level on the cameras monitor or I simply level the
picture in lightroom....anyway 1/125th sec, f/29, ISO 400 and 105mm.
Byron-
When you want to travel to Palm Springs, you have several options. You can drive (a car or a chopped hog), Take a bus, or the best way, fly. The airport is here to let tourists visit a land of a lot of Sun. Fortunatly, The airport is in town so I went to Ramon Road and sat down with my back to the airport fence. I only had to wait a short time until an appropriately sized plane flew over. I used the burst mode and it felt like I was manning an anti-aircraft gun and firing at the plane. Nobody was injured and all is well.
ISO 400, f7, 1/1600 sec, 55mm
When you want to travel to Palm Springs, you have several options. You can drive (a car or a chopped hog), Take a bus, or the best way, fly. The airport is here to let tourists visit a land of a lot of Sun. Fortunatly, The airport is in town so I went to Ramon Road and sat down with my back to the airport fence. I only had to wait a short time until an appropriately sized plane flew over. I used the burst mode and it felt like I was manning an anti-aircraft gun and firing at the plane. Nobody was injured and all is well.
ISO 400, f7, 1/1600 sec, 55mm