Hot Shoe Diaries. The. T he H o t S h o e D iaries. Big L ig ht f ro m. S m a. L. L. F. L a. S h e. S. McN a lly. Excerpted from The Hot Shoe Diaries: Big Light from. The Hot Shoe Diaries: Big Light from Small Flashes (Voices That Matter series) by Joe McNally. Read online, or download in secure PDF or secure EPUB format. The Hot Shoe Diaries: Big Light from Small Flashes and millions of other books are available for site Kindle. Most importantly, he knows how to create it using small hot shoe flashes. In "The Hot Shoe Diaries," Joe brings you behind the scenes to candidly share his lighting.
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Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share. DOWNLOAD The Hot Shoe Diaries: Big Light from Small Flashes: Creative Applications of Small Flashes (Voices That Matter) By Joe McNally [PDF EBOOK . The Hot Shoe Diaries book. Read 72 reviews from the world's largest community for readers. When it comes to photography, it's all about the ruthenpress.info
Make more of them. Remember These Things No pixels have to die. And, of course, your wife, husband, girlfriend, boyfriend, kids, pets, neighbors, and anyone else who might be willing to put up with your experimentation. You are not running to the photo lab or CVS, racking up processing bills, matching up slides or negs to the laborious notes you took while you were making exposures.
Also, make a picture of the light in reference to the subject. A production shot, if you will. How high? How far away?
What was the f-stop, shutter speed, EV compensation? Those damn little buttons and dials are mechanical inputs to the camera, but they control functions that have enormous aesthetic implications for your pictures.
The fancy-pants digital machines we have nowadays are wonderful and smart, but they are not as smart as we are, and have not a scintilla of stylistic sense or artistic inclination.
The program mode and the auto exposure and the auto bracketing are like OPEC, or some other international consortium or cartel that gets together and conspires to make us lazy and dependent. Break free! Make exposure after exposure. Find out which ones—which style, color, light, and approach—get your juices flowing. Then, when you get those good ones, you will know how to get back to that place and do it again.
This way, your good pictures will not be accidents. Break Rules There are tons of lighting guides and principles and how tos out there. Many of them have fine information.
Rules, if you will. Take a look. Put the light where they say to put it. And then put it where you want it. See what you like. Remember, just like being in the kitchen, this is all to your taste. Some people will love pictures you would like to not put your name on. I always hark back to a colleague who shot a well-known entrepreneur for the cover of Time. At the time, this swashbuckling capitalist was all the rage and being viewed as a savior, and my friend was besieged with congratulatory phone calls about the cover, its photographic excellence, and how his camera and lens had perfectly captured the magic and the essence of this manufacturing messiah.
Then, of course, it all unravels. Within a year, it turns out that Mr. Honcho is actually a bad man, and he loses everything and is sent to jail.
Another news cover runs, from that very same hero take. There were no new pictures to be had. And my photog friend gets another round of phone calls, telling him again what an excellent job he had done, and how his lighting and approach had nailed the son of a bitch dead to rights, and the image fairly reeked of rapacious, evil intent.
After all, some people like Brussels sprouts. Make the Sunrise How many times have we gotten up for a bad sunrise? And, because we love shooting pictures so much, how many more bad sunrises will we continue to get up for?
We are out there making a bet on light and clouds and camera position, a bet so flimsy that it makes taking a flyer on the high-roller slot machines in Vegas look like sensible financial planning. And then, of course, nothing happens but clouds.
Pack up and go home. Unless, of course, you brought a flash. Far from it. Pop open a TriGrip reflector and use the gold side. Light bounced off this will go warm, the color of sunrise. Hold it off to camera left, as close to the edge of the frame as possible.
Pop an SB or , or ; for me here, it was an off the TriGrip. Bingo—beautiful light, simply made. Be careful with the position of the reflector. See the catchlight in his eye? Just about in the center.
Keep the whole rig—light and reflector—just above his eyes. Also, moving that panel in as tightly as possible completely shadows his face from any other light.
It gives you control. The giveaway, of course, is that there is no golden glow on the lighthouse. There could be clouds over that piece of the sunrise. Some kind of haze over the water. Again, possible.
Anything can happen out there. The clouds may part for a few seconds, letting wondrous light touch the face of our subject. My white balance advice here is to go cloudy. Shot this in about 30 seconds as a demo for a Digital Landscape Workshop class. Shot maybe a dozen frames. Like it. Wish I had shot more. Make the Available Light Unavailable Why would you do that? Why would you go from the safe haven of light you can see, touch, and feel into the mysterious, uncertain, and quite possibly dangerous land of flash?
Think of it this way. That available light is available to you, for sure, but then again, it is available to everybody. You can make a picture that will look kind of the same as the guy next to you, and kind of the same as the guy next to him. Quel embarrassment! In an era of picturesby-the-pound, fast-food photography—royalty free, rights free—it just might pay to step back and try to make your pictures the equivalent of a mom-andpop shop, the old curio store, or the place where the locals really eat.
One path to difference is to use light in creative and unexpected ways. Out here on the road, in the middle of No Place, Nevada, the sun had gone down. There was still plenty of light, but it was cool, subdued, and expressionless. It was, you know, available but unexciting. A very average picture.
It was a record of the scene, not an interpretation. But what lingered in my head was the sun going down over the distant hills on camera left. It had disappeared behind those hills just when it was about to get colorful and interesting. Available light will do that to you. The SB was especially advantageous here because of its capacity to zoom to mm. When you zoom the flash head to , you concentrate the light. It gets punchy and direct, kind of like, oh, the light of a late afternoon sunset.
A smooth exposure. But nothing with edge or difference or color. So, I got rid of it. All of it. I took over the controls and put the camera into manual mode. You can see the scene warm just a touch.
The camera is doing its job. It is blending the flash and the available light in a reasonable way. It does what it does. Like a food processor, it chops, slices, dices, and blends, all with the aim of uniformity and in worship of what it perceives to be the happy place—the land of the histogram, right in the middle of things.
Safe, in a word. Safe, as in…blah. Predictably, I got this below. But here, in this dark place, is where I wanted to be. Now I have control. What happens when you open a camera shutter in a black room? Nothing, until you light it. I had turned this roadside scene into a black room via the use of shutter speed and f-stop. The camera sees almost nothing now. It is waiting for input.
It is waiting for light. Made another exposure, this one with the Speedlight firing and hitting the actor and the wall in a hard, intense way, creating lots of highlight and shadow areas. The SB, zoomed at mm and gelled warm, gave the scene life, dimension, and color. You can do a lot with one flash and a stand by the side of the road. You can make the sun come back. Faces in the Forest Dunno, but running into these guys in the woods might constitute a bad day.
Nor did my subjects. But the lens moved. Zooming or moving the lens while exposing is a time-honored technique. It requires a subdued quality of light usually , something you can work with at slower shutters speeds.
Until now. Ever wonder what it would be like if you got the whole, cent tour of Joe's brain on just small-flash lighting? Hot Shoe Diaries is what it would be like How hard could that be? Except for Joe went for a full pages before his mind pooped out and turned to mush.
Where Moment was anecdotal, HSD is soup-to-nuts, and all on small flashes. He begins by walking you through his entire gear bag, explaining his stuff what and why right down to the clamps and minor doodads. He names names, and is not bound with any corporate restrictions on what he can or can't say. Gear-wise, he has everything but the kitchen sink. And that is not an exaggeration. In fact, I am pretty sure I saw an SB going off from inside the body cavity of a raw chicken in one photo.
And if you think I am kidding, you have not spent much time with Joe. Did I say you get the full tour? Yeah, except sometimes the "full tour" seems like a solitary, late-night walk through that old amusement park on the edge of town at about a.
Just the way you'd want it. This is My Rifle. All of that wouldn't gear talk mean squat if he didn't teach you how to use it. Which is what he does for the next or so more pages.
Granted, he's nuts. But he somehow escaped the straightjacket long enough to walk you through setup after setup, technique after technique for small flash lighting. It's a cookbook, really. Kinda like one of those page Julia Child books jobs. Couple of reasons for blog lite or, truth be told, blog zero over the last two weeks.
Kinda compresses things. K-man, shot with small flash, just may be a recurring character in the book. Above, K-man on the streets of Gotham. You can blame David Hobby , at least a little bit.
When I told David the title, he was like, cool, you should shoot some noir stuff, and make stories. Fits, I guess. Remember Rear Window? Jimmy Stewart catches the bad guy with…flashbulbs. The book will not be an instruction manual. Basically, it will be an irreverent brain dump of my whole history using small flash, back from when I first got my hands on flash powder to the SB There will be sections on buttons and dials, batteries, flash attachments, light shaping tools from gaffer tape to umbrellas, and sketches.
Along the way, of course, there will be lots and lots of pictures, some good, some not so.