In Your Face by Don Schap

SUMMER 2010

IN YOUR FACE

P H OTO G R A P H Y

IER

Getting the MOST out of your model

I N

C LO S E - U P

Table of Contents

Table Of Contents Removing You From Behind Your Camera

4-7

Aperture Is Worth A Thousand Bulbs

8-10

Getting The Most Out of Your Model

11-15

What Happened To All The Good Dinosaurs?

16-18

Reflections In Architecture

19-22

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IN YOUR FACE | 3

YOU

Technical

Removing from behind your Camera The SONY A700 was one of the first DSLR camera’s to have an included REMOTE CONTROL functionality from its USB Port, allowing for image taking up to 16-feet away from the controlling Laptop or Desktop computer. That’s not much. Let’s discuss what you can do to add to that.

by Don Schap

4 | IN YOUR FACE

IN YOUR FACE | 5

Technical Capability built in ...

The A700 is one of the first DSLR cameras that comes with an optical remote control accessory for not only shutter trip, but actually playback control of the camera. It removes the need of having to use the DSLR’s physical controls during a playback session on a monitor or television. That is quite convenient and useful, but the remote concept I am detailing does not involve the use of that remote device or functionality. My remote control idea is concerned with using the USB “tethered” software controlled functionality of the camera. The assembled “photo robot” on tripod mount.

When most people consider “tethered” control of the camera, it is typically through the rather “limited” 5-foot Standard USB-A-type port-to-A700 USB mini-port cable that came with the A700. Unfortunately, using that short of a USB cable does not provide the photograspher with much room between the camera tripod or other camera holder and the remote-controlling PC.

Standard USB protocol safely allows for the addition of another 10-feet to the overall cable length, usually, by using a USB Male-A to Female-A extension cable, for a total of 16-feet. Anything longer can introduce “iffy” and possbily degraded results.

While this is arguably a “decent” distance between the PCcontroller and the DSLR, this is another means of “extending” it to much further.

By use of a USB Port Extender Device (two pieces), I have found that with the maximum length connection of a 150ft Category 5e Network Patch Cable, this overall distance between the PC and DSLR is extended out to very useful 165-ft! The two USB extender units (local & remote) are powered by the USB-ports of the devices they are hooked to, which, in this instance, would be the PC on one end and the A700 on the other.

Having a connection of this length allows you to operate the DSLR from around corners; several rooms away; or from the safety of a building, while the camera does all the foul or fair weather work, outside. Yes, of course your DSLR should be protected to protect it from the elements, but toxic or non-human environments now can be managed much easier.

The Software “Remote Control” panel of the A700/A850/ A900 USB-tethered mode provides almost complete control of all aspects of the DSLR. Relying exclusively on the AUTO mode becomes a thing of the past. In other words, specific control of:

1. Shuter Speed; Aperture, ISO 2. White Balance 3. DRO level 4. Drive Mode 5. Quality 6. Image size 7. Aspect ratio (all modes) over the shot

The addition of the Hague MPH 360° USB-controlled Robotic Tilt/Pan Tripod Headallows the camera to pan and tilt, remotely. The control signals to the tripod head ride along with the DSLR’s control setting and the camera’s resultant images. One the PC monitor, you have the device control displays and the image display, controllable through the mouse and keyboard.

Only one cable goes to the remote site: the 150-ft Ethernet Cat 5e cable.

The PC offers not only real-time control over the camera, but an image transmitted directly from the DSLR to the PC editor program.

By adding a USB Web Camera to the viewfinder, I was able to acheive a rudimentary TTL (through-the-lens) spotting capability, that not only assured targeting, but also visual focus confirmation. The WebCam’s visual signal is effectively real time and also transmitted through the USB extension, allowing a pretty compact robot for field use. The WebCam attachment incorporates the RS-1100 Hot shoe adapter as its base hot-shoe mount.

The PC also collects the captured image directly to where ever it is directed (attached hard drive; CD; thumbdrive; etc), instead of storing it on the camera’s memory cards (CF or Memory Stick). In that way, if the camera should be compromised, your collected image data is not subject to being lost, also.

The drawback to the WebCam is that it uses an auto exposure threshold, so that rotating the DSLR into areas of significant brightness can wash out the image entirely. To cope with this problem you simply need to close down the WebCam’s control program and restart it, so that the sensor of the webcam can reinitiatialize with the proper autoexposure setting.

(Note: You must have a memory card in the DSLR camera, otherwise the “USB-connection” hangs on the camera and will require a complete power down (battery removal) to clear it.)

This female Cardinal has no idea what she is looking at, but it is not human.

The SONY’s “tethered” application also displays the camera’s battery condition, which will be very helpful, because this USB remote and its inherent need for supporting power provided from the attached devices may be a significant drain on those power resources, when coupled with focus drives and shutter trips. I have an AC-VQ900AM AC Adaptor/Charger that can be used to power the camera indefinitely ... just need a 150 ft (or whatever length) power cord to get power out there, too.

This represents a low-cost ($150) extension cord to nature lovers, when the animals or whatever do not appreciate your all too human-intrusion into their world.

AUTO Mode can be a problem A little history ...

This idea came up as a side-by-side concept when dealing with “timed shots”, using a standard Timer Remote Cord. The external timer cord will cause the Alpha-camera to only focus, between each shot, using whatever “Focus Area” you previously selected for the camera. It will allow you to do nothing much more than the AUTO mode for your exposure and that leaves you with a pretty mundane selection of exposure possibilites.

6 | IN YOUR FACE

You need to realize that AUTO mode has a limited amount of flexibility ... whereas Manual Mode is the true control. Also, once the camera is in AUTO Mode (Modes are dependent on the physical position of the Mode knob) ... you really have to make a trip out to the camera to change out of it. In AUTO you only have the limited +/- EV and +/- flash compensation, although you still can control ISO by the remote control program. Your aperture and shutter speed are whatever the camera’s exposure algorithm has in mind.

IN YOUR FACE | 7

Discussion entire image is focused. Areas in front of and to the rear of the focal plane will begin to defocus and become nondescript. This can be an ideal method of singling out your subject, but is a quick way to ruin a group shot, as half the group defocuses.

APERTURE IS WORTH A THOUSAND BULBS

by Don Schap

You can think of the focal plane as a wall of CLEAR and crisp focus that can be widened or narrowed, depending on your aperture setting. The wider your aperture setting, the narrower you make the plane. Conversely, the narrower the aperture, the wider this plane becomes. Managing the Depth of Field is the characteristic result of mainly three elements: 1. Aperture (f-setting) 2. Distance to the center of focus (basically, this would be the “subject” that you have primarily focused on) 3. Focal length of the lens

There is a fourth aspect (the sensor size) or circle of confusion, but since you are only working with one camera in this discussion ... this aspect is fixed (not variable) and not subject to a change. Only the name of the DSLR should be necessary. Unlike cameras of old, mechanically speaking, modern DSLRs are given a focusing advantage as they leave the aperture wide open (base aperture setting of the lens) during the autofocus operation your DLSR, which also the camera to detect the proper focus on your subject with the most amount of light available to the camera’s focusing system. The base aperture never closes down during that entire operation, even if the aperture is set to f/8, f/16 or whatever. Again, the aperture stays WIDE OPEN to its base aperture, during autofocus and the center of focus is quickly determined in the camera, based on the focus point being used (usually dead center). So, what you see during the autofocus is your SHALLOWEST DOF and you may notice other objects in front of and to the rear of your focus “softer” looking as you look around

Note: While this article has several universal apects to it, it is written with the SONY line of PRIME lenses in mind. If you have chosen a SONY PRIME lens for low light photography, there are several that will provide extremely wide apertures that you simply cannot get from any zoom lens. Universally speaking, ZOOM lenses, by design, are limited to a base aperture of f/2.8. In this article, any of the SONY PRIME lenses limited to a base aperture equal to f/2.8 are not contenders for this discussion, as their performance parallels that of these upper-level zoom lenses. While there is a marked effect on the Depth of Field at the f/2.8 setting, it is noticeably different at even wider apertures (e.g, f/2, f/1.8, f/1.4) and although a nice bokeh-effect can be easily acheived by a f/2.8 aperture, this discussion zeroes in on the truly wide apertures of only the prime lens.

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the frame, except for those items directly to the sides of your subject (or center of focus). In fact, the selected aperture is not put into play until the photograph is actually taken by the camera, therefore you never really see the true depth of field you have until the scene is shot. Some DSLR models have a “Preview” button, which when depressed closes the aperture down and allows for some determination of the focal plane, as well as the relative level of light being allowed to the sensor. It is not a perfect method, as it becomes a bit difficult to see things due tot he lack of available light to the viewfinder.

How do we determine this DOF? One of the first things a new photographer should get familiar with is the use of a “DOF Calculator.” DOF Information used to be determined by hand-carried line graphs created for each lens. This archaeic practice has been simplified to where the photogreapher simply enters data into a formatted data entry table: 1) 2) 3) 4)

the type of DSLR you are using the focal length your desire to use the aperture selected the distance to the subject

and this handy online program returns the near limit and far limit distances in the focal plane that will be near enough in focus for the viewer to make out. A clever DOF can truly make your imaging “stand out” from others, by allowing the DOF to smooth out the background and foreground elements in a way that only the subject (or part of the subject) is in clear focus.www

The candidate SONY AF lenses are: Zeiss 24mm f/2 35mm f/1.4 G 50mm f/1.4 50mm f/1.8 DT Zeiss 85mm f/1.4 Zeiss 135mm f/1.8

These very wide aperture lenses allow all sorts of light into the camera, but more often than not, there are substantial side-effects. First is a substantial and noticeable softing of the image due to the flood of light running down and reflecting in from the lens’ inner barrel iteself. The second and potentially most corruptive aspect is the lens’ Depth of Field (DOF). In other words, when you adjust your camera for a “brighter” image, via an APERTURE setting rather than a setting for a longer shutter speed, you actually change the way the

www.dofmaster.com IN YOUR FACE | 9

Discussion

Examples with

DOF Principles in Action The following three illustrations deal with certain aspect of DOF, when you change: OOF

OOF

OOF +/- 5 in

+6.1 ft

+2.5 ft FOCAL PLANE

OOF

+2 ft

DOF

85mm

DOF

OOF

-4.3 ft

85mm

DOF

OOF

Distance = 10-ft

Aperture f/4.5

85mm

Distance = 20-ft

SONY Zeiss 135mm f/1.8 lens Aperture f/1.8 allows one of the subjects (the dog). The foreground and background grossly blur out of focus

Aperture f/4.5

DOF by varying the Physical Distance to Subject

+/- 8 in

Distance = 30-ft

Aperture f/4.5

+13.3 ft

+5 ft FOCAL PLANE

OOF

-3.3 ft

DOF

OOF 85mm

-5.7 ft

OOF

85mm

DOF

85mm

Distance = 20-ft

Aperture f/1.4

Aperture f/8

Aperture f/16

Aperture f/5.6 allows focus of both subjects. The foreground and background now gently blur out of focus

OOF OOF

OOF +1.2 ft

FOCAL PLANE

-0.9 ft -2.5 ft DOF

DOF

OOF

+/- 0.7 ft DOF

OOF

50mm

28mm

85mm

Distance = 10-ft

Aperture f/2.8

Consider that the “source light” has a value of “1” Therefore, an aperture setting of: f/0 = source lighting f/1 = ½ source lighting f/1.4 = ¼ source lighting f/2 = 1/8th source lighting f/2.8 = 1/16th source lighting f/4 = 1/32th source lighting f/8 = 1/64th source lighting f/11 = 1/128th source lighting f/16= 1/250th source lighting f/22 = 1/500th source lighting f/32 = 1/1000th source lighting

The digital sensor is also a player in the amount of light, as its sensitivty can be adjusted through the ISO setting. The “brighter” the lens (wider the base aperture), the more the flexibility of the overall shot, by allowing a much faster shutter speed, thereby “freezing” your subject or a lower ISO to allow for a richer and less noisy image result or even a combination of the two. By removing the idea of the supporting flash from your shots, the necessary balance and calculations are simplified to create the entire composition. You can simply use the camera’s internal metering to calculate the proper exposure, the center spot is the true level of light your DSLR will receive.

Fixed Focal Lengths lenses

DOF by varying only the Aperture +4.8 ft

How they relate to source lighting, whatever that source is (e.g., sunlight, lamp light, candle, LED)

Therefore, if you are using the sun as your source and your aperture is set to f/8, your camera can only see 1/64th of the available sun light. Then through the Shutter Speed setting, you can cause an apparent brightening or darkening of it to the sensor.

OOF

Aperture settings

Aperture f/8 allows focus of both subjects and clear focus of the foreground and background .

The average cost of a standard 50mm f/1.4 lens can be in the range of $300-400. This lens can provide for an excellent standard portrait shot on an APS-C sensor DSLR, but a better choice is the Zeiss 85mm f/1.4. On the Full Frame DSLR, the best choice is the Zeiss 135mm f/1.8 lens. This lens offers the best lighting situation of almost any in that range. The arsonel of these “low light” lenses cannot be stressed enough, if you abhore flash photography. They will offer the best chance of getting a reasonable shot, with any additional light coming into play. Another positive aspect of using a fixed focal length is repeatability and not having to deal with “zoom creep’, where the “gravitational pull” of the Earth can unwittingly affect your shot, should you be at an upward or downward angle, when you shoot. Not having a zoom slide or twist makes this issue impossible and hence, a more reliable shot.

DOF by varying only the Focal Length 10 | IN YOUR FACE

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Discussion

Getting the

ST out of your Model

by Don Schap

12 | IN YOUR FACE

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Discussion What does it take for a model to really be “present” on a photo shoot? A lot of people want to be models, but they cannot usually get out of their true life character and into the character the photo shoot is looking for. You may ask, “How can I assist my model in ‘becoming’ the true focus of my image session?

Preparation Solid preparation has been and always will be key to a successful shoot, because you do not want to be caught not having the proper attire or subtle props that are going to improve or refine the shoot. Preparation also helps the model feel “ready” to play the part the assignment asks for. Some models come prepared with their own series of personal props, attire and ideas that have worked in the past.

Attitude The most important aspect to be understood and communicated is that when a model steps onto the stage or set: the model becomes someone else. The model has to evolve into what the camera wants to see. The model needs to flirt with the camera, be bright, sharp, looking right into the lens and simply forgetting who they are. Imagine themselves blending with the film or media, as that is the clear difference between a “good model” and a “great model.” Two simple rules for a model to remember are: * follow direction * when the camera comes on, it has your full attention and you will play up to it as best you can.

“What does it take for a model to really be ‘present’ on a photo shoot?” Your model may even know other people who have items or outfits that can add to the inventory of available props. It certain;ly can pay to ask ahead. In fact, a successfull shoot may turn on these small, but important things. Your model should carry a model’s bag containing: * The idea of changing hair is crucial to shape an image. A model should be able to create at least two different “looks.” * Safety pins are important “band aids” to a lot of clothing and other support needs. * Masking tape

Inspiring a model’s confidence and flexibility takes place as the role is played out during the shoot. It starts with clear direction and encouragement … being able to describe or quickly depict the desired shot, remembering the model is reversed from you, so when you call out your directions, your right is usually the facing model’s left.

“How can you assist your model in ‘becoming’ the true focus of your image session?” As the relationship between the model and the photographer becomes more comfortable and clear, the ease with which each successive shot should soon become apparent. and flow begins. Interruption of “the flow” can lead to unfortunate results and often cause the shoot to have to be reinitiated. If this “flow” or reciprocity does not happen, rescheduling the shoot or choosing a different model may be the only real option.

* Different color hosiery * All undergarments that may be necessary * Jewelry * Shoes (specific for the shoot) * Toothbrush/floss * Small Snack * Water

It may seem like simple items, but when they are not handy, they can easily disrupt or create a failure of the shoot.

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The “Second” Session Option The second session option, if available, should solve almost every problem in what the first shoot should have been. Normally, the initial work from the first shoot is available for review and comment. A careful and open evaluation should take place by both the photographer and the model, in order to make this “second” session as error-free as possible. Missing items (props and other items) from the first shoot should have been accounted for and now available. For the photographer, lens changes, light shaping and filtration should have a rather solid plan. The second shoot should no longer be a time of correction and solution, but a time of solid work and results.

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Gallery

Obviously following the successful “second” shoot is the prospect of working up a third shoot, either for fun or profit. The model and photographer should have a real appreciation for each other, at this point, and that can make for exciting possilities for a follow-up shoot, either to finish unworked shots or develop some new ones. Again, preparation should still play a large role in this shoot and both parties should not get too comfortable with each other, as this is still very much a give-take scenario, where the photographer takes what the model has to give and then tries to get the model to give that extra “something” to sell the shot.

After the shoot Just because you have taken the last shot of the schedule does not mean everyone forgets what has been done. If the model performed as required and turned in a solid performance, that should be noted in writing with a letter of appreciation and perhaps a one-time gratis copy of the successful shots for portfolio and advertisement. Any additional shots should be negotiated and made available to the model, if so desired. Once a model can see the results of the work, that model should have something solid to build upon for future efforts. Obviously, the more successful the effort, the more both the model and photographer can benefit. Mutual networking, by giving credit to the other is a sure fire way to build your career and talents. One cannot exist without the other, there must be a producer and the talent. The audience judges you both for what you create ... TOGETHER. It is with that understanding that you will get the MOST from your model and the following model after that. Each model is a different adventure, as no two are exactly alike. Flexibility is key, be also adherence to “professional” standards and ethics. No one likes to be taken advantage of, no matter how important the goal. Test your model for understanding of your expectations and also ask your models what are their limitations are, so that there is as little misunderstanding as possible. You may not always be smiling when a shoot is completed, but if it was successful, you will know it. The work will speak for itself, both to you, your audience and, hopefully, your model. Good luck.

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“Sue" Field Museum of Natural History, Chicago, IL

HAPPENED TO ALL THE GOOD OLD

DINOSAURS? Photography by Don Schap

Dilophosaurus Velociraptor

WHAT

Future shoots

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Allosaurus

”

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Tyrannosaurus Rex

“

I FOUND THESE BIG FELLAS STILL STOMPING AROUND, AT THE BROOKFIELD ZOO!

Triceratops

Mapusaurus

Gallery

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Gallery

Reflections in Architecture by Don Schap Gleaming towers of elegance and beauty, leading the way in modern design.

One of improved aspects of modern architecture is that instead of the light absorbing texture of reinforced concrete pillars, the more manageable lighter steel exterior of the structure allows for a larger, more opulant glimmering mirror surface that envelopes the building from top to bottom and side to side. Although this brilliant and reflective ediface truly enjoys and employs the bright light of day, these effects can also react quite nicely with a well lit nightscape, given the location and angle of viewing. The surrounding environment quite literally integrates itself into the surface of the structure, allowing the building to adapt itself with the sky and the opposing terrain. Even the temperature of the ambient area can have a profound effect on the curvature of each surfaced window, creating a myriad of optional looks. The ever-continuing march of clouds and other atmospherics give the building a lively method of decoration and even an entertaining show for all thos fortunate to observe it.

The Zurich Towers Schaumburg, IL

Unfortunately, a clear blue sky can have a rather dulling effect on these designs, revealing their relatively simple look and thatâ&#x20AC;&#x2122;s when a clever ground reflection can really make a pleasant difference.

These towering structures can be seen for miles in the flatlands of suburban Illinois and provide an easily visble landmark with which to navigate.

Two Pierce Place Itasca, IL

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The Navistar Buildings Schaumburg, IL

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The Oakbrook Terrace Tower Oakbrook Terrace, IL

Next Issue: “Who let the dogs out?”

DOGS IN YOUR FACE 22 | IN YOUR FACE