Win a Free Set of PocketWizards

UPDATE: I asked for a little clarification on the means of off-camera flash trigger allowed for the contest and got the following answer: ANYTHING. That means, PW's, Ebay remotes, sync cords (ironically), Nikon CLS, Canon eTTL, voice-activated test-button-pusher during a time exposure -- ANYTHING.

Yeah, I'm pretty much thinking that headline got your attention. It's Christmas in July, baby, and Santa is bringing the Plus II's. Keep reading after the jump for all of the details...

Flash back a coupla months ago, when the folks at PocketWizard check in to say how much they like what's been going on with this group, and want to know what they could do to help keep the party rolling.

"Weeeell," I suggested, "You could always buy us some beer give away some PW Plus II's to the readers. I'm sure they would like that."

And they're like, "Okay, cool."

And I'm like, "Really?"

And they're like, "Really."

So Strobist and PocketWizard are teaming up to do just that. If you did not know already, there is actually a PocketWIzard blog. And it's not one of those stuffed-shirt corporate weenie blogs, either -- they are having some fun with it. They just ran an SI Swimsuit Issue body painting video, for instance.

(Hey, it's legit. Some of those photos were shot with PWs. Right? Right?)

But they've been watching your Strobist videos, too. And even without the benefit of (technically nekkid) supermodels, they like 'em. In fact, they're looking to feature some of 'em up on the PW blog. So they want to prime the pump more wireless flash videos to show off the cool stuff they are doing and help to educate other shooters.

(As if you guys needed any more encouragement...)


Basically, they are looking for wireless flash how-to -- and show-off -- videos on YouTube. Doesn't even have to be PocketWizard-branded remotes. Just cool stuff done with wireless flash. So you "Poverty Wizard" folks who have been pining for a set of Plus II's might get to shoot your way to a free pair.

Heck, they don't even have to be videos -- still-photo slide shows with voiceovers are eligible, too. Fair warning, you'll probably have to be pretty creative to win one of the sets. But what the heck, you may as well try. You have several chances to win -- the monthly contest runs through November.

To enter, your video needs to be tagged "pocketwizardstrobist" (one word). That's it. Pre-existing videos can be entered simply by adding the tag. (Not yet, Bert, at least finish reading this post first.)


Rules, from PocketWizard:

Once a month, free pair of PW Plus II will be awarded to the best video on YouTube of a photo shoot detailing creative use of wireless triggering. Video can be live video or, a series of still photos with voiceover and clear explanation of how wireless triggering was used.

Creativity with wireless triggering is key to this contest. Show us your best, most creative use of going wireless with radio triggering. And detail, detail, detail! Explain your setup well so everyone can understand what it took to make your vision come alive.

All videos must be tagged "pocketwizardstrobist" to qualify. The judging panel will be David Hobby of Strobist and Phil Bradon from PocketWizard. Awarded PocketWizards will have frequencies appropriate to the winner's location, if winner is in a country other than the US.

In addition, photos may also uploaded to Flickr tagged "pocketwizardstrobist" with link to the YouTube video in the description.

The contest runs mid-July through end of November. Winners will be announced on the 15th of each following month, beginning in August.

That's all there is to it. Good luck!
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RELATED:

:: PocketWizard Contest Details ::
:: PocketWizard Blog ::
:: PW Plus II Product Page ::
:: YouTube PocketWizardStrobist-Tagged Videos ::

Light We Like: Timothy Greenfield-Sanders

Like Platon, photographer Timothy Greenfield-Sanders does most all of his portraiture with one, soft light. So he's an especially good person to learn from if you are still waiting to snag that second flash.

Greenfield-Sanders has made a career out of shooting elegant portraits of people, lit simply but beautifully with one light source. He also uses large format cameras for their extreme detail and lush tonal range. This consistent setup allows him to spend his time exploring expression, detail and subtle subject/photographer interactions.

This Ovation TV excerpt gives a little look into how he works, and how he approaches his interaction with subjects. Hit the jump for links and two more videos: One from a Fashion Week project, and the second a li'l sump'm-sump'm for the laydies...


(Briefly NSFW-ish)







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Related: Sanders' website

New, and Long Overdue: Blogroll

It's on the sidebar, about halfway down. Starting with the usual suspects, with more to come soon. Stay tuned.

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Canon G9: The New Polaroid?

Back in the day, when the earth was still cooling and dinosaurs still roamed the plains, film-shooting photogs used to have to proof on Polaroid backs. Wasn't cheap, or convenient: $2.00 a pop, and two minutes to pull a print.

That doesn't sound too bad until you realize how fast light can change at, say, golden hour.

I was talking today with Grayson Schaffer, an associate editor with Outside Magazine, and the subject of shooting film came up.

He surprised me by telling me that about 20-25% of their photographers still use film. Then he told me that many of the film shooters carry a Canon G9 to use as a Polaroid back.

Makes perfect sense: It has a wide range of lenses built in, can go full manual with aperture and shutter and has a PW-friendly hot shoe. Plus there's that big, juicy screen on the back.

Grayson said the photogs shoot piggyback with the G9, which shows them what they are getting on their (usually) 120 format film. This is especially important when lighting a photo. Seriously, how would you like to shoot film and go without that little helper on the back of your DSLR for a while?

(Me, either.)

Plus, they can email the digital "Polaroids" to the magazine while they are still on assignment, to let them know what's coming. Cool beans. Gotta tell you, the conversation gave me thoughts of dusting off the old Hassy.

I know we have some folks who still shoot film on this site. Any of you using a G9 (or similar camera) as a proofing back for the analog camera? Tell us how it's working for you, accuracy-wise, in the comments.

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Getty to License Flickr Images

UPDATE: Lots of interesting views in the comments, and PhotoShelter has now responded.

Seeing how many of you have photos on Flickr, this is gonna be a topic of conversation around here.

We have one of the largest groups on Flickr, and the quality is such that the photos in the Flickr Strobist group regularly make explore. So this is definitely gonna be relevant.

Main points:

1. They come to you, based on your photos. Not everyone will be involved.
2. It's an "opt in" thing. You do not have to participate.

Full official FAQ, links and your comments, after the jump.
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Flickr/Getty FAQ

What is being announced?

Getty Images and Flickr are announcing an exclusive partnership that allows Getty Images to invite Flickr members to participate in a Flickr branded collection on www.gettyimages.com that will be available for licensing to Getty Images’ creative and editorial customers in the coming months.


How does this benefit my customer?

We know that our customers were already going to Flickr for inspiration and they often would try to license images. This partnership allows them to more easily find the images that are commercially viable, and then to license them with confidence.

It also means customers will have access to even more fresh, authentic and regionally relevant content that expands our best-in-class imagery offering.


Are all images on Flickr going to be in the collection?

No. At launch (which is scheduled for later this year), we will have tens of thousands of high-quality images available for commercial licensing on Getty Images. Our goal is to make thousands more available over time. Getty Images editors will select the most marketable Flickr images and create a Flickr Collection for customers to license at www.gettyimages.com. They’ll select images for the Flickr collection according to Getty Images’ unique understanding of what our customers need, using insights gained from the creative research processes developed by Getty Images. Photographers will have the option to take part, or not.

The images selected will be cleared with their Flickr copyright owners, so that they are ready for license on gettyimages.com.

Their prices will vary, depending on the licensing model assigned to each image and each customer’s intended use.


What license model will the images be under?

At launch, the edited collection of Flickr images will be available to Getty Images customers through the Flickr branded collection on gettyimages.com – which will span across all three licensing models – rights managed, rights ready and royalty free. Prices will vary, depending on the license model, but the pricing will be similar to other RM, RR and RF imagery at gettyimages.com.


When will the collection be available?

The collection will be available to customers in the coming months (it is not available right now). Prices will vary, depending on license model, but the pricing will be similar to other RF, RR and RM imagery at gettyimages.com.


Will customers be able to find the selected images available for license on Flickr?

A “license this image on gettyimages.com” button or function will be enabled on Flickr for images included in the Flickr collection, to enable Flickr visitors to license such Flickr images through Getty Images.


Can Flickr photographers distribute the images they have on Getty Images through any other distributor, or is this an exclusive deal?

This is an image-exclusive deal. If a Flickr photographer decides to have an image distributed through www.gettyimages.com, they cannot distribute that particular image, or any similar image, through any other site. They may, however, choose to distribute other images anywhere else.


Does this deal mean that our customers can legally use images from Flickr?

Yes. When the Flickr collection launches on www.gettyimages.com, customers can be confident in the rights and clearances of any Flickr image licensed by Getty Images.


What customer segment does this deal address?

All of Getty Images’ customer segments: media, agency and corporate.


What is the goal of the Flickr collection on gettyimages.com?

This partnership represents the continued innovation that moves the industry forward to meet the changing needs of Getty Images customers. This relationship offers a responsible way to bridge the world of Flickr’s photo-enthusiasts with traditional photography, offering a customer experience that is different than microstock. Getty Images customers will have even more fresh, diverse and regionally relevant imagery to use for their communications projects, with confidence.


What does the deal mean for each company?

Getty Images will have an exclusive partnership with Flickr to source and license select, potentially marketable photos discovered on Flickr for Getty Images’ creative, commercial and editorial customers.

For Flickr, this partnership gives members a potential entry into the world of stock photography, leveraging Getty Images’ strengths and expertise for their members’ benefit. The Flickr collection on Getty Images is a testimony to the photographers who have influenced the aesthetics of commercial photography with authentic, creative and personal images.

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More reading:

Previous Strobist Series: Flickr and You
Press Release
FAQ
Interview (PDN)
Discussion

On Assignment: Night Chopper, Pt. 2

In part one of the Night Chopper shoot, we talked about some of the problems that had to be overcome in preparation for an interior-lit, ground-to-air shot of a police helicopter.

Today, we are going to walk through the shoot itself, see what unexpected problems popped up and look at some of the edits from the take.
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Perry, the pilot, landed the helicopter in 50-acre field next to the Howard County Fairgrounds about 45 minutes before sunset. This ensured that we would have time to plan out shots and light the interior. After a quick flight around the area to get some interior pilot shots, we landed and began to set up the light for the main shoot.


As the ambient light started to drop down, I placed a single diffusion domed SB-800 in the rear cabin, clamped to the back seat and set on 1/8 power. You can see this light at camera right.

This would give me plenty of light in the rear of the aircraft. It's a bit of a location cheat, but it would give me omnidirectional light -- similar to a car's dome light. I lowered it because I was worried I would see the actual strobe in the photos if I didn't.

Quality-wise, this would have been fine (for the back) by itself, but I decided to stick a second strobe in the back as well -- on the armrest between the two rear facing seats. You can see this light at camera left. Both of these strobes were gelled with a 1/2 CTO for some added warmth, as was discussed in Part 1.

The reason for the second light is another layer of redundancy for the sync. It gets its own Pocket Wizard, which improves the odds that at least one of the flashes will fire. Remember, I only need one good reception and all of my flashes should fire, thanks to the SB-800s' built-in slaves.

Since I added a second light, I dropped them both to 1/16th power to bring the total output to a level equal to one strobe at 1/8 power.

At this point I was getting a little worried. It was just about time to shoot, and I still was not sure where to mount the front light. I needed three things: Low, hidden, and omnidirectional. Which meant using a diffusion dome on this one, too.

But the gauges were right where I needed the light to be, with no way to mount it. There was really no way to do it even with a Bogen Magic Arm. The problem was both the angle and a lack of a suitable mounting surface.

That's when Mark, the copilot, saved my butt: "I could hold it," he said.

Of course he could! Never even thought of that -- and likely would not have. But looking at Mark's seating position it quickly became obvious that he could hold the light in the exact place it needed to be, and move it if they needed to see the instruments.

This light was set on 1/32nd power, BTW, with a dome and a 1/2 CTB cooling gel. So even with the pilot catching a direct flash, the equivalent was somewhere around 1/256th power. Barely a wink. And at that point, Mark became what as far as I know was the world's first VAL-CP (voice activated light stand copilot.)


I quickly walked around front and chimped a few frames from closer to the actual shooting angle. Looked great -- we were good to go. I backed way up, shooting test frames as I went. We were golden, getting a 100% synching rate, even way back form the chopper.

We waited for the ambient light to drop down to our desired shutter speed range for good-looking rotors. (You can't just shoot those at a 250th, or they look silly -- frozen in mid-air.)

When the sky dropped a little more, they took off and we began shooting. At first, I was overexposing the sky a little, just to get a good rotor shutter speed. I could always fix that in post. No worries.

After two passes we realize that the front flash is not firing. Damn. Our ambient window is very tight, and now we have to land the chopper to see what is wrong. As it turns out, the front flash (hooked to an older PW) was likely not getting a radio signal and was relying on the slave.

That would have been fine, except that it turns out that Mark was holding the flash in such a way that his finger sealed off the light from reaching the little slave receiver window. That's not Mark's fault -- it's mine. Too many things on my mind, and I neglected to explain the importance of that little window.

So, the tech is working pretty well. It's the processor between my ears that is a little obsolete. But that is a quick fix and we are off again.


Now, as the ambient drops well into my range, I can vary my shutter speed to get different densities in the sky. Typical ambient balancing -- just like a sunset portrait. There is no right or wrong -- it's rather like BS'ing your way through a term paper in Comp 101. You decide what tone you want in the background and go with it.

Because I am shooting raw, it is easy to move that sky color around a little in post, too. Since the helicopter body is near black, it is a piece of cake to find a selection area where you can preserve the cockpit and shift the sky. Moving the color balance around gets you a wide selection of moods.

Mind you, I am shooting from the ground in this photo. Perry could buzz past with that nose way down, which gave the illusion that we were both in the air as long as I did not include a horizon for reference. He got it down so far on some runs that it looked like I was actually above the chopper. Visually, we had created a chase chopper for free. Sweet.

(Note to self: Next time, remember to bill the higher-ups for the second chopper and split the money with the pilot...)


As the sky dropped down, I switched to a 17-35/2.8 and tried to keep my shutter speed from going below 1/40th of a sec. The sky just continued to darken, so my exposures got richer. This just affected the sky, mind you, as the chopper's interior was lit by flash. And flash only cares about the aperture.

I could darken the sky by dropping my shutter, as I did in the photo above by going to 1/125th of a second. It as all happening pretty fast, but you still have a little time to experiment if you keep making frames. They are all gonna look pretty good -- just different. You don't really need 200 frames of the same look, right? Right?


For the last few frames they turned the spotlight on my car as they flew by. I would have loved to have something better in the foreground, but we were out of warm bodies. And we only got a couple of passes before the light went bye-bye.


Looking Back

I am very happy with the way this shoot turned out, especially being it is the first time trying something like this. Was it perfect? Nah. But I learned a lot, and the we came away with some cool photos.

Given a second opportunity I would like to think we could erase our screwup-induced delays and get maybe 3x the shooting time for the short ambient window. But I'm not complaining.

Next stop for photos in the HCPD: Tactical, I hope.

I have me some ideas. But that's for another day.
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Related:

:: Planning for this shot ::
:: Sunset portrait ::

NEXT: On Assignment: 50 Years

Light We Like: Gregory Crewdson

UPDATE: Adds a second video, with lots more detail, after the jump.



I find myself completely mesmerized by Gregory Crewdson's photos. The light, the narrative, the light, the tension, the light -- well, you get the idea.

When you look at his photos, bear in mind that he puts his pants on one leg at a time, just like you do. Only then he spends the whole day taking over entire city blocks, directing his technical folks, manipulating casts of "figures" and, well, never actually "holding the camera," as he notes.

Gregory does not work "in a studio". He works "on a sound stage. He has a set designer, an art director, a lighting tech and, um, a director of photography. Who is not named Gregory.

But he sure does make facilitate some amazing photographs. This stuff in this video is just about the polar opposite from the low-impact, minimal gear ethic that is embraced by photographers who do not happen have access to, say, an entire town and James Cameron's lighting truck.

But the results always makes me think about how I could adapt some of his techniques to my dinky little SB's. (Note that the video is briefly NSFW, but in an artsy way.)

Second video, after the jump.


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More Crewdson photos here. (Some also NSFW.)

Further reading:

:: Gregory Crewdson: Beneath the Roses ::
:: Twilight: The Photographs of Gregory Crewdson ::