The steady result is reached, as a rule, by a combination of different methods.dapoxetine approval in canadaMedical sedentary bathtubs also prepare with use of broths above the listed herbs.Treatment by henopodiyevy priligy fda approvedThey differ not only the name, but also the action mechanism.As sooner or later the follicle of a hair, genetically sensitive to hormones, will wither all the same from a digidrotestosteron.dapoxetine tablets price in indiaThickness of bark has to make to five millimeters.
Does anybody really win in a declining market? I love all the conjecture about the Nikon cameras that are to be announced on August 23rd. I can tell you exactly what to expect. You'll get bodies that have a grip something like the D750; big enough to hold comfortably and conformed to a real human hand. If that is the only difference between Nikon on the presumptive front-runner, Sony, then we
Susan. I shot this image as a possible candidate for the cover of my LED Lighting book, published by Amherst Media. I loved the shot and left a lot of space on the left and right for cropping, titling and sub-titling. The publisher decided to go in a different direction. And the hard fact of the matter is that the cover is part of the book's marketing and that is nearly always controlled by
West Texas WPA Landscape. Picnic Area in the Middle of Nowhere. Olympus EP-2 camera. Lens not noted. I spent time on Saturday evening re-watching the Beatles movie: "Hard Day's Night" and was once again blown away. Not by the story-telling or the celebrities but by the wonderful camera work and moving imagery of the work. Director, Richard Lester, brought an amazing visual aesthetic to
While you are enjoying the play pay attention to the lighting. It's very, very good.  And it's mostly LED.  Above: The post card. I made the photograph and Rona Ebert did the design and production. Nikon D800 Nikon 24-120mm Neewer Vision 4 Flashes
New Pix at Instagram: One of the most fun photo assignments I've done for Zach Theatre was a season subscription brochure shot back in 2008 or 2009. We photographed the actors who were going to be cast in different productions and the marketing team let me decide how to light them and how to design their looks. I wrote about it in a very early blog post
My Dad. A couple years ago. At Cappy's Restaurant in San Antonio. Sundays have followed a very familiar pattern this year. I get up and pack a small camera bag. I put into it cameras I might use if I have time to stop and do some street photography. I never do. The bag also gets a phone, some eyeglasses and a checkbook. We all walk the dog together in the early morning and then I get into my
shot with a Sigma 60mm f2.8 DN at f7.1 on a GH5 body.  Nice set up for products.  I'm not much of a wide angle lens fan but two recently purchased lenses have gotten me further and further into the tar pit of shorter focal length image-making. Both are zooms and neither would be my primary recommendations for a third, bargain lens appropriate to match up with a "minty" used, decade old,
A Fairly Modern Copy of the Timeless Nikon 105mm f2.5 ai Lens. Here is where I'll lose a huge swath of photographers whose focus is on landscapes and street photographer versus portraiture and detail work. If you are one of the lucky VSL reader who just got your hands on a new/old Nikon D700 (or D3, D3x or D800 of any flavor....) you might be wondering about which lenses to pair with
By: Austin, Texas. 2018 If you read the blog you'll know that I've reached back in time to cherry pick few really good cameras that Nikon made and to use them for much of my still photography work. I've written a bunch about one of my favorite cameras, launched in 2008, the D700, because it seems to me to be a wonderful blend of compromises that led to a camera of high
Kirk and Josh at Red Rock in Colorado, taping one of the classes.  This one was about Family Photography. When I worked with Denver based to create three different online classes about photography I learned a lot more about the best methods to teach technique and photographic concepts. The need to perform for video cameras and to work to a loose script added a
Texas Hwy. 165. Nikon D700. Nikkor 35-70mm f3.5 ai lens. I got curious about how people are using their cameras these days. Back when the megapixel race in DSLR cameras really took off (2004-2013) a lot of well-heeled photo enthusiasts were coming to the market having learned their skills making photographs of film, and, more importantly, sharing the results almost always on prints. If you
Two Friends at the Studio in Westlake Hills. It seems that most artists with a growing body of work have a tendency to look backwards at what they've done instead of paying attention to the moment in which they exist now. If we've gotten praise and nice reviews for certain photographs we've done we tend to have a prejudice toward showing those to clients and friends and allowing the
Shower heads.  I was photographing at a Spa out near Lake Travis when I came across this shower room, just off the massage area. I wanted to shoot a close up with the water running and I wanted the light to come from below and really accent the water stream. I thought about it for a few minutes and then it dawned on me that with little LED panels I could put the lights anywhere I wanted
Les Miserable. Zach Theatre. It seems fashionable these days for bloggers to share their weaknesses, addictions, foibles and idiosyncrasies. I think I'm generally transparent enough for most of my readers to discern that I'm indecisive; long term, and too decisive; short term, when it comes to buying cameras and lenses. What seems like a brilliant strategy in the moment seems like a blunder

Available light portraits

A theme we have touched on regularly here is that “using the available light” is not a random decision. The best results with portrait photography in available light, is when we are deliberate. Deliberate in how we position our subject in relation to the light. This is the central idea in my book, Direction & Quality of Light – posing and lighting are inter-connected. With available light photography, it becomes a little harder to find light that is flattering – compared to using off-camera flash, where you can sweeten the light most of the time with the use of additional light. With available light, you have to be that more thoughtful about your approach.

On this day in New York with a model, Nicole, the day was over-cast and rainy. While overcast light is soft, it isn’t usually flattering, because it is “top-heavy” and leaves the eyes darker than is ideal. From this photo session in New York, I want to show two examples where we only used the available light for portraits.

You will quickly notice the beautiful swirly bokeh of all the images shown here. The bokeh is typical of the specific vintage lens used, the Helios 85mm f/1.5  (Canon) /  (Nikon)  (Amazon). It is actually an M42 screw mount, but I bought the one adapted for Nikon, and then used with an adapter on the Sony A7ii. As mentioned in the article, Sony mirrorless cameras with vintage lenses, the Sony mirrorless cameras are especially well suited for manual focus lenses. All photos were taken at the widest aperture, f/1.5



The light here is beautifully even, but that doesn’t quite explain where we were when we took the photos in this sequence. This pull-back shot taken with my iPhone will explain it better – we were trapped under a large umbrella in Bryant Park during a sudden downpour.

With Nicole’s back at the very edge under the umbrella, most of the light on her face came from the front. The canopy of the umbrella acted as a “flag” that blocks any light coming from above, like it would have if we had been working out in the open. You can get the same effect working on a porch or under a verandah, “forcing” the light to come from a more flattering angle.

In this image below, I kept the flaps of the umbrella in the frame to show where we were. A slightly tighter crop would then be the image to use.

A slight change in my position would then give us different backgrounds, but always with the same flattering light on her. This really is a simple technique, once you know how to look for this kind of directional light.


Direction & Quality Of Light

Direction & Quality of Light

I wanted to distill the essence of what we, as photographers, work with – light! Before we can truly grasp on-camera flash and off-camera flash, and really, any kind of photography, we have to be aware of the direction and quality of light. We need to observe the light that we have, and then decide how best to use it, or enhance it.

With this book, I try my best to share those “aha!” moments with you, and I do believe this book can make a difference to your photography.

The book is available on Amazon USA and Amazon UK, or can be ordered through Barnes & Nobles and other bookstores. The book is also available on the Apple iBook Store, as well as Amazon Kindle.


With this next sequence of photos, including the one shown at the very top of this article, we were working somewhat under the edge of one building, but with enough of the 42nd Street scene behind Nicole to give a beautiful background – defocused, but interestingly busy.

Here again is the pull-back shot from my iPhone to show where we were.

Working with the building close to us, and the wide open street scene on the one side, we had this beautiful modeling of light on Nicole’s face, with that gentle gradient to the shadow side.

The lighting here really has to do with where Nicole was positioned. While it might seem a random point on the sidewalk, the light here was just perfect for what we wanted.


About the lens used during this photo shoot

Helios 85mm f/1.5 – for Canon  (Amazon)
Helios 85mm f/1.5 – for Nikon  (Amazon)

For a review of the lens:  Helios 40-2 85mm f/1.5 lens



Related articles


The post Available light portraits appeared first on Tangents.

« Previous Entries