The Break of Dawn
What Else is There?–
After you read Scott Kelby’s The Digital Photography Book 1, you may think you’re ready for all the other possible shooting situations. Then you get to thinking that if there’s a book one that good, you might as well give the sequel a look especially since the price is quite reasonable anyway.
Erick Lirios
First off, Kelby tries to get people to realize that this volume builds on what the first started while adding a few more interesting items. He does this right off the bat with what is normally the next logical step for people getting into photography – shooting with more gadgets. For most people, that means the purchase of a flash unit. Yes, there is a built-in flash in most DSLRs but there are so many more things that you can do with an external one.
There are these four pro flash tricks that he has for achieving professional-looking shots using a flash. There are just so many shots suffering from the burnt out look resulting from a photographer not knowing how to make the necessary adjustments to his/her flash unit. (Hey, just notice the fact that one column here is on its 44th part of a discussion on using the flash and you realize that things aren’t really that simple at all.) These ideas cover things like softening the flash burst by using a diffuser on a flash (possible also with a built-in unit), using that stand that came with your flash unit (most of the flash units from the past decade come with one) and mounting the flash on a stand, using gels, popping the unit off camera, using a multi-flash setup. This last point is actually a bit amusing since Canon and Minolta users have been doing this for around 13 years. Maybe it’s just because most people then still preferred using the really big studio lights while now, everybody seems to want to be called a “strobist” – a fancy tag for something that really means someone who uses flash units. (Guess it makes people feel cool.)
One of the cool (kewl?) things that Kelby does is sharing how to use a flash in various situations including times when there seems to be no need for it. Another pro versus amateur moment here: A real pro knows the advantages and disadvantages of using a flash in whatever situation and that means knowing when to pop that baby even when the sun is out. It’s funny but some know-it-alls give you this weird look when you keep popping flash units in broad daylight. Hmmm. Should you or shouldn’t you tell them why you do it? If they know so much, maybe they can figure it out themselves. If you want to be a nice guy, go ahead. Nothing wrong about sharing some knowledge.
Some people eventually realize that they want to get more serious about shooting with lights that they start buying stuff like light stands and softboxes but have very little idea of what to do next. The whole chapter on starting a studio from scratch really is useful in this regard. This is where you grasp the reality that buying stuff doesn’t nearly get you any proficiency in using it.
One very good suggestion that, surprisingly, very few people even bother to check out is shooting tethered to a computer. Canon users can try this as soon as they fire up their cameras and computers (the program comes in the utilities disc) while Nikon users need to buy the necessary software. Too many complain that their LCD screens are so tiny without having tried using a computer display to look at photos as they shoot. This is something product or food photographers do a lot since it allows a very big view of each and every shot. It’s also so much easier for clients to look at a computer than an LCD screen. Heck, even a netbook provides a better view than a 3-inch LCD. Try it. Unless you’re running for your life dodging bullets with your camera or trailing an excited bride, this is one capability that’s really worth the try. Besides, if you have a willing assistant, you can have the assistant move the things in the shot and when everything’s ready, you just press the shutter button – on your computer.
Another really good thing about this volume is that it deals a lot with posing people and getting subjects the look that will make them realize that they really can look good. This means shooting in the portrait orientation (using a grip makes things easier), shooting horizontally in a more effective way, minimizing the headroom, shooting at an angle, not lighting things evenly, etc.
Just a little anecdote here: Kelby is seen in page 73, 88, 89, and 94 with a Nikon and a Canon camera and he switches seamlessly between the two. Maybe he doesn’t need to deal with the weight of having to lug around two complete systems. The perks of being rich and successful: Having the necessary number of assistants to carry your stuff for you.
Remember we said this book builds on what the first one started? Maybe you got interested in shooting landscapes and you want to know more or your friends like your shots in a wedding so much they want you to help out in an upcoming wedding. There are chapters here just like in the first volume dealing with these topics. There are other chapters though like shooting macro shots, shooting travel stuff, etc.
The last chapter, however, is a doozy: It shows shots that you may want to do yourself and Kelby offers the steps on how to get these shots done.
Next week: Who knows? Maybe we’ll get into the next book or we’ll deal with a few chapters.
