Studio shots

We started out in my apartment, which I had converted into a small studio for the occasion, and tried to mimic some old-style portraits. Here’s an example (click for larger version):

Mimi did all the hair, the makeup and the posing, while I wielded the light and technology. A background kit and two softboxes was all it took, and I think it turned out pretty well

Turning day into night

For the second part, I wanted to try to create some dark and spooky forest pictures, and thought Mimi’s fair skin would be a perfect elvish contrast to a gloomy forest (how’s that for adjectives!). She was on to the idea right away, and managed to find someone who knew a woman, through Facebook, with a wolf-like Siberian Husky that we could “borrow” for the shoot. She also almost rented a stuffed raven, but since none of us were sure if the “wolf” would see the stuffed raven as an irresistible chew-toy, we decided to skip it (this time).

Now the only problem was how to create a dark and gloomy forest from a sunny day. What I ended up doing was

1. Set the cameras white balance to tungsten (about 3200K). This turned the warm daylight into a cool blue
2. Under-exposed the background, with the camera on manual, to get a darker, blue, night-like setting
3. Attached two flashes (strobes/speedlites) to a tripod, and covered them with an orange film (for the strobists: I gelled it with a 1/2 CTO). The flashes were now giving orange light, which looked white to the camera, since it’s white balance was set to tungsten
4. Set the flashes to high-speed sync mode. This was necessary to get them to light the scene properly, with the fast shutter speeds needed by the camera to under-expose the background (a typical shot was taken af f/4 and 1/1000s)

Here’s an example of how this works. First off, a picture as it would have probably have looked if I used the camera on automatic (with a ‘daylight’ white balance). Click the image for a larger version:

Step 1 - daylight white balance

This is what happens when I set the white balance to tungsten, and underexposed the scene:

Step 2 - tungsten white-balance and underexposure

Next step was to add the flashes (with the orange ‘gels’), which now look white to the camera and voila – something that looks a bit more like a moonlit forest:

Step 3+4 - Gelled flashed

And here is the final version, with a bit more tweaking to make it more dramatic:

Final version

For the shoot Karina and a friend showed up with 3 dogs, including Aqui the Siberian Husky we would use for “wolf”. She did a great job at keeping him in place, even though he was distracted by the occasional mouse or lizard rummaging through the forest bed. Here are some more of the shots we got out of it (click for large):

Thanks

Finally I want to Mimi for being so much fun to work with, and for being so patient, despite the not-so-comfortable spots I made her sit. Also a huge thanks to Karina Tollundgaard for letting us use Aqui, and for helping us out by keeping him in front of the camera.

And after an eventful day we strolled off into the sunset.

I continue to be impressed with the low-light performance of both the 7D and the 24L, and although not all of the pics are sharp, many of them would have been impossible without this combo. I’m loving it

I waited a long time to get my hands on the Canon EF 24mm f/1.4L II lens. Back in december 2008, I wrote a small ruby script to help me determine what focal lengths I favored, and concluded that this particular lens would be the perfect match for my EOS 50D, for low-light photography. I still hadn’t managed to turn up the funds for one when The Digital Picture published a glowing review of it a couple of months later, but later that year I gutted my piggy bank, and finally received the lens after waiting in a back-order queue for 5 weeks.

Now, after using the lens for some months, I wanted to share my impressions with you, the internet. I won’t go into nearly as much detail as the DP review, and if you’re interested in this lens I’m sure you’ve already read it (you should), but instead focus on my impressions of using it on a APS-C camera, specifically the EOS 50D, since I haven’t found many reviews covering that aspect.

I don’t own many L-series lenses, and no L-series primes, and before the 24mm II my favourite lens was the fabulous EF-S 17-55mm f/2.8 IS, which I loved for it’s low-light capabilities. Now, my favorite lens on the 50D is the 24mm II, because of it’s outstanding image quality, combined with a 38mm equivalent field of view, and an impressive maximum aperture of f/1.4.

Image quality

I am continually impressed with the image quality of this lens. It’s way better than the 17-55mm f/2.8 IS, which was already good, with wonderfully saturated colors, outstanding sharpness even wide open(!), and negligible chromatic aberration. If you manage to get the focus right, even f/1.4 will be sharp. The photo below is an example of that, though perhaps not a work of art in itself

Landscape photography is not my area of expertise, but one thing I have noticed, is that the lens controls flare very well, as you can see from the image below, and some of the samples, where the sun is in the scene.

Other reviews will have more details and charts for you, as well as more basis for comparison, so let it suffice to say that the image quality of the 24mm II has impressed me, compared to the other I own, notably the 17-55mm f/2.8 IS, 70-200mm f/4 IS and 50mm f/1.4.

38mm equiv. field of view (on an aps-c camera)

It’s not easy to find fast primes that are wide on an APS-C camera, such as the 50D/40D/500D/7D, and the 50mm f/1.4 has always been a bit too narrow for my style of shooting, as I like to get a lot of context in my shots, and often shoot indoors in close-quarters, which makes 80mm equiv. unpractical.

The field of view (FOV) took a bit of getting used to, and the fact that it is a prime means I’ve been getting more exercise running around, but I absolutely love it. I have to get closer to fill the foreground, but the wide angle can create some very dynamic and engaging compositions, where you really are “in” the scene you’re photographing. It allows me to get a lot of context into the shot, while still separating the foreground from the background, further aided by the low depth of field enabled by the large aperture.

Images taken with the 24mm II up-close and wide-open get a distinct “feel”, which I suppose is because it’s unusual to see images with low depth-of-field taken with a wide lens.

Large f/1.4 aperture

One of the major “features” I was looking for in a fast prime, to supplement my already-excellent-for-low-light-shots 17-55 f/2.8 IS, was a large aperture. I was expecting a marginally more “handholdable” lens, for indoor shots, with much better bokeh.

In my experience, the 24mm II is not significantly more “handholdable”, because although it has a two-stop advantage over the 17-55, the latter sports an image stabilizer which promises 3-stop stabilization. I don’t have any hard statistical data, but my “feeling” is that this pretty much levels the playingfield between these two lenses, at least where stationary objects are concerned. For moving targets, the 24mm II should theoretically have the advantage, since the larger aperture enables faster shutter speeds. However, I do a lot of dance photography, and for this purpose, IQ aside, the 24mm II’s f/1.4 aperture doesn’t really help: It has proven to be extraordinarily difficult to accurately focus on anything moving (such as dancers), with the shallow depth of field at f/1.4. In short, image quality may be better, and f/1.4 may enable faster shutter speeds, but good luck focusing on anything that moves.

If I was slightly disappointed with the 24mm as a replacement for my “dance lens”, which isn’t really a fault of the lens, as much as my own expectations, the bokeh rendered by the 24mm II is a thing of beauty. If you can control it, you will get beautifully smooth out-of-focus backgrounds and foregrounds. It’s addictive

All-in-all…

…this is a wonderful lens on a APS-C crop camera, such as the 50D. The field of view is approximately equivalent to a 35mm lens on a full-frame camera, and as one of canon’s newest L-lenses, the image quality is unmatched at this focal length. It’s expensive, but I’m inclined to think this is a case of you-get-what-you-pay-for.

I think this focal length is good as a walk-around lens on a crop-camera, and the bokeh combined with the wide FOV, makes for some really unique shots. I have especially loved it for environmental portraits because of the FOV and shallow depth-of-field, as the sample pictures demonstrate.

I hope you’ve found this useful, and feel free to ask questions if there’s anything you feel I’ve left out. I’ll try my best to answer. Enjoy the samples, or check out my images on Flickr tagged with this lens.

I’ll be exhibiting mostly dance related photographs from 2009, but I’ll also bring a larger flip-through catalog with other material.

If you’re interested, please stop by between 15 and 18 on Sunday, October 11th, and feel free to bring your friends along The café will be open, and there will be a live jam for dancing. Here’s a link to the event on Facebook:

http://www.facebook.com/event.php?eid=147524757519&ref=nf

Should you be taken by any of the photos in particular, and would like to hang them on your wall, I have prints and frames for sale at reasonable prices.

If you have, check out the Canon Camera Museum, where they have a cool little tour of how a EF 500mm f/4L  IS USM lens is manufactured, all the way from mixing the raw materials that makes up the lens elements, to final assembly.

I think it’s pretty cool

I recently had the pleasure of spending 7 days in New York City, in connection with Frankie95 – a festival to celebrate the life and 95th birthday of Frankie Manning, a Lindy Hop legend. Sadly, he passed away only weeks before thousands of dancers from around the world showed up in New York, which meant the event transformed into a memorial event, celebrating his life and the dance he helped create. There’s a really good short documentary here, about Lindy Hop and Frankie Manning in particular.

Frankie95 was absolutely fantastic, and in-between all the dancing, performances, and great bands, there was even time for some sightseeing around New York. I’ve uploaded a couple of pictures on Flickr (below), and you can see even more here (sightseeing) and here (dancing).

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