This blog is the third article I have written on using your Flash. My first one was about avoiding the dreadful red-eye syndrome. The second article I wrote was about whether you should use Flash. Finally, I want to address the technique of off-camera Flash specifically.

First, let’s start with what we do know about Flash. We know that most cameras with flash built-in give straight-on harsh light and are subject to red eyes. The red eye is due to the Flash being near the lens. Sometimes, this is the only option you may have for a situation. In this case, getting the photo is more important than not having a picture. Almost every point-and-shoot has a flash built into them, and most people’s photos have this harsh look. The other place we see this Flash is in crime scene photography, which has been made more famous through TV shows like the CSI series.

When the Flash on the camera is pointed straight at the subject, it will look like most amateurs’’ crime scene investigation photos. In other words, anyone can get this type of photo, which is almost the norm in flash photography.

When creative directors, art directors, and editors hire professional photographers, an assumption is expected and not always stated. People hire a professional photographer to get something different than what they would do with their cameras. Picking a unique angle with a different lens may give the client something different. Still, the minute you introduce the straight-on Flash, it immediately looks like something they would or could have done themselves quickly.

Lighting has more impact on a photograph than any other aspect of photography. Without light, there are no photos, and what kind of light determines much more than whether you can see the subject. It helps shape the issue and creates a mood more than a camera angle or lens choice.

When shooting in black and white, the direction of the light helps shape the object and can make a photo have more pop or subdued, for example. In color, the color of the morning and the direction will help establish the mood. Theater type of lighting makes your subject look dramatic, for example. A lot of white light can make something look clinical or even be used to simulate the feeling of being in heaven.

In earlier articles, I mentioned that you should avoid red eye bouncing your Flash off a ceiling or wall. What I consider one of the most dramatic types of lighting requires your Flash to be off-camera.

There are two angles which I like the best. First, having the light 45 degrees to either side of the subject relative to the camera gives a lighting effect used by the great artist Rembrandt. Rembrandt liked to have the light 45 degrees to the side of the subject relative to his perspective and about 45 degrees above his view. If the subject looks straight, you will get a small triangle on the cheek on the opposite side of the light. The shape of the nose and brow help create this triangle. You may have to ask the subject to move their head slightly to make this work right.

Second, I think side lighting the subject works well for people. Side light is where the light is 90 degrees from the camera on the left or right side of the subject.

There are two ways to achieve this technique. First, you can use a cable between your camera and the Flash. The second way is to use a remote to fire the Flash.

When using a cable (check your manual for the Flash and camera to get one for your camera), you must be physically close to the subject to get this to work. The reason is the further you are from the subject, the angle between the lens and the Flash relative to the subject will diminish, and you will have photos that look more like on-camera Flash. A straightforward solution is to buy a longer cable. However, there is usually a limit on how long this cable can be and still work with your Flash.

A slightly more expensive solution is to use a remote. There are two kinds of flash remotes: a generic radio remote and a wireless one designed to work with your Flash. Both of these will let you place your Flash away from the camera, and each has advantages and disadvantages.

The advantage of the radio remote is it works up to a distance of up to 400 feet—depending on the unit. It works around walls and even through them. The disadvantage is if you need to adjust the power of the Flash, you must go to the Flash and adjust it manually. Your TTL function—where the camera figures out the correct exposure is lost.

The advantage of the wireless system, like the SU-800 for Nikons, is you can control each flash unit separately through the units. Your camera will fire the units, and since it works in TTL mode, it will adequately adjust the exposure. While both systems will let you use numerous flashes together, the TTL wireless system allows you to ratio the lights from the unit, and therefore, you can look at your LCD and make an adjustment and never have to move. One more significant advantage of a wireless system like the Nikon is that you can use a shutter speed that is more critical than the sync speed of, say, 1/250. Faster Shutter speeds open up many possibilities—especially outside on sunny days.

Using off-camera flash requires a lot of practice to master the technique.

Will your photos be better because you use this technique? Maybe, but most importantly, they will look different; sometimes, this is enough to get your audience’s attention.

4th of July Fireworks at Roswell High School Good fireworks photos have one thing in common – good foregrounds. 

The fireworks are way up in the sky, of course, but what you put between you and the fireworks can make the difference between an okay photograph and a great shot.

During the 1976 Bicentennial Celebration at New York Harbor, some photographers used the Statue of Liberty in the foreground of their fireworks pictures. In Philadelphia some photographed the fireworks in the sky over Independence Hall. These pictures truly captured the celebrations’ mood and meaning because of the chosen foregrounds. 

Composition 

The most challenging part of using a foreground is balancing the exposure between it and the fireworks themselves. Since knowing the correct or preferred exposure for the fireworks is impossible, it is impossible to know how to balance the exposure for the foreground. While this may be done “on the spot,” an assistant or two would be necessary because of the shortness of time of the fireworks show. To solve this problem, use a foreground object that will work as a silhouette.

Before the event, find out where the fireworks will be launched. Then visit the site before the show and look around. Sometimes the best location could be far away and shot with a telephoto lens.

Pick your spot carefully because there will not be time to move once the excitement begins.

It’s hard to know how high the fireworks will go before they explode or how big they will be when they do. So after the first couple of shots, check the composition. Ensure it’s not too loose and the fireworks are too small or tight that they are going outside the frame. 

Equipment and Exposure 

A sturdy tripod and a cable or remote release are needed for successful fireworks photographs.

Start with the camera on the lowest ISO (100 or less). Set the aperture at ƒ/8 or ƒ/11 and the shutter speed on the bulb (this keeps the shutter open for as long as the shutter release is held down; hence the need for a cable or remote release to avoid camera shake).

A small flashlight is an excellent addition to your equipment for the shoot.

Take a shot or two, then check the exposure. It should be close, but tweaking it slightly should make the colors pop.

4th of July Fireworks at Roswell High School

Technique

When you hear the sound of the firework being launched, open the shutter and hold it open for two or three bursts before releasing it. Blues don’t photograph as well as reds or greens, so hold the shutter open longer for a blue burst. For different effects, change the length of time the shutter is open.

Twenty or so should be excellent photos out of around one hundred shots of a typical show.

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The cool thing about this – an expensive camera isn’t needed. Any camera that accepts a shutter or remote release can be set to “bulb” and has a tripod socket should work. Many of the point-and-shoot cameras will work nicely.

So check it out before the show. Find a spot with a workable foreground. Take a plethora of pictures. Isn’t digital significant – no film cost?

Cecil Court was the inspiration for Diagon Alley for the Harry Potter movies. London

According to Mark Twain, “America and England are two great nations separated by a common language.” He was right. For many Americans arriving in the U.K., it’s a shock to discover that American English can be vastly different from English English. When we think we fit right in and don’t stand out from the natives, it’s easy to make some embarrassing mistakes. (Don’t ask for an order “to go” at a British restaurant; it’s a “takeaway.”)

Lately, I’ve been reading about autism. Asperger’s syndrome is a type of high-functioning autism with better language skills than other forms of autism; people with this condition often find themselves in higher education as professors. They can lock in on a subject and stay focused. In the movie Rain Man, Dustin Hoffman showed us the savant aspect of autism with his ability with numbers. Unfortunately, he also showed another part of autism — clueless about things around him.

As a photographer, I study people and how they act and react to all sorts of things so that I can photograph them and show who they are. As a result, I have, over the years, become an armchair sociologist. I’m fascinated with people’s behavior, especially within groups.

Converting the Natives

I have watched missionaries in Africa “convert folks,” only to find out that the locals were being kind and didn’t want to embarrass them. The missionaries were equating to how people respond “back home” and were unaware of the foreign culture.

In parts of America, people are incredibly polite. So it isn’t easy to know where you stand with them. In other parts of the country, people don’t hold back their feelings; unless you are accustomed to this behavior, it’s easy to take it personally. Sometimes your best friends will point out your worst faults, yet your worst enemy is always pleasant to you.

The most successful business people try to win and hold clients for the long run — not just long enough to close a sale. If we focus on selling a product and finding a one-time buyer, we focus on the short-term. Like the missionary who thinks she has “converted a soul” but has not learned the culture, it’s a short-sighted approach to life.

Many successful people I have encountered are collectors. They may collect baseball memorabilia or classic cars, or art. They enjoy finding something and holding on to it. I think this is also how they feel about people. They want “collect” them and keep them around. They are interested in developing a relationship with these people — not just conducting a transaction.

In some cultures, it is rude to jump to the transaction or point of the visit immediately. Before getting to business, you must spend time with a cup of coffee or tea, talk about families, and complete other cultural necessities. Most cultures reward those who pursue relationships and not just transactions.

With Relationships Come Rewards

I believe if we focus on connecting with people, the rewards will follow. But, on the other hand, I think focusing on tips rather than relationships is the surest route to failure.

It’s easy to tell the difference when you deal with people. How many people have you met who made you feel necessary to them? Conversely, how many thought you were just a stepping stone on their path to success? Which of these did you look forward to meeting, or working with, again?

Showing an interest in other people and cultures is not only good business. It’s a more personally rewarding way to go through life.

The severe weather warning sirens in my town have been going off more and more lately due to tornadoes. But this isn’t what prompted me to write about the importance of backing up your computer.

One of the students I taught in Hawaii packed her computer and backup drive in the same bag; of course, this is the bag the airline lost when she flew home. As a result, she lost everything she had worked on at school.

My cousin works for a large furniture store. They dutifully backed up all their computers; however, they kept the backups in the same store as the computers. Unfortunately, the store burned to the ground one night, and they lost all their computers and backups.

I am not even going to go into my losses through the years.

Tornadoes, computer crashes, lost luggage, burglars, floods — there are a lot of things that can make our important files and photos vanish. So I’d like to discuss planning a system for backing up our computer files.

My Backup System

First, I prefer a permanent backup of essential files to CDs/DVDs. It is a more stable solution than a hard drive. Hard drives fail more often than CDs/DVDs.

I make two copies of these backup CDs/DVDs and put them in different locations. I keep one backup with me where I can get to it in a hurry if my computer fails, but I put the other copy in a safety deposit box or at a friend’s house.

Second, I have an external hard drive and make regular backups. Most external drives come with software designed to help you make backups.

I use this external hard drive to mirror — completely duplicate — my computer’s hard drive. When my computer dies, I only need to do a restore, which transfers everything to the new hard drive or a new computer.

Third, I bought yet another backup hard drive. Again, I labeled one A and the other B. I alternate backups between the two. I make sure these A and B drives are rotated, not just with the computer, but the location where I keep them (bank vault, neighbor, etc.)

Another option for backing up important files, like photographs, is an online backup. With a high-speed connection, you can take advantage of an online solution for a database. Your first backup takes the longest to complete. Only the changes to your hard drive from the last backup will change in the future. After I’ve gone to bed, I program my computer to do this at night. It takes longer than backing up to a hard drive connected to a laptop, but it is off-site and one more place to keep your data. One such provider is Carbonite, which only $49.95 a year for unlimited storage.

I stay away from tape backup systems. The computer department where I used to work decided to use a tape system to back up their image library. The system corrupted the files after five years of inputting data. After rescanning all the images and adding four more years of pictures, as far as I know, they never recovered the photos from those nine years.

You Need More Than One Safe Place

President John F. Kennedy’s photographer Jacques Lowe’s estate archived all their images in a safe deposit box housed in the vaults at 5 World Trade Center next to the Twin Towers.

I ensure my images and other important files are stored in more than one location.

Now, when I hear a weather alert, I’ve got one less thing to worry about.

Editors note –

I have much to do with working with people by taking better pictures and being a better communicator—my latest series of Newsletters address areas that have helped improve my photography. Becoming an expert on people allows me to specialize in covering people.

I love to play basketball. Over the years, I’ve had the rare opportunity to play with good players and a few professional basketball players. However, just because I played with outstanding players didn’t make me a pro player. It did open my eyes to the potential of a player.

I’m not in the physical condition of my youth, but my improved understanding of the game makes me a better player than when I could jump above the rim.

Being around the best in a field will help us learn. Conversely, when we reach out to help others, we are blessed at least as much as they are.

I have photographed the homeless in downtown Atlanta and heard them pray for the wealthy people in the suburbs. They’re worried that wealth may cripple the hearts of the rich and harm their relationships with others. They’re not praying for handouts but for people’s hearts.

I’ve served homeless men dinner at an overnight shelter, yet they have jobs at places like UPS. They send their money to their families living in towns where the cost is much less.

I’m unsure if I could make some of these homeless people’s sacrifices. Just being around these people teaches me a lot.

Some of my neighbors are from Bosnia, Croatia, Chili, Jamaica, Kenya, and Mexico. One family from Croatia had to pack in the middle of the night, leave everything they owned and flee from danger – not once, but twice.

Another neighbor, having already escaped the war and living safely in the US, returned to Bosnia to help his family and friends in the war raging in his home country. Now, back in the US, he spends his time in a wheelchair with a bullet in his back from that war. Last year his wife suffered a heart attack and died.

Just living around these immigrant neighbors teaches me so much about sacrifice. Their determination to make a better life for their children is astounding.

As a photojournalist, I have had the opportunity to meet so many people and hear their stories. It has given me a better perspective on life.

Another way I have been able to expand my relationships is through education. Formal education in the classroom forced me to learn about subjects I would have never encountered had the classes not been required. What I gained from my education experience is the desire to learn.

Reading biographies helps me to discover how a person was changed through time and experiences.

The Internet helps me connect with many people and reconnect with friends from the past. Our oldest son went off to college this year. He remained connected to many of his high school buddies through the Internet and cell phone.

This is a significant change from when I left for college. Then, with no Internet and cheap long-distance phone service, we had to sever ties with many of our friends.

I’m learning to improve my game; I need to reach up to those who are further along than me, those alongside me, and those who may need my help. I’ve also learned that when I reach down, I often reach up.

Reach out and get connected—it can change your life.

The student is getting face paint during the Jell-O Wars at Anderson University.

Too many people join associations as if buying tickets to a sporting event. They want to sit in their comfortable seats and watch others perform. When considering joining an organization, one of the first questions most people ask is, “What do I get for my membership?” That’s a valid question, and most organizations list the benefits their members will receive.

Ask Not What an Organization Can Do for You

But sometimes, the more important question is what you can give. I am reminded of the famous words of John F. Kennedy:

“And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country. My fellow citizens of the world, ask not what America will do for you, but what we can do for the freedom of man.”

Kennedy helped forge the idea of service by creating the Peace Corps; he believed the country’s success depended on people becoming involved. Focusing on service rather than entitlement can be a key to our professional success and personal fulfillment.

When you join a group, receiving the newsletter and being listed on the membership rolls will have little impact on your success. Unless you’re willing to commit yourself, you’d be better off saving the dues money and not wasting your time — or the groups.

The leading figures in most industries are consistently those who volunteer in their professional organizations. They network with others, they help organize competitions and awards for the industry, and they mentor others in their industry.

Today there are groups whose sole purpose is to teach their members how to be successful. Although these groups may teach you how to be a better networker, if the only reason you join is to promote your success, you will probably fail.

Go Where Your Passion Leads You

Success through an organization starts with matching your passions with volunteering. You can become involved in a community theater, entertain others and become known in your neighborhood. Through your involvement, people will get to know you, and you will get to know others. You can join the community of faith through a local congregation or play a sport in a local league … if you follow your passion, you’ll naturally want to become more involved.

You know you’re plugged into a group when others depend on you. People will not only want you around because of what you are giving to the organization but will come to value your friendship. They get to know you and appreciate your passion.

Looking for leaders not followers

Working with universities, I have become good friends with some people overseeing the recruiting. At Georgia Tech, they changed how they recruit. One of the changes had to do with the list of organizations a person was involved in; they now only want you to list your top five.

Why only five? They are recruiting the leaders of tomorrow, and they are looking for leaders — not just members. An Eagle Scout is more than just a Boy Scout.

Two groups I have worked with take this concept of involvement through service way beyond most other groups. As a result, they transform those in these organizations and profoundly affect those around them. These organizations are Youth With a Mission and Chick-fil-A.

Truett S. Cathy

The founder of Chick-fil-A, Truett Cathy, can be seen today picking up the trash around a store before he goes in. All of his managers are trained to do every job regularly. They can be seen cleaning the bathrooms. When a Chick-fil-A event is over, everyone in the organization volunteers to help clean up.

When students enroll at the University of Nations, part of Youth With a Mission, they are all expected to work while attending school. They have found that some people are like Dr. Jekyll and Mr. Hyde. They talk a good game and sound caring and warm, but a different person emerges on the job. The Mr. Hyde side might believe they are better than others; they might not want to do specific jobs they think are beneath them.

Choose Wisely

We can learn a lot about ourselves by volunteering. It can even change who we are. Volunteering helps smooth out those rough edges we all have.

Accountability has influenced most organizations today. People don’t want to waste their time or money. They want to make a lasting difference.

Habitat for Humanity changes not only those who receive the homes; those doing the building is changed as well. The first family to receive a Habitat home was so transformed that each of the children went to college and became successful. Habitat has provided volunteers with the opportunity to enrich their lives while making a real difference in their communities.

The two wealthiest men in the world, Warren Buffet, and Bill Gates, have joined together to give money back to society. Their foundation’s activities focus on world health — fighting diseases such as malaria, HIV/AIDS, and tuberculosis — and improving U.S. libraries and high schools.

In his book Giving, Bill Clinton tells stories of people who give. These remarkable stories suggest that giving takes many forms and emphasize that offerings of time, skills, objects, and ideas can be just as critical as monetary contributions.

We have a choice. We can watch the game of life or be one of the leading players. Choose wisely; your success — and fulfillment — may depend on it.

Stanley usually provides a DVD-R immediately following your event. The ID information is printed directly on the inkjet-writable DVD-R, which is more archival than a paper label. The data includes the name and date of your event plus Stanley’s contact information, making it easy to locate images later.

Stanley keeps a duplicate DVD-R on file as an off-premises backup for you. Everyone should make their backup as well.

Each image is a high-resolution JPEG. Usage rights of the photos are negotiated before the assignment.

For most editorial assignments, photo identification is embedded with the image. This is helpful when writing cut-lines for your newsletter or matching the photo with the person in a story.

One of Stanley’s clients has 500 plus new portraits made every year. Many of the faces are new. The office staff uses the embedded identification to match the portraits to bios. This helps those who have not met the new people to match the person with the name.

Below is an example of this when you use Photoshop to view the images. Go to the menu option Menu>File Info to pull down the box.

The above example should interest you if you have many photographs taken each year and have had trouble locating a particular photo. This ID information is recognizable by most image archiving software such as Cumulus. The file information box of Photoshop is known as IPTC for short.

As you can see, the information is the same. Since Stanley has done this work for you, after setting up the software like MediaDex to recognize IPTC, you only need to drag the folder from the DVD-R, which Stanley provided to you, into the database software and let it ingest the images. You do not need to add any more information. The event’s name is searchable; you can find people by searching the caption for words.

You can also use services online like PhotoCore. This provides a live, searchable database for you to use. Your photographers can upload from anywhere worldwide, and you can determine access by creating accounts for photographers, designers, and clients. Look at some of Stanley’s examples here.

With this service provided by Stanley, you can find a photo within seconds. If you save all the images on a server, the artist only needs to click to place the picture into their design. It only takes a second.

You can use the information printed on the DVD-R to locate a project, place the DVD-R on the computer, and drag the photo from the Database straight into your document.

Use the information printed on the DVD-R to locate a project, place the DVD-R on the computer and drag the photo from the Database straight into your document.

Look on the DVD-R to locate a project, place the DVD-R on the computer and drag the photo from the Database straight into your document.

To locate a project, place the DVD-R on the computer and just drag the photo from the Database straight into your document.

Today we must be good stewards of our budget and resources. Since Stanley has completed most of the data entry for you, he has saved you hours of work that translates into savings.

There is more than meets the eye in Stanley’s photos. He has provided you with the images you need and increase their value because of the wealth of information he has provided about those images.

The ease of use, the ability to quickly locate a single photo in your collection, and the in-depth information about that photo all located together make a photo shoot by Stanley more valuable.

Yes, Stanley indeed does work to make your job easier.