Posts Tagged ‘D90’

Today I’m sharing a short video that I put together for our family, since most of them live far away from San Diego. I shot the video and stills on my D90 and put it all together in Adobe Premiere Pro CS4 (which I am really loving by the way).

The convergence of still photography and video is growing more and more everyday. I didn’t buy the D90 for the video, but I have come to really enjoy it and I’m glad to see that Nikon included it on the D300s and D3s. Will we see a D700s? I hope so! I doubt that Nikon will release any new DSLRs that don’t have D-Movie mode from here on out. And the great part is that the video quality will only get better!

Adobe Premiere Pro CS4 has been great to work in thus far, having come from Final Cut Express 4. The look and feel is much the same, but I REALLY like the auto rendering and I don’t have to wait around nearly as much as I did with FCE. I’ll talk more about Premiere Pro in the future and for now I’m certainly a big fan!

That’s it for today, I hope you’re having a great week! The last few days of 2009 are upon us! What’s your creative resolutions for 2010? Share in the comments!


If you’re a Nikon D90 owner, you’re got something to really be proud of! Oh, and I wouldn’t go out and spend that $1800.00 that you’re about to spend to upgrade to a D300s either. Why? Because in terms of image quality, the D90 is the #1 sub-full frame DSLR on the market according to DxOMark’s Sensor website.

The D90 falls in at the number 15 spot, but the only cameras ahead of it are either full frame DSLRs or Medium Format digital cameras. That’s a helluva lot of bragging rights for anyone who owns the D90 (including me).

(Screen capture of DxOMark Sensor showing the Nikon D90′s rank.)

DxOMark Sensor was created by DxO Labs in order to provide a one-stop shop for photographers looking to find out more about the image quality of camera models, without solely relying on manufacturers websites or literature. Their testing methods were devised with three types of photographic situations in mind: studio and portrait work, landscape work, and finally sports and photojournalism.

Now, I’m not going to go into the whole ‘upgrade or don’t upgrade’ debate here, because the bottom line is it’s your money and if you want to spend it then be my guest. However, if you do upgrade to that D300s you’ll be dropping to the number 19 spot. Oh, the D300? It’s in the number 22 spot. If you have questions about upgrading, feel free to hit me up in the comments and I will be happy to help.

Image quality is what we’re all after as photographers. We want the best possible image quality for what we can afford, and it should be more important than weather proofing, bracketing, frames per second, or any other bell and whistle that a camera may have. Nikon really got it right with the D90, and DxOMark Sensor proves that. Coming from a trusted name in the industry like DxO Labs, you know that the data is accurate and trustworthy.


There’s a lot of really cool stuff going on around the photo industry, and I thought I would bring you up to speed on the latest and greatest. New gear, cool discounts, and other happenings have made for some exciting times recently. Here’s some of the things I have found most interesting:

  • Nikon has been busy, after recently releasing the D300s as they just announced the new D3s (pictured above). It’s essentially a D3 with 720p HD video, a built-in sensor cleaning system, and super-high ISO capability; 102,400 to be exact! If you already own a D3, it doesn’t make much sense to upgrade. However, if you were looking to move up to a camera of this caliber, then the D3s is the way to go. Unless you’re a wildlife photographer shooting in harsh conditions, a pro sports shooter, or a newspaper photographer, then you probably don’t need this camera and a D90, D300s, or D700 would suit you just find. MSRP is $5199.95. You can read more about it on Nikon’s website. Finally, a D3 I would buy!
  • MpixPro is now offering Custom Printed DVDs! This is a great way to deliver digital negatives to your client and present them in a very professional way. They look so much better than disc labels printed on an inkjet printer and they only cost $7.00! All you have to do is upload the file to MpixPro and they send you the blank DVD with your image printed on the front. If you’re an MpixPro user then you will really appreciate this great product.
  • Speaking of Mpix, they are offering free shipping on frames until October 20th! If you need custom frames for yourself or your clients then head on over and take advantage of a great offer! Just enter the promo code: frame10 at checkout.
  • I recently had a chance to work a little bit with Jason D. Moore of Jason D. Moore Photography in the Walk4Hearing Silent Auction. Jason is a super-nice guy and an excellent photographer as well. On top of that, he’s an Adobe Certified Expert (ACE) in Photoshop which means he really knows is stuff when is comes to the digital darkroom. Check out his work and stop by and say “Hello!” Tell him I sent ya.

That wraps things up for me for this week. I’ve been incredibly busy and it’s not stopping now. I’m shooting a wedding tomorrow in Ramona, CA so I’ll be busy for the next couple of weeks. There’s a whole lot that goes into shooting a wedding, and I’ll be documenting some of that here on the blog. Additionally, I’m going to begin featuring some video tutorials on photography techniques. These will be short, down, and dirty but my goal is to show you how to get the job done. Stay tuned for those and I’ll look forward to sharing some wedding shots with you! Have a great weekend!


So I get an e-mail from my buddy and fellow D90 shooter Levi, and his e-mail contains a link to a photo that he took of a couple of flashes, triggered by CyberSyncs, f11 @ 1/4000th of a second! I was blown away! I had to go and test it out for myself and low and behold… it worked! I shot the photo above with my D90, SB800 on camera @ 1/128th power with the CyberSync CST transmitter plugged in via included mini plug to PC Sync cable, SB80DX flashes @ full power triggered with CyberSync CSRB receivers, f11 @ 1/4000th of a second, ISO200!!! WOW! Wanna learn how? Read on.

What? No hack?
No. There’s no hack that you have to perform. You need a couple of things to even think about doing this. First, you need a Nikon SB800 or SB900 and a camera that’s capable of the Auto FP High Speed Sync mode. In this day and age, that means a D80, D90, D200, D300(s), D700, or a D3. (Some older Nikon bodies are capable, but I’m not going to list them all.) Of course you’ll need the CyberSyncs (CST transmitter and CSRB receiver). Lastly, you’ll need the included mini plug to PC Sync cable that comes with the CyberSyncs. This is how you’ll connect your SB800/900 to the CyberSync CST. See the photo below:

And this is what your flash will look like with the CST connected to it before you place it in your camera’s hot shoe:

Once your flash is mounted in your camera’s hot shoe, you’ll need to make sure that the Auto FP mode is turned on. (For D90 users, go to Menu > Custom Settings Menu > Bracketing/flash > Auto FP (e5) and turn it On. Once you’ve turned Auto FP on, then you can power on your flash. I then set my SB800 to Manual mode @ 1/128th power and positioned the flash head at 90 degrees (straight up). FYI, you could set the power higher and point it towards your subject for a little on-axis fill if desired. Then, as long as your other flashes and CyberSync CSRB receivers are powered on, you’ll be good to go and flashing away at ridiculously high shutter speeds that you never thought you could have with your CyberSyncs!

Got Power?
Look at the above test shot of Benjamin that I lit with 1 – SB80DX through a Lastolite Ezybox at f4, 1/4000th, ISO200. I had the 24″ x 24″ softbox in nice and close and you can see how quickly the light will fall off with a shutter speed of 1/4000th of second! Keep in mind that the SB80DX was at full power. To pull this kind of thing off with speedlights, you’re going to need more than one in most cases. If you can shoot really wide open, you might be able to get away with it… however you will need to have your light(s) in nice and close. This is where a Lastolite Triflash would come in REAL handy. To really do this right, you could use a high powered studio strobe like an AB1600 or the like.

Further Testing Needed
I only played around with this in the house tonight because it was already dark when I got the chance to have some fun with it. I want to test this outside in full daylight with a few more speedlights to see what I can come up with. I also ran into one small issue while testing this: if I put the camera down and it went into “sleep mode”, my SB800 would sort of “lock up” and my camera would default back to the max flash sync speed of 1/200th of a second. Not really sure why this was happening. I couldn’t use the power button to shut of the flash, but a quick opening of the battery door and closing it again did the trick.

So there you have it folks… High Speed Sync without using Nikon’s Creative Lighting System. RadioPoppers have been doing this for quite awhile now, but they are most well-known for extending the range of your flashes when using CLS. With the CyberSyncs, you have to do everything manually still, which is what I prefer. I’ll have more to follow later on this week, which will include testing this outside… in full daylight. Stay tuned!


It’s early on Saturday morning I know, but I wanted to get one more most up for you this week. I’ve been swamped and I haven’t gotten a chance to post anything else this week so I thought I would share my first impressions of my new Sigma 70-200mm f 2.8 lens.

  • This lens is tack sharp! There is no two ways about it. I shot the image above of my Nikon 16-85mm VR lens with the Sigma and I was very impressed with sharpness.
  • At 3 pounds this lens is a little heavy, but not nearly as bad as I thought it would be based on a few reviews I have read. I’m sure it would wear me out after a full day of lugging it around on my D90, but it’s still not too bad.
  • Colors are accurate and this lens provides great contrast. I love the image quality.
  • I love the fact that the tripod collar is removable! If you don’t have a quick release plate on your tripod head, you will love this feature too! You can open up the tripod collar and remove the lens. Cool feature. Bonus points to Sigma!
  • Auto Focus is quick. I haven’t compared it to the Nikon 70-200mm f 2.8 lens, but I think it would be fairly close based on my experience with other Nikon AF-S lenses.

Nikon 16-85mm VR Zoom LensI’ve got a total of 3 shoots today. Two this morning and and one this afternoon and you can bet that I’ll be putting this lens (and my Sigma 24-70 f 2.8 HSM lens) through their paces. I’ll have full reviews up before too long so you can see exactly what I think and how these lenses perform.

I hope you guys have a great weekend and I’ll see you back here next week. I’ve got to head out here soon!


Yesterday I had the pleasure of shooting with Jazz singer Peter Marin at Balboa Park here in San Diego. We had a great morning and got some really great shots. I thought I would post a couple of shots here on the blog for you to check out. I am still editing them down, but I found a couple of instant selects in the process.

I shot these photos with my trusty Nikon D90, Nikon 85mm f 1.8 lens, and an SB800 at 1/8 power through a 24 x 24 Lastolite Ezybox. That thing gives me the most beautiful, soft light I could ever hope for from a hot shoe flash. It just plain rocks! I just needed one light to pull off these shots. Remember, you don’t always have to have the big studio strobes to get high-quality light. And with small flashes, I can move and work quickly which is a HUGE advantage when shooting on location.

I hope you enjoyed the photos and I’ll see you back here later this week for more about what I’ve been up to! Come back and see me and until then, I hope you have a great week!


This past Saturday I was privileged to shoot Paul Bowman, a classical guitarist here in San Diego. The shoot was the first of several shoots with musicians, bands, or singers as I build my portfolio. I would like to shoot portraits, headshots, promo and art work for people in the music industry. And as fellow photographer Chase Jarvis says, “Show what you want to shoot.”

Paul and I had a lot of fun working together and I got to listen to him play while we shot which was a treat for me, being a guitar player as well. (For the record I’m nowhere close to the level of musician as Paul is.) I’ll share with you a couple of immediate selects that I got to during my initial editing. All of my post production was performed in Lightroom on these images. No need for Photoshop. Just good lighting and proper technique.

You gotta love black and white photos.

A detail shot while Paul was playing.

Classic portrait, but I used another Speedlight and my surroundings to add some texture and depth to the background.

Great juxtaposition in a location that Paul showed me.

I’ve got a lot more editing to do, but I wanted to share these shots with you. I had a lot of fun on this shoot and Paul is going to get some great images to use for promotion. I’m definitely looking forward to doing more shoots like this and of course I’ll share the images with you guys.
Thanks for reading, hope you enjoyed the images and I’ll see you back here again soon. I had to write this post ahead of time since I’m on the ship, out to sea. Let me know what you think of the shots in the comments and of course if you have questions, ask away! I’ll get to them as soon as I can. Have a great day!


When you’re shooting outdoors it can be hard to find good light. Most of the time the sun is shining overhead and that light is hard, unflattering, and casts some nasty shadows. Not to mention that you’ll be lucky to get your subject to hold their eyes open long enough to get a decent shot.

So how do you remedy this? Well, if you don’t have a ton of money to spend on a huge silk (I certainly don’t) then your best bet is to find some open shade. Remember that tree location that my wife scouted for me last week? I went out there yesterday with my family to check it out for myself. No flashes, no softboxes, just the camera. It was an overcast day in San Diego anyway but this tree location really rocked because it is like a natural canopy providing lots of open shade.

Open shade will give you a much softer, window-like kind of light that is simply awesome to shoot in. One thing to keep in mind is if you’re in a location like this and it happens to be a bright, sunny day out be sure to watch out for dappled light on your subject. Dappled light is where you have a combination of hard and soft light falling on your subject. It’s ugly! Avoid it like the plague.

I shot the image above with my D90, Nikon 16-85mm VR lens, at f 5.6, 1/30th, 85mm, ISO 200. I had VR on to help ensure that I got a sharp shot. Also, another trick I used was to set my camera to shoot in Continuous Mode and let the shutter fly a few times. When you’re hand-holding at slow shutter speeds, this will help you get a sharper shot. If you shoot five you’re much more likely to have one be sharp than you are if you’re shooting them one at a time. And with digital, the film’s free!

That’s my tutorial for this Monday. I hope you’ve enjoyed it and come back again this week for more great photo tips and news!


Alright, it’s time for the long-awaited (for some of you) Lastolite Ezybox review! I’ve been playing with this amazing softbox for a couple of weeks now and I have to say that I am VERY impressed. There are lots of things I like, and really nothing that I don’t like. Without further ado, onto the review! (Lame, I know.)

Portability
I have the 24″x24″ Lastolite Ezybox, which one would think would take up a lot of space. Lastolite fooled us though because it doesn’t take up hardly any space at all! It comes in a little zipper bag that measures 10″ in diameter, which easily fits into most medium-to-large camera bags. The Ezybox is much like Lastolite’s Tri-Grip diffusers and reflectors in that it folds up nice and neat. Think “Magic Shade” for your car and you’ll know what I mean. If you buy the kit with the speed ring and hot shoe bracket, they’ll both fit in the zipper bag with the Ezybox for an ultra-portable softbox solution.

Setup and Breakdown
Once again, the Ezybox really shines here. The first setup takes a couple minutes because you have to open all the plastic bags and whatnot. After you’re first go around, you can set it up in less than a minute. It quickly unfolds into it’s softbox form and all you have to do is slip the speedring into place on the back of the softbox. It attaches in a somewhat unusual manner, but don’t confuse that with dysfunctional because that’s certainly not the case. The speedring is held into place by the outer support pieces of each side of the softbox, at the back of the softbox, and basically held into place by friction. Don’t worry, it won’t go anywhere. It’s pretty sung. I leave the hot shoe bracket attached to the speedring all the time to maintain an ultra-short setup time.

The diffusion panels velcro into place and they stay put. You won’t have to worry about them falling off thanks to the super industrial-type velcro used by Lastolite. Very well done here. Also, when it’s time to break the Ezybox down, you can simply un-velcro and fold one corner of the diffusion panels to the other corner and fold up the Ezybox with the diffusion panels in place. Again, this will make your setup more efficient.

Speaking of breaking down the Ezybox, once the diffusion panels are folded then you can slip the Ezybox off of the speedring and fold it in until it’s flat. Then fold it in half (like a book) and then with the longer side facing you, fold it again just like a Tri-Grip and it’s ready to go into it’s zipper bag. Simple and efficient… which I really dig!

Quality of Light
All I can say is WOW! The light quality from the Ezybox is amazing. It’s soft, beautiful, and flattering! Add the fact that you get more control over your light because it’s a softbox and now we’re really lighting! I’m sorry that I waited so long to get one! Check out the shot below:

I love the big, square catchlights in the eyes! Much better than an umbrella as far as I’m concerned.

Accessories
Lastolite offers an array of accessories for their Ezybox line including a telescoping handle. It is a great thing to have when working alone or with a VAL (Voice Activated Lightstand). The hot shoe bracket that comes with the kit is sturdy and you won’t have to worry about your flash going anywhere, but make sure you have an umbrella swivel bracket if you want to be able to tilt the Ezybox. The way that the bracket is designed is great because you can tilt the box to point straight down on a regular lightstand, which is handy.

Overall, I’m really in love with the Ezybox. It’s amazing, simple to use, quick to set up and break down, and you get the best possible light you can out of your hot shoe flash. Price wise, they list for $217.00 at B&H Photo and they are even less when you add it to your shopping cart. I won’t publish that price as I don’t want to get B&H in trouble. Bogen Imaging, who distributes Lastolite products in the U.S., is offering a $35.00 mail in rebate on the 24″x24″ Lastolite Ezybox Hot Shoe Kit too! I plan on adding a least one more of these to my lighting arsenal.

For more information and videos be sure to check them out on Lastolite’s website.

If you want to get one, here’s where I got mine and so can you!

That’s a wrap for today, I hope you enjoy your Memorial Day weekend and I’ll see you back here next week!


My Hot Shoe Diary

I had mentioned several days ago that I had bought and was reading Joe McNally’s new book, “The Hot Shoe Diaries – Big Light From Small Flashes” and now that I’m finished reading it, it’s time for a review! This is Joe’s second book, following “The Moment It Clicks” which was a huge success. Let’s take a closer look at what is one of the hottest photography books this year.

The Hot Shoe Diaries starts off with the usual tribute and acknowledgements. I mention this because of the way Joe writes, I recommend reading this book cover-to-cover. It’s worth it. There isn’t a single piece of text in this book that I consider useless.

The book is broken down into four parts and each part has several texts, each of which tie back to the broader subject of the part. For example, Part I is titled, “Nuts ‘n’ Bolts” and it breaks down what gear McNally uses and why he uses it. It’s a basic run down of how he works, right down to how he holds his camera. He talks about camera bodies, glass (lenses), speedlights, grip gear and more. What an incredible insight into the gear bag of an A-List shooter.

Part II covers all sorts of lighting scenarios that Joe has been in where he has only used one single light. He talks about the many ways you can make one small light seem like a bigger light. Couple his detailed setup descriptions with his amazing images and you have a clear, complete, mutual understanding of how to re-create his setups. This is a springboard for your own shoot ideas and I have personally gotten a lot of inspiration from this book.

Part III expands on Part II and as you might have guess, now McNally’s using two (or more) lights. The content is more of the same, but now he’s building on the foundation he laid in Part II by adding and shooting with a second light source.

Part IV is where Joe really shows off. It’s titled “Lotsa Lights” and he writes about a setup in which he used 47 speedlights! This is the part of the book where you can see how Joe works down to the very smallest of details. This is the level in which we all strive for as photographers.

Throughout the book, McNally’s casual and straight-up style of writing kept me intrigued, smiling, laughing, and interested. I didn’t want to put down the book and I picked it up every chance I could until I had read it all. Joe doesn’t get too far into the weeds with tech talk, but instead explains the details in a simple and easy-to-understand method. He credits his ability to do this to his wife, Annie, whom he said kept him reeled in when it came to the technical details. Even the back of the book has a guide where Joe illustrates how to operate Nikon’s SB800 and SB900 flashes.

Not only does he talk about Nikon flashes and Nikon’s Creative Lighting System (CLS), but he also talks about lenses, light modifiers, grip gear, locations, models, and more. I really got the feeling that I was sitting and talking with him rather than reading a book.

In short, if you have any interest whatsoever in using small hot shoe flashes to light your subjects then you certainly should read this book. Now, Joe is a Nikon shooter and therefore everything in this book is about Nikon equipment. That’s not to say that the techniques don’t cross over, but you won’t see or read ANYTHING about the 5D MkII, a 580EX II, or an L Series lens. If you want to learn how to light like Joe McNally, read this book!

The image above was inspired by this book and it was a self-portrait that I created using 3 Nikon speedlights and a Nikon D90. It’s a lot easier than it may seem. The image below was from the perspective of where I was sitting when I took the shot. My youngest son Daniel wanted me to snap a shot of him, so here you go Danny!

Danny - HSD Photo Perspective

I hope you have a great week and I’ll have the Lastolite Ezybox review up this week too!