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The Rayflash Ringflash

The Rayflash Ringflash adapter needs no batteries and has no lights inside. It has a system of light channels and reflectors that distribute the light from your flash to a ring that surrounds the lens, giving an even light on the subject. The main use of a ringflash is for either portrait or macro photography. The unit is lightweight and slips on to the head of the speedlight and is locked on by a large thumbscrew that does not damage the flash in any way.

I've taken three photos of my daughter to show the difference in on camera flash and Rayflash. The first photo is using a Nikon SB-800 on the hotshoe with the defuser dome. The flash is set to iTTL and has no exposure compensation on either the flash or the camera. As you can see, there is a shadow on the right side, but it's not a bad photo for on camera flash.

The second photo is with the SB-800 bounced of the ceiling (the defuser still on). There's a dark shadow under her left cheek. On an adult there would be more shadows in the eyes, due to deeper features too.

The third photo is from the Rayflash. Note the trademark halo style shadow. The light is nice and even on Janel's face, although a bit flat. The shadows have totally gone too. The flash is set to +2 compensation to get a good exposure.

I found it strange that the flash needed +2 compensation when it was on the hotshoe, but when it was slipped of the hotshoe and set as the remote on iTTL, it needed no compensation to get the same exposure. I emailed the makers of Rayflash about this a few days ago, but I have not had a reply at the time of publishing this post.

I really like the Rayflash and I'm looking forward to trying it with the Lastolite HiLite background, where the lit background will burn out the halo shadow. The Rayflash is great for times when you need lights, but don't have time or space to set-up stands. As a portrait photographer, I think I'm going to get lots of use from the Rayflash ringflash.

My Camera Bags & Gear

Camera bags are such subjective things! We all have different kit and even different set-ups for certain types of jobs. I have four bags at the moment, three Lowepro and one Tamrac. The Tamrac is a Pro8, which is a good bag, but the over the shoulder reporter style feels awkward to me, so it very rarely sees the light of day.

My three LowePro bags are all backpacks. For a simple one camera, a couple of lens's and a single Speedlight setup, I have a SlingShot 100AW, this is the lightest I travel (unless I take just my Canon G9). My 100AW strap got torn recently and LowePro replaced the the bag free of charge. With that kind of customer service, I doubt I'll buy anything but Lowpro from now on.
My medium sized bag is a Fastpack 250 which is a great bag for carrying a pro-sized DSLR (with battery grip), two to four lens's and one or two Speedlights. Only problem is that I'm taking two camera's most of the time these days!

That brings me to the bag I've been using for the past three months, the Lowepro CompuTrekker AW . As you can see from the photo above, I've moved some of the padded inserts around to suit my set-up. The CompuTrekker is a fantastically modular bag, as all of the inserts can be removed to leave one big space, or you can divide it up into tiny slots to take small items, like a 50mm or batteries. There's also a large front pouch (big enough for three Speedlights) plus another smaller pouch. There's also a tripod carrier too. Here is a list of the gear that I carry in the CompuTrekker:

  • Nikon D300s body (with battery grip)
  • Nikon D300 body
  • Nikkor 17-55mm f2.8 (on the D300s)
  • Nikkor 70-200mm f2.8 (on the D300)
  • Nikkor 50mm f1.8
  • Sigma 10mm f2.8 Fisheye
  • Sigma 10-20mm f4-5.6
  • Sigma 17-70mm f2.8-4.5 Macro (Nikon Cap in the photo)
  • Nikon SB800 Speedlight
  • Nikon SB900 Speedlight (in front pouch)
  • Sony Vaio Laptop
  • Polarizer filters and coloured gels
  • Reflector and defuser (fold-away)
  • Bag with card readers, cables, lens blowers and cloths

The Computrekker is big and heavy with the gear listed above, but it saves me taking two or three bags. It's not for every occasion, but if you're on a job that you need two cameras (even if one is just a back-up), I reckon this is one of the best designed photography bags around.

    New Design For The Website:: Derek Clark Photography.com

    Just finished and uploaded my new re-designed main website at www.derekclarkphotography.com I used my usual web design software for the front end, but this time around I've decided to create all the galleries in Adobe Lightroom.
    I've also decided not to use any Flash this time for two reasons.
    1. The quality of the photographs were never very good before.
    2. Search engines like Google and Yahoo don't recognize Flash, which doesn't help with search engine ratings.
    I've also decided to narrow the focus of the new site on three areas - Portraits, Music and Weddings.
    Now that the website is up, I can get back to updating this blog three times a week (starting on Monday).

    Making It Look Like It Was Shot In A Huge Studio

    If you are shooting against a white or black background, you can give the illusion of having shot something in a huge studio. It is really quick and simple using Photoshop. Just make sure your background is either pure white (use the dodge tool) or pure black (use the left hand slider in Levels or the burn tool).
    In Photoshop, press D on your keyboard to give you the default background colors (black and white). The X key will toggle which is the background and which is the foreground.
    1. Set your background color the match your photo.
    2. Select the crop tool and drag it across the full size of your photo.
    3. Grab the edges of your crop frame and drag them out to the size you want.
    4. Hit Enter on your keyboard and the background color will be filled in.

    The photo above was taken against a 6' x 7' Lastolite Hilight background with white vinyl on the floor in a small living room.

    Keeping A Shooting Sketch Book

    I use an artists A5 sketch book and pencil to plan for upcoming shoots. I sketch out individual frames of ideas to use as a guide on the day of the shoot. Some I end up using and some I don't. But I know that I have something that I can use if inspiration doesn't show up on cue!

    Sometimes a sketch will springboard from the original idea into a completely different direction, but it gives me a starting point. I have a portrait shoot this weekend and the request is "black and white and  unusual". I have a few sketches, I might use some none or all of them, but I know that I have ideas and somewhere to start. I'm also lucky enough to do whatever crazy ideas I come up with.

    10 Tips For Shooting Fireworks

    1. Check that you have the right equipment for the job before leaving home (preferably the night before). A tripod and cable release are essential, but remember to take spare batteries and a hat and gloves if the weather is cold. A torch (or two) are another must have.


    2. Arrive early and find a good position that is not too close or your camera will be pointing upward (not the best look and uncomfortable when shooting). It helps if you are there before it gets dark.

    3. Make sure that the horizon is level. This is not as easy as it sounds and is another reason to arrive before the sun goes down.

    4. Set-up your camera before leaving home as it will save you fumbling in the dark and it's hard to see the top of your camera when it's on top of a fully extended tripod.

    5. Set your ISO to a low setting to get the least amount of noise. 100 or 200 is ideal.

    6. Set the focus to manual. As the fireworks are normally coming from a fixed location and your camera is on a tripod, you can zoom in, focus, then recompose and you're good to go. Check your focus every now and then just to make sure it hasn't moved.

    7. Aperture is best set to f8 or f16 which will get a wide depth of field and allow for a slow shutter speed.

    8. Shutter speed needs to be low to capture the full effect and movement of the fireworks as they explode and fan out. You will need to play around for the best results, but somewhere between 4 and 10 seconds should get good results. Remember to use your cable release to stop camera shake!

    9. A wide zoom lens is best. Around a 17-55mm on a crop sensor and a 24-70mm on a full frame sensor will give you a good range, but this will depend on your distance from the event.

    10. You shouldn't  need much post processing, probably Levels to add black, beef up the colors a bit and a bit of sharpening (Clarity in Lightroom). You will probably need to do a bit of cropping, because you need to shoot at a wider focal length to catch some unexpectedly high fireworks.

    Drobo :: The Ultimate Storage System

    I have a 300GB and a 1TB drive inside my computer and a stand alone 1TB sitting on my desk. To most people this would be more hard drive space than they would ever need. But to a photographer it's just enough to get by for a while until we're forced to shell out for another drive. Then there's the hassle of deciding what to copy on to each drive...
    The perfect solution is the Drobo by Data Robbotics. Drobo is a single unit containing up to four hard drives, but the computer sees it as one single drive. The most amazing thing is that if a drive fails or even if you simply pull one out, the Drobo doesn't skip a beat, it just heals itself and use's it's own back-ups to rebuild a totally safe place for your digital files to live. You can mix and match the size and make of each drive and you don't have to use expensive drives either. Drobo sells for around £340 / $398 on Amazon for the four drive version (drives not included). There is also an eight drive version.

    The Best Way To Improve Your Photography

    The best way to improve your photography is by looking at other peoples photos. It's that simple! We live in a great time (photographically). The internet has opened up the ability to learn just about anything you want to know about almost any subject. Photographers probably benefit the most from the net, because we can learn so much just from looking at a single image.
    From composition to lighting to technique and everything in between, you can really learn a lot from just looking. Try to dissect the photo and discover what makes it interesting to you. Is it the subject matter? Is it the colors? Is it the amount of contrast in a black and white? Is the subject cropped in tight or small in the frame to give a sense of space.

    There's an endless amount of great photos on the web. Try to set aside some time each day to just look at lots of photos. Remember to do the other great thing to improve your photography too...take lots of photos!

    Review:: The Spyder3 Express

    The Spyder3 Express arrived sooner than expected and I got two of my monitors calibrated yesterday. The box contained the software CD, a quick-start guide, warranty card, cleaning cloth, Colorimeter and suction cup.
    I was expecting a complicated list of menu's, questions and the need to search inside my computers Control Panel to adjust lots of setting, but I was delighted and amazed just how simple and straightforward it was. You basically install the software, plug the Colorimeter into a spare USB port, start the software program and confirm which type of monitor you are using (CRT or LCD). As long as your monitor has been switched on for 30 minutes or more, you can hang the Colorimeter over the front of your monitor, adjust the position of the weight on the USB cable so that it hangs over the back of your monitor. The software runs through a collection of colored and grey boxes and the Colorimeter checks and makes adjustments on them.
    At the end of the process you are instructed to remove the Colorimeter from the monitor and are then shown a collection of photo's that you can zoom in and out of and switch back and forth between your old profile and the the new Spyder3 profile. My monitors were calibrated using Adobe Gamma, but the difference between the two color profiles was quite substantial. Although I only found the suction cup in the box after I had calibrated my monitor, I personally would only use it on a CTR screen. I recommend just keeping your finger pressed very lightly on the Colorimeter of use a large rubber band to keep it against the screen.
    I was pleasantly surprised how easy the process was to calibrate my monitor using the Spyder3 Express. It's a basic calibration, but if you need something a bit more in-depth, you could shell out the extra and get the Spyder3 Elite, Pro or Studio. The Spyder3 Express cost £77 or $88 from amazon.