When I wrote my Macro Photography Lighting Tutorial, I had the opportunity to test a fairly popular product for my section on ring lights: the Bolt VM-110. I was happy with the quality of light from the VM-110 ring light, but I was unimpressed with its low strength. Since ring lights are so commonly-used for macro photography, I decided that it would be worthwhile to review the VM-110 and share some of my thoughts about how well it works for macro photography.
Macro photographers tend to struggle with two crucial variables when lighting their subjects. First, high-magnification macro photography usually involves apertures between f/16 and f/32. To use an aperture this small, you need a high-powered flash — especially if you want to use a diffuser. The second major issue is that many macro photographers work with just one on-camera flash, meaning that the lighting can appear flat and dull, even when diffused. So, when Venus Optics announced their alien-looking KX800 dual flash, I was excited to see that they had put considerable effort into solving these two major problems.
The Nikon SB-500 speedlight was announced in September of 2014 together with the Nikon D750 and Nikkor 20mm f/1.8G lens. Sitting above the compact SB-300 and below the larger and more powerful SB-700, the SB-500 is targeted at beginners and enthusiasts, who want something more capable than a built-in flash or a basic speedlight. The SB-500 comes with an interesting list of features, one of which we have never previously seen on Nikon speedlights before – built-in LED lights. Although I personally had very little interest in using the SB-500, as I heavily rely on SB-800 and SB-900 speedlights for my work, ability to run LED lights continuously seemed like an interesting idea. In addition, with the SB-500 abilities of being both a commander and a remote flash unit with full compatibility with Nikon’s CLS system, I thought that perhaps I could use it in combination with my other speedlights. So I decided to check out and do a quick review of the SB-500, to see if it would potentially be a suitable tool for my photography needs.
Do you remember the Profoto B1 flash? We had the pleasure of reviewing it a few months ago. If you are into flash photography and need a portable, but powerful light source, I suggest you read that review. Suffice to say it left us thoroughly impressed. And now Profoto decided to add to the already good impression by releasing a firmware update. As if a firmware update for a strobe isn’t peculiar enough, it’s not actually meant to fix any issues (not that there were any, in our experience). Nope. It’s there to add an actual feature, and one strobists will very much appreciate – High-Speed Sync.
I was a bit disappointed by the Photo Plus Expo this year in New York, because unlike last year, I did not find a lot of innovative products to be excited about. It seemed like the exhibit floor was full of the same things we had previously seen, except this year the organizers did not allow any Chinese companies on the floor (most likely because some of them were selling the exact same products as the bigger companies at a much lower price last year). However, there were a few things that I found that got me very excited and one of them was the Lume Cube. After seeing the product, Roman and I actually went back to see it again next day to find out more about it and to snap some pictures for our readers. So what is Lume Cube and why do I think it is an innovative product? Let’s take a closer look.
It seems that many photographers go through a certain cycle of mistakes and errors during their photography journeys and careers. Some of these mistakes and photography “sins” have become so predictable, that it is usually easy to identify one’s level simply by looking at their recent work. During my past workshops and one-on-one sessions, I have seen many images that could have been great, if it was not for one or more of the typical mistakes outlined below. I have personally made many of these mistakes in the past and some of them I am still guilty and ashamed of even today, although I continuously work hard on getting rid of them. The article below is not meant to offend or criticize anyone. Although it might sound a bit arrogant or snobby, that is certainly not the intent – in fact, most of the images presented below are mine.
Technically, the article is supposed to be called “Nikon Speedlight Comparison”, because Nikon calls their flash units “Speedlights”. This article is written as an introduction to the current and older line of Nikon Speedlights, specifically the Nikon SB-300, SB-400, SB-500, SB-600, SB-700, SB-800 (discontinued), SB-900 (discontinued) and SB-910. In addition to some basic information on each Speedlight, I will provide a comparison chart on the bottom of this article as well, to make it simpler for our readers to understand the differences.
Have you ever been in a situation where light conditions were so poor that your camera would completely refuse to autofocus, with the lens constantly going back and forth “hunting” for focus? I am sure you have, since it is a very common problem. Sometimes you want to photograph your loved one in candle light, or snap a shot of your child blowing out candles on a birthday cake. Or perhaps, you are dealing with a DJ that decides to turn off all lights on the wedding dance floor, killing your chances of getting any shots in focus, even when you are fully prepared with flashes to light up your subjects. That’s exactly what happened to me and Lola last weekend when we were shooting a wedding. Lola came up to me and asked if there was anything she could do to make autofocus work again and I thought of an old trick that really does work when dealing with such situations.
Let’s face it. Flashes are expensive. Wouldn’t it be great if you could purchase a new flash and only spend half of what a new flash typically costs? I’m a Nikon shooter and already have two SB-800s, but another flash can sure come in handy when shooting with off-camera flash at a wedding reception. When I got the Bolt VX-710N, that’s exactly what I had in mind for it, but I decided to go ahead and try it as an on-camera flash as well.
While testing out the Profoto B1 500 flash head, I also had a chance to use one of my favorite light modifiers, a 3 foot octabox (also known as “octa softbox”, “octabank” or just “octa”), known as “3′ RFi Octa Softbox” by Profoto. Although Profoto carries a wide array of light modifiers and accessories in its arsenal of lighting equipment, I specifically wanted to get a smaller octa for outdoors photography. The primary reason was portability without compromising too much on the size. As you may already know, the larger the source of light in flash photography, the softer it is on the subject. The 5 and 7 foot octas were just too big and the smaller rectangular softboxes were too small for my taste. Quality-wise, both octaboxes and softboxes produce equally good quality light – the only difference is catchlight. I prefer to have more round catchlight in my subject’s eyes, rather than a square, so I prefer using octaboxes, umbrellas, parabolic softboxes and beauty dishes for that reason.