My current humbling experience all started a few days ago with a wonderful meal and talk with a photographer friend of mine. It was not him, but just watching some of the videos he has produced recently really reminded me what a two-bit punk hack I am. It was not the technique, but how he captured the power of the story.

Then today, I shot a very “ok” family portrait session. That is “ok”, as in, I do not want to say more of what I really think. The harsh sunlight made things tough, not only for lighting, but for the quickly wilting subjects. Excuses aside, though, I really want to know what happened. How do I improve? What can I learn here?

One of the key problems was a lack of familiarity with my lighting equipment. Well, more accurately, I was so focused on trying to balance the flash with the blaring ambient, I totally lost connection with the subject. I did not direct them. I did not let them know what they should do. And, to top it all off, I was not really even paying attention to them when I put the camera up to my face (or before then either).

Ok. How to fix it, though? What are some keys to making it different, and I mean small practical things?

Limit location/scene. In an attempt to give the mother a wide choice of background, poses, and set-ups (for lack of a better word), which she expressly stated she wanted, I ended up magnifying my difficulty at getting the lighting right. What I should have done is pick one or two spots, the ones I knew would end up best in the end, and spend more time there. Then, after the lighting was set right, I would be free to interact and catch that nice moment.

Be the director. To help them be at ease and to have confidence in me, I must direct. If I notice somebody is not smiling, find a way to get that out of them (well, if you need a smile, which this photo was certainly expected to have). If they are all just standing straight, hands to their sides, in the classic boring pose (because the photographer did not know what better to do), I need to help position them, pose them, suggest movement, or whatever.

Well, there may be more things, but every other “should-a” I can think of really falls into one of those two. Honestly, I really think I am going to call them up, let them know I have some “ok” shots, but nothing really nice, and I would be more than willing to set up another shoot in the next couple days.

And for the cold-hearted motivation, as if I were not already motivated enough to want to make this right, I found out during the shoot they will be printing this photo with some printer in the US to show as an example to other families here in town of that printer’s services. In other words, if I can really excel in this shoot, my work would be displayed before a wide(r) audience, and I would be first in line to provide photographic services for their family and group photos. I am not terribly concerned about that (because I live and work in a different country anyway), but it would be throwing away an excellent opportunity.

So, to add on the title of this post a little bit, it is good to be humbled, especially publicly. That reveals the weak areas of our photography and, if publicly so, gives us great motivation to improve.

Now, I am by no means the first to bring this topic up, I would not delude myself to believe so. I have read it on the Strobist, in history flicks about the greats of photography (notably Henri Cartier-Bresson), and as I just mentioned, from Doug Menuez…among many others. We must force ourselves to get that film-shooting edge, but how do we do that?

Well, you could shoot some film. Just a thought.

You know your aperture ring, you shutter speed dial, and your focus so well, you are setting up for the shot about to happen without looking at the camera. You do not need the display in your viewfinder to tell you, you know where your settings are. You do not need some computer to tell you how to expose the shot.

And after all that technical garbage, you realize the photo is about much more than the settings. It is that decisive moment. You are reading the situation, waiting for that moment, and when it happens, you take your shot. That one shot will be much better than dozens of machine gunned images. Know what you want and press that shutter when you want.

Now, I have to stay digital. It really is not an option. Well, if I want to see my images in less than half a year (literally), this is what I need to do. What I am struggling to fight against, though, is the subtle slide into digital laziness.

So, I challenge myself every once in a while. Shoot manual exposure every once in a while; it’s good for you. Manual focus, even. Wow, wild stuff, I know. Last night, on my outing for the midnight shoot (which I talked more about on Twitter @CooperStrange), I thought, “hey, what if I had to choose film before hand?” So, I chose my ISO ahead of time and decided they were going to be black and white. Even though that is quite arbitrary in the digital world, it would be a basic decision if I had to choose which film to load into the camera.

I pre-visualized the shots in black and white, which I might add, was not all that hard since it was so dark and it was in a factory that produces a white powder. The scene was almost black and white in real life! I did not want to shoot a high ISO just to “give it that cool, old, film grain look”, because the folks in the old days did not shoot ISO just because of the cool grain. They wanted crisp photos, but needed the high ISO film for some shoots. So, I went with 400.

And to top if all off, I have not looked at one of those shots yet. It is kind of like waiting for the lab. Doug Menuez mentioned this wait. It is good for us. It helps break the chimping addiction (constantly viewing your LCD to check out your shots). It is also good for us at a much deeper level, developing patience. I think you could even argue it helps encourage our brains to be more visual and think ahead, to pre-visualize, but that is just a thought.

Don’t be digi-lazy. Be film sharp.

If you have a normal flash mount (just found out Sony uses their own “standard”…punks), you can easily buy a little optical trigger for no more than $15. You slide that baby on the bottom of your flash, and then when any other flash goes off, it will trigger that flash. So, the pop up flash will trigger it, or hey, I have even used my point and shoot flash to set off my speedlight!

But that is not the end.

Rarely do I actually want the pop up flash to show up in the photo. If portraits with a long lens or maybe on a bright day, I might just shoot the pop up flash straight, but usually, I want to redirect or soften it somehow. I carry a couple of those flat coffee filters in my bag: lifesavers. I cut the small end off and can slide it over my pop up flash, softening the light. Napkins work too.

A few weeks ago, I did not want to soften, but to almost totally mute the pop up flash. Oh, side note, those optical triggers are pretty good. I have never had a problem getting them to “see” the flash even with all this muting and redirecting going on. Anyway, I did not want any pop up flash, so I taped normal paper, folded a couple times, so it would hang just in front of the flash. Some light still got through, but most was bounced backwards (and into my eyes! …dang!).

Sometimes, I will just put my hand in front and redirect it off to the side. That will add a little red to the photo (your hand is full of blood, you know), but sometimes that is actually nice, but usually not a problem when you have another flash firing. If you want to keep it white, just use a business card or some such.

I love optical slaves (optical triggers, whatever…slave is the more standard term, but I find it a little non-obvious). You do not need line of sight to set those off. As long as enough flash is bouncing around so they can see it, you are ok. Cheapo and wireless. You cannot beat that.

A couple days ago, a friend of mine mentioned (just in an off comment, he probably did not think I would blog about it) that his next purchase was going to be a flash. For me, that set off all kinds of alarms. I know he is just an amateur working on a budget like many of us, and I also knew a little knowledge about flash photography could easily save him a couple hundred dollars.

There are loads of flash techniques. About the only on-camera technique I would even think of is bounce flash. If I just happen to be in a room where it will work, I will use this. Actually, just recently after the birth of my second child (a wonderful little girl who is crying at this very moment), I used simple bounce flash to light up the hospital room for almost all the shots.

Then, there is off-camera flash (this all relates to what flash you should buy, I promise…just bear with me). In the old days, basically, off-camera flash meant cords, and those still work great, of course. Today, though, there are many easy cordless options using either radio signals or optical infrared signals.

At this point, I could easily chase a very long rabbit trail. So, for now, let’s just say you want to know what flash to buy. But before I totally leave the how-to do off-camera flash, I can quickly say that the Strobist site is the best online resource for off-camera flash folks (from beginners to pros). Check it out. Just work through the Lighting 101 to start off.

Ok, what flash to buy? Well, if you are going to use flash in automatic mode and want it to do all the thinking for you…this is not the post for you, but here is your answer: buy the flash that works TTL (through the lens) with your camera model. Ok, done. There is a place for auto flash, but more than likely, learning just a little about how to run it manual will produce better shots.

So, if you do not really need TTL and plan on running manual anyway, prepare to save money, because you do not need the latest and greatest flash on the market. I bought a used Nikon SB-26 (which even pre-dates my camera by a few years…and that is hard to do), and did not even know at the time how perfect a choice I made. It does all the cool stuff other flashes do, but the one great part is the built in optical trigger. Basically, if it sees another flash go off, it will go off (if that function is turned on, of course). I have even used it with our point-and-shoot camera; the little camera’s flash will set off the big flash.

I have found that to be extremely useful. I usually will tape some pretty thick white paper in front of my pop-up flash so almost none of the light actually goes to the subject, but it will still easily set off the SB-26, usually even around corners, with obstructions, and such. I also have a cheapo radio trigger, but I have found it to be too unreliable. Sometimes it fires and sometimes it does not (keep in mind, I have the cheap ones…the expensive ones obviously work much better). My optical solution is much more reliable, but if I fire too fast, my pop-up flash’s slow recycle rate will hold up the photo, where if using radio, I am not held back by my pop-up flash’s recycle rate.

Ok, so if you find any old flash lying around, that will do to (more than likely). You can buy a little $10 optical trigger, slip it on the foot, and you are wireless. Actually (I am embarrassed to admit), I bought a little optical slave (another name for these little do-dads) before I realized my flash had one built in. So, you can just buy a used flash, but make sure you can adjust the power output 1/2, 1/4, 1/8…etc. Mine goes down to 1/64, and the lower the better, really. Sometimes, you just need a dash of light.

There is a new option, though. In close cahoots with the Strobist community (their Flickr group was recently voted the best online community, or something like that), LumoPro has recently come out with an all manual flash with every cord port you could want, built in optical trigger, and …well, everything the Stobist folks asked for. You can grab one of these LumoPro LP120 flashes for $130 at MPEX.com, the coolest place to buy lighting gear…they have all kinds of little lighting goodies for cheap skates like me.

The Strobist does talk about a couple other new manual flash options out there, but the LumoPro or an older Nikon strobe would be a better bet, in my opinion. If you want to know more about why, I might write more later, or you could read the reviews of those three flashes on Strobist (linked at top of this paragraph) and read his pros and cons about each. That will give you a very good idea of what features to look for (and insist upon).

Want to stretch yourself, keep up with the Strobist blog, and you will see loads of field use of off-camera flash and a wide variety of examples of work.

Well, I just read a great (mock) Rembrandt interview over at the Strobist. That is right, Rembrandt, in the not-so-flesh, is going on record to help us understand how he controls light to achieve his desired results. Warning: the Strobist is all about off-camera flash photography, so if that is not your thing, it might be too photo-techy. Of course, if photography and lighting ARE your thing, you might hurt yourself laughing! A work of genius! Laugh and learn.That Strobist entry really made me think more about how much photographers have to learn from the masters of painted art. So many lessons about lighting and composition are there for the gleaning. It is too easy to look at a painting, take it in on the surface, and never think about the details: the light, the colors, much less how those lessons could be applied to or accomplished in photography.

So, here’s to visual inspiration! It’s not just from movies, Flickr, or commercials. Let us pay attention to the established masters of visual art.