Last Saturday, Mitzy, Ian and I had one last bowl at the Waterloo Bowling Lanes before they closed for good. Naturally, I brought the camera along. These shots were with the D300s and AF-S 17-55mm f/2.8. I used the SB-900 with Lumiquest Softbox LTz for the shots with flash (with this method).
Very sad to see the place go but at least we got to say goodbye properly.
I’m all ready to shoot my first wedding of the year tomorrow. Complete with photo booth props.
Tomorrow night Waterloo’s last bowling alley, Waterloo Bowling Lanes, will close its doors. Soon it will be demolished with a 7 story condo taking its place. I, along with many other Waterloons, are saddened by this. The lanes have been open since 1949 and will be sorely, sorely missed. There’s something special about a run down 5-pin bowling alley. Nostalgic Canadiana, maybe.
Last night, Mitzy and I made light painted composite images of the building to honour its closing. The technique is the same as the one shown here, with 5-10 shots making up each composite.
D300s with Tokina 11-16mm f/2.8 PRO DX at 11mm f/11 4s ISO 200
Here’s a shot of a friendly orangutan at the Toronto Zoo shot about two years ago when my cousin Simon and his girlfriend (now fiancée) Christine were visiting from Colorado. I’m pretty excited to be heading down to Denver/Boulder in a few weeks for their wedding.
This photo also won me $50 in a photo contest at work. It’s rare that I ever get a payback for my photos!
Shot with the D300s with Tokina 50-135mm f/2.8 Pro DX at 135mm f/2.8 1/40s ISO 1600 (and fingers crossed that I could hold the camera steady enough).
Day Three!
On the weekend I did a little photo shoot with Milosz for our new musical project, Catlantis. This particular photo is a bokeh panorama comprised of a full SEVENTY shots with a wide open Nikon AF-S 85mm f/1.8. My technique for making this kind of image, often known as a Brenizer Method composite, is to set the camera to small JPEG, manual focus, manual exposure and fixed white balance (not AUTO). There’s no need in having a large size JPEG as each shot will only make up a small part of the final. Manual focus, exposure and fixed white balance are important to keep the same look from shot to shot.
I use either Photoshop or Microsoft ICE to do the stitching. ICE seems to handle more complicated stitches better than Photoshop and has a very simple operation where you just drag the series of shots into it and let it run.
So here it is, my biggest Brenizer yet. Shot with the D300s with AF-S 85mm f/1.8G at f/1.8 1/500s ISO 100.
For the second post of my blog-a-day week I’ll share what I consider one of the loveliest spots near Waterloo, the crossing of the Conestogo River on Three Bridges Road. Located just west of St. Jacobs and a short drive from where I work, it’s a great spot to go during lunch or at the end of the day to grab a few shots.
In the summer, the river is shallow and slow-moving. In the late winter and early spring with a heavy melt, it’s a torrent and the low bridge is lost completely beneath the water. Regardless of the seasonal changes, I’m still amazed at how many different types of photos I can get at the same place. It just goes to show that you don’t have to travel far to get great shots (or pretty good shots, at least).
I used a wide range of equipment for these photos. The bodies (Nikon D300s, D7000 and N80, Bronica ETRS) were paired with lenses (Nikon 17-55 f/2.8, Nikon 35 f/1.8, Nikon 60 f/2.8G Micro, Nikon 85 f/1.8G, Tokina 11-16 f/2.8, Tokina 50-135 f/2.8, Sigma 50 f/1.4, Bronica MC 40 f/4, Bronica EII 75/2.8). On the self portraits I used Nikon SB-700 and SB-900 strobes with CLS control.
I’ll give a prize to the person who gets the most correct gear-to-photo matches!
Tonight is the first night of my (possibly ill-fated) plan to post every night for a week. I’m starting the week off with an HDR composite from the top of Rattlesnake Point near Milton, ON. This shot is made up of 5 images, each separated by 1 EV of exposure. HDR processing was done in Photoshop CS5.
Since I tend to pack on the light side when walking I rarely have access to a tripod, something that is normally helpful for HDR photography. My trick is to set the camera to shoot at its highest frame rate (7fps on the D300s, or something around 3fps in 14-bit mode) and hold it as steady as possible. That way I minimize movement between frames.
Another trick I use is to program the lower function button to control exposure bracketing, as the D300s doesn’t have a dedicated bracket button. With the button pressed I can control the number of frames (2-9) with the rear dial and the exposure steps (0.3-1 EV) with the front.
Here’s the final shot with the D300s and Tokina 11-16mm f/2.8 at 11mm f/8 ISO 100.
This week’s oldie-but-goodie comes from the front porch where last summer a spider took residence. I got creative with the lighting here, using a full three strobes. I controlled the strobes with Nikon’s CLS (Creative Lighting System) using the built-in flash as the controller.
The main light was a Nikon SB-900 with 1/4 CTO gel (the one that is supplied with the flash) and a Nikon SB-700 and Metz 48 AF-1 were both used as rim lights, un-gelled. I programmed the CLS settings in the camera as follows:
Happily I also had a Mitzy to stand behind the web!
The photo was taken with the D300s with AF-S 60mm f/2.8 G Micro at f/8 1/100s ISO 400.
And here’s a bonus close up.
Driving to Guelph last week I came across this flooded field with just the right clouds and just the right lighting. Each shot is a high dynamic range (HDR) composite of three images separated with a stop of exposure difference between each. Yes, that’s my Mazda 3 parked up ahead in the first image.
I should also mention that I was on my way to a formal dress-up cocktail party, so I was in a full suit and dress shoes. I’m sure the passing cars must have had a laugh…
D300s with AF-S 35mm f/1.8 DX at f/8 ISO 200.
Here’s a quickly shot candid of my mom sitting in grandma’s sunroom. I think I’m starting to get a hang of the ‘faded’ look! Comments?
D7000 with Sigma 50mm f/1.4 at f/2.8 1/60s ISO 400
Owen Cherry Photography 