The first full week of October kicked off with a bang, with lots of great reviews and educational content from our team.
Lauri Novak kicked off the week talking about how to be a mentor, while Bryan Esler talked reviewed Impact white satin umbrellas. Rich Harrington gave his insight on Lume Cube 2.0, Kevin Ames reviewed his Xpozer print and Nate Joaquin Torres gave us three tips to get started with event photography.
An umbrella nightmare — Impact to the rescue - For years, I’ve relied on white umbrellas for my off-camera lighting work. They’ve worked great. I still have two 7-foot umbrellas by Paul C. Buff from when I first got my AlienBee B800 flash units (which I no longer use). But as time went by, I realized I needed some smaller umbrella options. The 84-inch umbrellas that Paul C. Buff made were just a tad too big for my liking. So I invested in what I will call some “cheap” 32-inch umbrellas by Westcott. Now, Westcott makes some great products, and I know photographers who use them every chance they get. And these umbrellas worked great inside. But they weren’t so great outside, collapsing with even a minor amount of wind present. The rods in the umbrella were anything but strong, and the alternative they suggested didn’t seem like it would work much better. Simply put, they didn’t have a strong umbrella option that also had a small footprint. I knew it was time to move on. Bringing the Impact I reached out to B&H Photo, who recommended I get some 45″ white satin umbrellas by Impact. Sure, these were larger than the 32-inch umbrellas I was using. But not by much. For me, going larger would actually work better, as I’d be creating a larger light source without taking up much more space. I was a little hesitant at first. After all, these had a shiny interior, and also had a black backing that I could attach to make the shoot-through into a regular umbrella. B&H sent me two of the umbrellas for review a few months ago. And I’m still using them regularly today, either by themselves or as a secondary light source paired with my new MagBox (more on that later). In terms of photo results, I haven’t noticed any difference between the results I was getting with the Westcott umbrellas, and the results I got with the Impact umbrellas. Putting them to the test I could tell that the Impact umbrellas were more heavy-duty than the Westcott umbrellas I had previously. While I wouldn’t trust them (let alone any umbrellas) to withstand high winds, on a normal day, they’ve worked for me with no problems at all. Not only are the image results exactly what I’m going for — but the umbrellas are way more durable. While I also rely on my MagMod MagBox for a lot of my photos, I still use my umbrellas pretty regularly, especially for existing clients that have already established a look with my previous gear. I put them to the test while photographing a corporate summer party last month, where my assistant photographed guests as they arrived on-site. During the four hours they were setup as shoot-through umbrellas, not once did they collapse or show signs of failing. The shaft appears to be better built, but where I really saw the difference was with the slats that attached directly to the umbrella fabric. The Westcott umbrellas were rather flimsy, and I had to be pretty careful with them. With the Impact umbrellas, they are much more well-built. I’ve had them in some conditions that I know would break my Westcott umbrellas, and the Impact umbrellas haven’t budged. The Impact Convertible Umbrella 45″ is available for $14.95. They are also available in 30-inch or 60-inch sizes.
Lume Cube 2.0 is a brilliant addition to your photo or video gear bag - I’ve been a massive fan of the Lume Cube lights since I first discovered them (you can pick one up here). The small size of the Lume Cube 2.0 offers powerful light and a ton of options. Unique features round out the offering at a price that makes them a bargain. And now, with version 2.0, things just got even better! What is a Lume Cube? Let’s tackle the easy question. Lume means light, and the cube is the shape. Simple, right? A Lume Cube is the smallest; professional quality LED Light I’ve ever used. I find that it’s perfect for both photography and video work. The light is waterproof, self-contained, and can even be remotely controlled from your smartphone. At 1.6” x 1.6” size (approx. the size of a Golf Ball). At full brightness, its close to the intensity of a car’s headlight. But you can dim it down with precise controls to just 1% of that. It also can be used as a strobe for flash photography and much more. What’s in the box? While you can buy Lume Cubes in a two-pack, here’s what’s in the single light kit (for the two-pack, double everything). One Lume Cube 2.0 LED Light One Modification Frame for mounting Gels & Diffusers (2 included, with many more to buy) One Magnetic Softening Diffuser One Magnetic Warming CTO Gel for warming color temperature (Down to 4500K) One Camera Hot Shoe Mount One USB-C Charging Cable One Quick Start Guide Additionally, the batteries are rechargeable and built right in (rated for 600 recharges). Plus, the mobile app is free for iOS and Android. Lume Cube 2.0 is versatile in many situations My favorite thing about these lights is how versatile they are. We’ll have some more tutorials soon, but here are a few of my favorite ways to use them (and check out even more ideas) Video interviews — quickly light up an on-camera interview (the diffusion works great) Tabletop photography — light up close-up shots for photo or video, from products to food. Webcasting — it’s a great light that you can use to fill in faces or backgrounds for webcasts. Mobile photography — the mobile app can wirelessly trigger the Lume Cube as an off-camera flash. Off-camera flash — any camera can use multiple Lume Cubes. The new 360˚ optical sensor means you can place the flash anywhere nearby and use it to fill in backdrops or large groups. When your flash goes off, this instantly fires in-sync. Drone lighting — the lights are small enough to fly for nighttime lighting, light painting, and more. Be sure to check out their mounting brackets as well as any local laws. Night photography — the low power modes mean you can easily light paint or light up larger objects for long exposure photos. Snorkeling and SCUBA photography — The light works at up to 30’ (and likely further). This makes it perfect for snorkeling or nighttime swims. It’s also perfect for underwater or inclement weather photos. Safety/work lights — when shooting at night (or even camping), I find these perfect for lighting up a large area. Plus, I can charge them from a solar panel. I carry several in my pockets or bags. I even keep one in my glove compartment and in my backpack for safety when out and about. What’s new in Lume Cube 2.0? So what’s changed in version Lume Cube 2.0? Color temperature is now set to a perfect 5600˚ K for a daylight balance. The Color Rendering Index is rated at 95+ for accuracy. The lens now focuses to a wider 80˚ with zero hot spots. Charge using the USB-C ports on your computer or mobile devices. A tripling of run time to 1.5 hours at 100% power. Ability to change the brightness up or down directly on the light (as opposed to just cycling upward) A dedicated lowlight mode (press both buttons) to adjust between 1–10% power. A 360˚ optical flash sensor for slaving the flash. An indicator light that turns green when the light is fully charged. Several accessories included that used to be optional buys (frame, gels, and mount) Any negatives? There’s so much to love about the Lume Cube 2.0 update, but let’s get the only two negatives out of the way. The waterproof rating goes down. The original Lume Cube was rated to 100’ for SCUBA diving, with a screw-on back (which was easy to lose). The new rubber flap is more convenient, but reduces the rating to 30’. The previous light did have control issues, though, as water pressure built up (often shutting the light off). The company tells me though they are considering making a dedicated dive light soon, which makes me personally happy for underwater photography. The cost went up (sort of). The cost of the single lit went up by $10. But the previous generation didn’t include the frame, diffuser, gel, or mount. Those accessories ran about $30 in total. So while the cost went up, the total cost didn’t, and the light is more useful out of the box The bottom line While the fine folks at Lume Cube sent me a light to review, I’ve already ordered two more. Add this to the 12 that I have spread across all of my gear bags, camera kits, dive bag, and you get the point… these lights are awesome. The new version 2 improvements are substantial, especially battery life and improved light quality. Plus, all the existing accessories work on the version 2 lights. Pairing with the mobile app is as simple as launching and tapping one button (it’s faster and easier than connecting a pair of AirPods). This light is amazing. Whether you shoot with a photo or video camera, go diving or use a drone… this light is perfect. It’s versatile, lightweight, and high-quality. I can’t recommend it enough. PS if you’d like to save 15% off on all products…. I scored an exclusive deal here 
My Xpozer print arrived today! - I week ago I wrote about ordering my first Xpozer print. It arrived today and in less than half an hour, I had the 30-by-45 inch print hanging above my sofa. The Xpozer print and frame came in a triangular box with info-graphics showing how to open it. The print was rolled loosely on top with the frame pieces underneath. The two were separated by a strong cardboard divider. Both print and frame were wrapped in protective foam. I set the print aside to assemble the frame. Great design The frame is a no-tools-at-all assembly. This unit is really well-engineered. It is spring-loaded to tension the print to hold it flat. It has expansion rails for the frame parts to slide on while attaching the print. Yup. I said “attaching.” Not mounting. This is so slick! Attaching the print I laid the print face down on the counter of the kitchen island. No worries because it is covered with a clear plastic sheet to prevent scratching while it’s being put on the frame. Next, I laid the frame on top of the print. The attaching parts are transparent plastic triangles on each end of the frame’s two crossbars. I slipped the bottom edges of the print’s plastic mounting points to these wedges. Then I extended the frame from the center rails and slipped the top wedges into the print’s mounts. The mounts on the print are installed at the lab when it’s made. Finally, at the top of the frame is the push through that locks the frame and the print together. I pushed it with my thumb until the catches engaged. Done! Universal mount The frame kit comes with a plastic mount that hangs the frame in either landscape or portrait orientations. Pick the location for the print. Drill a hole for the sheetrock anchor then screw the mount to the wall. Hang the print. The mount either clips to the top of the frame for a portrait or to the center for landscape photographs. Changing orientation means relocating the mount. This is the only downside to the system. And I can’t figure out how they could design around that. I love my new Xpozer print. You’ll love yours as well. (Tip: Order a different image in the same size as your print. Switch it for the one in the frame for a whole new look for your room!)
Being a photography mentor - Being a photography mentor can be a great part of your photographic journey. Vanelli wrote a great article about asking for a mentor, having a mentor and finding a mentor. It made me think about the other side of that. What about BEING a mentor? Why be a mentor? In teaching, we learn. It’s something a photography mentor of mine said quite a few years ago and it stuck with me. Teaching is one of the best ways to learn. Whether it’s going back to basics or researching something you’ve been asked that you don’t know the answer to. You’ll add to and grow your own knowledge base as you teach someone else. Are you already always helping someone, answering questions, or finding answers for them? Do you connect those looking for help with people and/or resources where they can find the answers? Perhaps being a mentor comes naturally to you and you just haven’t realized it or looked at what you do in that way. Return the favor or pass it along. You had help, right? Do you feel like you want to pass along what you’ve learned and how it has helped you? Maybe it wasn’t an actual mentor but someone, somewhere along the way has likely helped you in your own journey. My mentoring story I will share my own mentoring journey with you. Most likely, I’m not likely alone in how I got to where I am. Several years ago I took part in a couple of online mentorship groups. After having gone through these mentorship programs and one in-person workshop, I joined another online mentorship program. At that point, I became part of two amazing cohorts. These were both led photography friends who have been and still are mentors of mine. During this time I watched and took in how and why it all worked, what made it work and how things ran. Through all this, I also became a helper. Initially, I just helped on my own. I saw questions I could help answer about how things worked within the platform or other questions on the side of photography that I had already been doing for several years. Things I knew answers to or knew the right place to send people for information. Not in any sort of “Hey, I have all the answers and know everything” way but in a try this, it worked for me and might help you, way. Then I was asked to help. I was hesitant for several reasons but I accepted. What’s stopping you? Do these statements sound familiar to you? And on and on … These are all the things that stopped me from being a mentor and also from pursuing my photography as more than just a hobby. As my time in these mentorship communities went on, as I continued helping others it became a bit of a joke. I was dubbed the Accidental Mentor or the Reluctant Master. Self-doubt is huge for many of us. We easily talk ourselves out of doing this and other things. Guilty, as charged. I don’t create epic landscapes. Nor do I rely on Photoshop or use it much at all. Layers and masks are not in my wheelhouse. My photography is not overly technical and I don’t want to help someone learn that stuff. Though sometimes it seems like that’s what everyone wants to learn. We all have something we can offer The thing is, we are all unique, we all approach life and photography differently. Ask yourself what is it that you CAN offer to help other photographers? There are plenty of mentors out there teaching the technical stuff but how many are helping with the creative side? This is where I found my space and my confidence (still working on that) to make my mentoring official. What do you have to offer that is uniquely you? Think about it. Do you love to help others? Are you passionate about one aspect or technique in photography? Maybe your portraits are different from anyone else? Crazy about macro, infrared, event, wedding or other types of photography? Maybe it’s only one part of any of those. The thing is, your passion will show through, your enthusiasm in passing along what you’ve learned and what you know will infect your students. For me, the love of seeing others move forward along their path and using my different perspective, point of view and approach not only to photography but to life in general, were the things that I could focus on and help others with. Being mentored and being a mentor has led to amazing and wonderful things, friendships, adventures and progress for myself and my students. Mentoring others is very rewarding. The satisfaction you get from seeing someone that you’ve helped make their own way, have their own success and improve their craft is reason enough to want to mentor.
Three powerful event photography tips for beginners - Photographing events can be very fun. You feel the energy of the event, everyone around you is laughing and smiling, and people are generally having a good time. Photographing events has led to some of my favorite photography experiences, but they certainly weren’t the easiest gigs. Things move fast when photographing events and you can miss key moments if you aren’t paying attention. In order to prepare you for your next event photography gig, I have compiled three event photography tips to ensure you capture your best shots while having a good time. Let’s dive in. Read the scene and set up the shot The first thing I always like to do when I first get to an event is to read the scene. Scan the event as an attendee and see where the key areas are. This could be a dance floor, DJ booth, speaker podium, etc. During this scan, you are looking for the areas that are most lively. It is in these areas that you will find the most exciting and where you can capture your most candid shots. You can capture environmental shots of the whole event, however, these key areas are where you will want to set up your shots. After all, the photographs of people are the moneymakers. People looking at these event photographs afterward will want to feel the energy and excitement of the event when they look at your photo to relive those moments or to live vicariously through the photograph. Event photography is a lot more than just lifting the camera and shooting — it is about seeking out these key moments, powerful expressions and waiting for them to appear. Set up your shot within these key areas and wait for a smile or reaction then capture your shot. Make sure you have your exposure settings nailed down when you first arrive at these key areas so you don’t have to adjust them in the middle of an important moment. Be ready A mistake I made when first photographing events would be to walk around the event and capture the moments in these key areas after they had appeared. I would not be set up and ready to go. I would put my camera down, not be ready, and when the key moment of excitement happened, I would miss it. Over the years, I have learned to set up my shots and wait for that great moment to occur by already setting up in these key areas of excitement. With experience, you will learn to anticipate these shots. You will already be there, ready to capture the precise moment. Once you identify these key areas and captured the candid shots that you wanted, move on to the next key area. Bonus tip Use your senses to find these key areas. If you are in a club and you see bright neon lights and people gravitating toward there, follow them. If you are near a dance floor and not many people are dancing but you hear people laughing somewhere else in the room, go toward that noise. Use your senses when at an event. It is easy to get “tunnel vision.” After photographing a couple of events, you will begin to notice and easily spot these key areas. Fill your frame with the action The second tip is to fill your frame with your subject and to get rid of any unnecessary fluff that detracts from your subject, does not add value to the image, or does not add to the moment. This is what separates the great event photographs that people love from the “OK” event photographs. The photographers who are willing to get in there, capture and frame a powerful moment are the ones who often get the best shots. If you are at an event where it can be hard to “get in there,” then bring multiple lenses — a shorter focal length and a longer focal length will be essential. You should know what type of event you will be photographing beforehand so plan accordingly. Bonus tip If you find that it was very hard to frame just your subject without incorporating some “fluff,” you can easily crop and frame your subject in post-production. Not every photograph shot out of your camera has to be a perfectly framed masterpiece. Luckily we have post-production editing to clean it up! Master your editing workflow Editing photos in post-production from an event photography session can be a nightmare if approached without a game plan/strategy. If you do not have a strategy and are not efficient in your post-production workflow, you can spend two or three times longer editing the photos than you were at the actual event! The first thing I do before I even open up my photo editing software and import all my photos is to delete all of the blurry images straight from my camera. Once I do that, I immediately go through the event and give my images a star rating in two rounds. What do I mean by this? I give the photos from an event either a zero, three or five-star rating. The zero-star rated images are the rejects. These are usually unfocused shots or just shots with no composition whatsoever. The three-star rated images are images I am unsure about. The five-star rated images are the images I will want to send to the client and will edit immediately. That is the first round. In the second round, I repeat the process but all of the zero-star rated images are removed, while some of the three-star rated images may be turned to zero-stars. Finally, some of the five-star rated images will turn to three-star rated images after closer examination. After the second round, you should have a solid grouping of three-star and five-star rated images that will be ready to edit. Bonus tip Using a preset in a photo editing software such as Lightroom or Lightroom Classic will also save a lot of
