Anthony

Subscriber
  • Content count

    3,931
  • Joined

  • Last visited

  • Days Won

    28

Anthony last won the day on 10 March

Anthony had the most liked content!

Community Reputation

821 of my posts have been liked

About Anthony

  • Rank
    Master Member
  • Birthday 1 January

Profile Information

  • Gender
    Male
  • Location
    London UK
  • Edit my pics?
    Ask Me
  • Fav. Camera
    Fuji X-T1
  • Fav. Lens
    Fuji 14 mm

Recent Profile Visitors

768 profile views
  1. Interesting, Luc, as a twin system photographer I understand why you have reached this solution.
  2. Thanks, all. I understand that the Nikon School operates in a number of countries, but I do not have a list. I have been on several of their courses, but they are not free. However, the quality is such that I think they are fair value for money. There is no hard sell of Nikon products, but on this course the sophistication of the Nikon speedlight system was obvious. Many of the courses attract participants with non-Nikon cameras, but this course clearly required Nikon equipment to operate the lighting system. I doubt that the sort of people who come on the FZ safaris would want to pay extra for tuition; the Thom Hogan type of workshop seems to me to be a different type of experience altogether (and more expensive). What is important on the FZ safaris is the expertise of the guides, whose understanding of what photographers might want is a big plus. And my memories of the 2010 safari include the generous sharing of knowledge within the group (particularly Ann's session on pp).
  3. Beautiful scenes, well worth the effort and the cold.
  4. Thank you all for your comments. The workshop was entitled an Introduction to Urban Dance Photography, so the course participants (four men, two women) were not expected to have (and did not have) any experience in this genre. I used the D3s, as I felt it would have been discourteous to use a Fuji at a Nikon School course, and it would not have worked properly with the Nikon speedlights supplied. The course was held indoors and outdoors, and all artificial lighting was with speedlights - several of them, often in different groups with different powers controlled from the camera (built in flash in Commander mode, or control unit supplied by Nikon). Some speedlights were in softboxes. The lighting set was built up a speedlight at a time, so that we could see how the different lighting effects were introduced and the influence which they had on the final image. Various effects were demonstrated and tried. One speedlight was put on a stand outside the studio, with the light coming in through the horizontal window blinds; this transformed the set, especially with the camera white balance set very cool and a yellow gel on the key speedlight to balance the colour of the model's skin. §2 was lit by a combination of daylight and two or three speedlights, one in a softbox just out of the frame over the model's right shoulder. Each participant was able to make some limited changes to the setup when their turn came to shoot, but there was not the time to make large changes; as we were all near the bottom of the learning curve, this was not a problem - I felt the course was very good in opening up our imaginations to what was possible, rather that being a photoshoot with full control. For the shot which Dallas has kindly selected for the gallery, the effect of the footlights was created by speedlights on the floor in the background, but I did arrange for the key light in the softbox to be raised up as the original placing created less attractive shadows (in my opinion). So there certainly was scope to make changes. Participants had freedom to choose their own shooting positions and angles, and to ask the model to move and pose; inevitably, the format of the day meant that this was more restricted than in a private photoshoot, but none of use felt that this was a problem - there was so much to absorb and learn. The lighting of §3 and §5 was deliberately set up to create the effect. I have not shot in that way before, and I rather like it - but this is very much a matter of personal taste. The odd one out is the b+w. For fun, I shot with the camera set for the ambient light while another participant was using the speedlight setup. I challenged myself to shoot so as to catch the flash triggered by him, and, on the first attempt I succeeded (all subsequent attempts were a failure). The exposure was pretty weird, so I thought I would try it as a high key b+w. It is not a total success, but I enjoyed the challenge. Chris, the street setting for the dance is somewhat strange. The course was on a Saturday, and the street was a quiet cut de sac, so we were not disturbed by curious members of the public. Some musicals are set in the street, but I do agree with you about modern stagings of operas. Dallas, if you want to hold a workshop I think it is helpful to have a clear and limited focus, so that it customers know what to expect and there is a good match between expectations and outcomes. If a model is involved, their personality and expertise are crucial. I have done very little model shooting, and still feel slightly uncomfortable when I do. In this case the model, Cat, has worked with the Nikon School before, and so knew how to work with the sort of group we were. She was very professional, and contributed greatly to the success of the event. The tutor had a well worked out lesson plan, so everything flowed smoothly and fitted well together. He also had lots of spare batteries, many of which were needed to feed the speedlights. I would like to do more dance photography, but I think I need to have a better understanding of dance itself, so as to be able to pre-visualise and create compelling images. I hope this description has been helpful.
  5. Lovely shot, you have captured the partnership well, and the foliage adds framing and context.
  6. On Saturday I attended a workshop at the Nikon School in London. The subject was Urban Dance photography. Here are some of my results. Please click to view large.
  7. In Merida, Mexico, they dance round the Maypole (although this was shot in December). The costumes of the ladies are smart versions of the dresses typically worn by women of Mayan descent.
  8. Great stuff, Andreas, English maypoles are much smaller!
  9. Lovely colours and scene.
  10. That's a big fire! Hope they get it under control soon.
  11. Well done, capturing lightning is really difficult, and these are lovely.
  12. Beautiful, elegant birds!
  13. Ann, thank you, a fascinating piece of history.
  14. Chris, these are very beautiful images.
  15. Thanks, all, the joy of pp is that it allows for lots of different treatments and lots of opinions (and the same person can have several conflicting opinions!). For me, the colour palette in my edit is harmonious, and the red sign was jarring. However, if the red sign had been shown in full size in the original image, the contrasting colour tones could be quite striking. Incomplete as it is, I find it more of an irritant. But, these things are personal, there is no right or wrong. I find DXO's perspective corrections to be really good. Normally I make the adjustments manually, but on this occasion I was short of time so pressed Auto. It did a better job than I can, so I have learned something useful. Thank you for setting off an interesting discussion.