Shot this at a wedding recently and a few people asked about how I did it. I am happy to share that plus the behind-the-scene setup shots to show you exactly what I did.

Before we get there, I thought it will be fun to have a challenge. Anyone who can guess the exact lighting recipe will win a 135-minute World Tour wedding photography instructional DVD which retails for U$100 each. Deadline is next Thursday, 15 December. Good luck!

updated 15 December 2011
This is how we did it…

At a wedding, I always have to improvise and work with mobile tools. For a reasonable good ring shot, it has to be focus and sharp to bring out the design, cut and colours. I have the SB800 & 900s, Lastolite softbox, 60mm macro, and a mirror of make-up kit from the make-up artist Always be nice to the make-up artists. They can be your ALLY!

I need to achieve a few things: background must be almost pitch dark, enough depth of field to show the details of the rings. And for these reasons, I couldn’t have used ambient light whether indoor or outdoor. It would have created a lot of spill. A softbox on the other hand, helps me to contain, shape and direct the light as I see fit.

Shot it at f11, 1/250, ISO200. The low ISO and shutter speed allow me to kill off most of the ambient light so I can get a near pitch back background. At f11, I get reasonable sharpness. It is still some distance from say a De Beers or Tiffany ad, which would require more powerful lights and lenses and camera with higher resolution for a pin sharp shot of the ring. Yet given the little time and limited equipment, I have to compromise between being as perfect as a commercial shooter and getting a good enough shot.

Many correctly predicted the use of a softbox from the left and wrongly assumed that I had a reflector on the right. From the early days of photographing small objects, I’ve learned that mirrors gives a more specular bounce than white or silver surface. This is helpful to bring out the details and colours of the sapphire.

I wish I have a smaller softbox. Lost too much power with the Lastolite 24″. A smaller softbox may help me gain 1-1.5 stop of light, and thus allow me to shoot at f16-18. Oh well, this is guerrilla lighting, not always perfect, but always mobile and effective.

Thank you for taking part in this. Since nobody made a perfect guess, I’ll bring the prize forward to the next recipe challenge. Cheers!

What fun to have the energetic, versatile and expressive Putri back to the studio the next day. Picked up immediately where we left off. Went straight into high energy moves that dancers are accustomed to. Shooting with a blank backdrop is always challenging. You have to bring a story and a visual message to the set through lighting, direction and colours. Fortunately, in Putri and the equipment collection, we have all three.

Putri kept leaping for three hours. When I was ready for a wrap, she chimed in on an idea. Glad she did. We pressed through and came away with four pictures I was pretty please about. What an honor to work with such a talented and professional dancer who carries a wide range of skills and expressions. We called Putri when our first choice model bailed on us 24 hours before the shoot. What a happy accident!

Technically, we used the Elinchrom BXRi500 lights, Deep Throat Octa, standard reflectors and grids for rim rights. Pretty amazing when you have all sorts of light shaping tools. I’ll be sharing a bit more about using these lights and the various light shaping tools.

Just wanna leave you with four pictures from yesterday…can’t wait to get back to the studio and work on another set of pictures.

Deep Throat Octa from the top and a mid size rectangular softbox from the bottom. BXRi 500 on both softboxes.

Deep Throat Octa as the main light from top right. Two 500w on standard reflectors, one of them with a 20 degree grid for the separation light from left.

That’s how we did it

Switched to white backdrop and put red gels through two 500Ws. Deep Throat Octa from the top, without the silk in front for a more contrasty feel. Putri must have jumped at least 50 times for this. Gotta respect her abilities and tenacity.

When I nailed the previous shot, I was happy to wrap up the shoot. Putri convinced me to work on this dance move. This was a tough one. Used a stripbox (130cmx50cm) as mail light and then two 500W on standard reflectors on both sides for separation light. We kept tweaking until we get it right. Again, couldn’t have done this if not for Putri’s determination. It is wonderful when you can get great talents in front of the camera.

Getting my own personal shoot done is ALWAYS a gift to myself. The studio is always buzzing with shoots and edits for our clients. It is rare I get to shoot just for my own pleasure. I gave myself a gift this morning, working together with Putri, an aspiring dancer.

Of late, I have turned to Elinchrom for my lighting needs. These powerful Swiss-made strobes allow me to shoot at f/16…something I couldn’t achieve with small speedlights. I am falling in love with the Elinchrom, using the small Quadra for all my wedding shoots. It is not the case of Nikon vs Elinchrom, it is different tools for different kind of work.

Back to Putri…here are some of my favourite pictures from this morning. Four hours just flew by when you are having fun with four different sizes of softboxes, beauty dishes, grids, reflectors. It’s like taking in pure oxygen when I get to play!

Didn’t expect to get the kind of responses and reactions with my previous blog post. There are passionate debates from different angles. I am glad we kept the arguments civil for the most part.

Is it a bad thing that some of our dreams died? Must we hang on to all of them at all cost? I had many dreams dashed too.

Dream #1
I aced my Form Three government exams. Entering into form four and five, the school would stream students to arts or science stream. “Smart kids go to science stream” was the general perception then. A panel of teachers would decide whether you ascend to the coolest and smartest class a.k.a the only science class in school or be cast to the one of the four lowly arts classes.

I wanted to be seen as smart so off to science class I went though I had no idea what it was all about.

For the next two years, I struggled to pass Additional Maths (or advanced maths) and Physics. I went from a top student to a mediocre one in weeks. Worked extra hard to keep up with my classmates. Despite hiring a tutor and spending 3-4 hours on these two subjects everyday, I barely passed them. Grades for other subjects dropped as well as just didn’t have the energy and time for them after grinding on Maths and Physics. I had never done worse or been more depressed in school. I passed form five, but just barely.

I wasn’t wired to be a science student but that didn’t mean I was dumb, just that I was smart in other areas like languages and history. Yet the obsession to be seen as a smart science class student just blinded me. Yes, BLIND. How often we cannot see what is real because we see only what we want to see. Desperately believing the lie we tell ourselves. I wished someone had the courage to yank me aside, straighten me out and save me from two years of misery.

Dream #2
Smarting from my secondary school disaster, I’ve learned to steer clear of the sciences. When I entered the University of Toronto, I wanted to do a double major in English and History. My idea of English is writing some essays & read some books. U of T’s English is about Chaucer, Shakespeare, literature and sonnets which sound like alien talk to a boy from Borneo.

To say I did badly in year one was an understatement. An English professor told me that he couldn’t see how I could do well in English literature given my lack of training and exposure to it when I was younger. I was bitter and angry. “How dare this old white man say that to me? He is racist and judgmental.” That meeting was a turning point.

The following year, I dropped out of English literature and enrolled in a Minor in Professional Writing. Met Dr. Guy Allen, a passionate teacher and brilliant writer who had a background in teaching English as a second language. From getting Ds, I was getting As in Professional Writing. My short stories were aired in a literary radio station. Even read a short piece at a writers’ festival. My overall grades went up. Guy Allen was my John Keating (Robin William’s character in Dead Poet Society). Just as instrumental was the old professor who told me to quit wasting time in English Lit.

The death of one dream makes way for a the birth of a new one. “Death is very likely the single best invention of Life. It is Life’s change agent. It clears out the old to make way for the new.” Steve Jobs couldn’t have said it better.

My previous post wasn’t meant to put down anyone who couldn’t make it in photography. It is to put a point that excelling in photography is a big price to pay. Not everyone could pay that price; not everyone should pay that price.

For those of us who couldn’t and shouldn’t, I hope you will find happiness in doing something else more fulfilling yet continue to enjoy photography however, wherever, whenever you can. For those of us who are full time in photography, the challenge to sustain this passion. As Steve Jobs put it, “Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work.”

This is a recent conversation with a young aspiring photographer who wanted a job as an apprentice.

“Louis, I want to work for you. This is the best studio Sabah and I want to be part of it. I don’t want to be anywhere else. I love photography and I want to put my life into it.”

“Good! Let me see your work.”

“This is not bad. I’ve seen a lot of work of the similar quality. Please tell me why I should hire you over another person.”

“My friends say I am really good in photography. I will work hard for you.”

“Your friends…who are they? Are they full time photographers?”

“No, just people I know.”

“This pictures you showed me here, how many of them were shot during a commissioned shoot? I mean people actually paid you to shoot them.”

“None.”

“Hey, I think it is cool you want to learn to be a full time photographer. Let me tell you my life as a photographer. I shoot from 6am to 12 midnight. I shoot anyone who walks in: tall, short, small, big, light and dark skin tone and everything else in between. I shoot whether I feel like it or otherwise. I have to deliver everyday to every client. Do you think you can do that?”

Silence.

“Do you know how to use flash or strobes?”

Shook his head in silence.

“Do you know how to pose people or direct them so they look good in photos?”

He shook his head in silence.

“Have you got your work accredited by professional body like WPPI or AIPP?”

Again, he shook his head in silence.

“So what makes you think you are very good in photography?”

Long pause followed.

“It will take a lot of training and sacrifices to get to a top level. I can teach you however are you willing to work hard for 3 years with low pay so that you can learn the craft?”

Another long pause.

“Listen. You come to see me and I give you my honest assessment. You have potential but there is a lot that you need to learn. I will you give you an answer next week, is that ok with you?”

“Ok.” He replied and left my office.

Eight hours later he texted me and said he wasn’t keen on the job anymore. It is probably a good decision. There are many prospects besides photography.

You may not agree with my shock and awe interview approach, but I have seen photographers with much greater talent who struggle to put food on the table. The chap needs a reality check. If you want to build a house, you must count the cost. It is not impossible to rise from obscurity but there is a big price to pay. You don’t get to the top by singing “kumbaya” around a camp fire. You work your socks off. You bleed, sweat and cry. You get knocked down and got up again.

With Facebook, Flickr and blogs, every other picture is “COOL”, “You rock!”, “AWESOME!”, “Masterpiece!” Everyone is entitled an opinion. Does every opinion carry the same weight? If you need a heart surgery, should you listen to my opinion or that of a cardiologist who has been practicing for 20 years?

It takes more than just little surges of passion to stay in photography. It is a marathon. Guess that is true if we want to accomplish anything significant in life.

Just fired up myself this morning by re-reading Nick Nichols’ article on how “To be a National Geographic Photographer”. Do you think you have what it takes? Read on…