WHY YOU SHOULD NEVER USE A SUPER SHARP LENS FOR PORTRAIT PHOTOGRAPHY

I would say that 99% of photographers, and I include myself in this, believes the holy grail of photography lenses is one that gives the ultimate in sharpness. I mean, no-one likes a soft image right? Well, other than the random 1% of photographers that is.

The sharpest lens I currently own is a macro lens (a Canon 100mm f2.8L IS - review here), and the sharpest lens I owned before buying this was the Canon 100mm f2.8 macro lens. Macro lenses are tack sharp and if there was one covering focal lengths of 8mm (the widest my Canon L series fish eye lens will zoom out to) to 400mm (the longest reach of my Canon 100 – 400L IS lens - review here) I would snap it up and use it for almost all of my trips out with the camera.

Sharpness is key, but not all of the time. Yep, believe it or not there are times when you will capture a nicer and more pleasant photo using a lens that is slightly soft. For example, taking photographs of women (and to a certain extent men) and babies is best with a ‘soft’ lens.

A super sharp lens, like a macro lens, records too much detail for portrait photography. Trust me, I have been there, tried it and hated the results I got. When I used my macro lens for portrait photography it highlighted every spot, pimple, blemish and variation in skin tone. Portraits are meant to show the model at its best and be flattering, but the portrait shots I captured with my macro lens were anything but. Okay, the model’s eyes (the gateway to the soul) were sharp (as they should be) the nose and ears were sharp and the hair was well defined, but then so were the imperfections. I wasn’t impressed at all, and needless to say neither was the model.

Fortunately, I use my sister as a model to try out all my new portrait photography equipment so poor photos weren’t too much of an issue. Had it been a paying customer though……… I fear things would have been very different, and not only losing out on money doing the shoot I reckon my reputation would have been tarnished and I would have lost out on future paid portrait sessions. The joys of living in a small town where everyone knows everyone. Never mind, the potential problems were put to bed before they had a chance to materialize.

A slightly softer lens doesn’t highlight imperfections, and hence leads to a more pleasing and flattering portrait. Sharpness, and softness is a relative term and what one photographer considers acceptable soft another photographer will consider too soft. I learned a long time ago to ignore photographers that thought my portraits were either too soft or not soft enough, and I don’t care what they say. The client is my priority, and as long as the client is happy with the portrait shots that’s all that matters, even if I think the shots aren’t quite right. At the end of the day it is the client who pays the bills, it is the client who is always right and my aim is to make sure the client is happy and will consider me (and recommend me to friends/family) for any future photo sessions.

I use a selection of lenses for portrait photography and before I start taking the “real shots” I do a test shot with each lens and show the results to the client. Basically, I let the client decide what lens they want me to use for the shoot, and not the one I think is the best. I do, of course, offer my opinion as to the best lens for a particular client or look, and if they run with it – great. If the client disagrees with me and wants me to use a different lens – that’s fine too. 

The lenses I use for portrait photography comprise the Canon 50mm f1.8 (which is the softest lens out of the lenses I use - review here), the Canon 35mm f2 IS (which is my personal favorite - review here), the Canon 16mm – 35mm f4L IS (which I use for group shots - review here), and the Canon 24mm – 70mm f2.8L (review here)

The Canon 35mm f2 IS - my favorite portrait lens

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The lens that most of my clients want me to use is the Canon 50mm f1.8, i.e. the softest one of the lot. Most photographers, myself included, would scoff at this “cheap and cheerful” lens for high quality portraits, but the client wants what the client wants. My favorite portrait lens is the Canon 35mm f2 IS since I think this is the perfect balance. I find this lens is sharp enough to keep the features and, most importantly, the eyes sharp but not so sharp spots, pimples, blemishes and imperfections are highlighted. 

WHY YOU HAVE TO MASTER THE FLASH IN TTL MODE

Read any flash tutorial and I bet it will say “manual flash is the best” or “you have to use a flash in manual mode” or words to that effect. Okay, I agree there are times when it is best to set the flash power manually however there are many times and situations when you will miss a lot of shots and opportunities using manual flash.

The flash power needed for a decent exposure (I won’t use the term correct exposure – as this is subjective) depends on two variables, and these comprise the aperture setting and the distance between the flash and the subject. Change the aperture and you have to change the flash power to compensate (increase the flash power to shoot wider/decrease the flash power to stop down).

When you’re shooting in a situation where the flash to subject distance is not a constant using the flash in TTL mode and tweaking the power using flash exposure compensation is best. When I shoot corporate events and functions, parties and the like I will always use the flash in TTL mode. I also keep the flash in TTL mode for general photography walkabouts.

I have read many posts and articles stating that using TTL flash is inconsistent and doesn’t result in the best shots, however I don’t have this problem and never have. You can get consistently good shots using the flash in TTL mode, providing you know your camera/flash intimately and how it works. In order to get consistent shots using flash in TTL mode you need to practice, practice and practice some more. By practicing with your camera/flash you will learn when you need to use flash exposure compensation, what flash exposure you need to apply (either positive or negative) and also the amount of flash exposure compensation you need to apply.

Using flash in TTL mode you can capture the precise effect you’re after. If you want a little fill in flash to lift the shadows and produce a natural looking photo you can do this using flash in TTL mode. If you want the subject to really pop and jump out of the frame you can also get this look using your flash in TTL mode. You do actually get quite a lot of control using flash in TTL mode, provided you use the flash exposure compensation correctly.

I know how to use a flash in manual mode, and I do enjoy using a flash in manual mode however I find that I actually use my flash more in TTL mode than I do in manual mode. I guess it’s the type of shooting I do most (pet portraits, events and functions) but I definitely use my flash in TTL mode more often than not.

If you shoot in the studio and have a lighting set up permanently in place and good to go you need to learn how to use the flash in TTL mode properly, and practice with it to get the best shots. 

The flash I now use for all my strobist photography is the Godox Ving, and I wouldn’t use anything else. Before buying the Godox Ving I used a Canon 600EX, and the fact I wouldn’t buy another 600EX is a testament to just how good the Godox Ving is.

With a guide number of 58 the Godox Ving is as powerful as the Canon 600EX, and it also has TTL metering, HSS mode and full manual mode. The Ving uses a single cell battery capable of over 600 full power pops on a single charge, which is pretty impressive. The advantage of the single cell battery is I don’t have loads of AA batteries and chargers laying around but the downside is if the battery dies on a shoot I can’t nip to the local garage or store and buy a replacement. The way I overcome this problem is to carry a spare battery and charger on every shoot so when (or if) the battery dies I can put it on charge and use the spare to carry on shooting. 

The Ving is the most user friendly and intuitive high spec flash out there, and I managed to get up and running, and work out where everything was without once having to consult the user manual. When I had the 600EX I had to read the user manual to work out how to operate the more advanced features.

Even though the Godox Ving is a budget flash it is still well made, and is strong and sturdy. It isn’t as “bombproof” and the Canon 600EX but given you can buy 3 Godox Ving speed lights for the price of one Canon 600EX and still have a load of cash left over for other bits and pieces, this is to be expected. I have had my four Godox Ving speed lights (I was so impressed with the first one I bought three more for a ganged 3 speed light setup) for several years now and they are still going strong and as good today as they were when I first got them, just with a few scuffs, dinks and scratches.

I bought a Godox Ving because I needed a flash ASAP for a shoot, and with little spare money to buy a speed light I had no choice but to go to the bargain bin and buy a budget flash. Had my Canon 600 EX not broke and I was a little more flush at the time I would never have discovered the Godox Ving or been aware of just how good it is. Call it luck, call it fate – I really don’t care, I am just glad things happened the way they did, although I obviously wasn’t too happy at the time.

If you want a powerful flash that has manual mode, TTL metering, HSS mode and is packed full of features take a look at the Godox Ving. If you want a flash that is intuitive and user friendly take a look at the Godox Ving. And, if you want a flash that is affordable and gives a lot of bang for the buck take a look at the Godox Ving.

The Godox Ving is my speed light of choice now

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LIGHTING IS CRUCIAL IN MACRO PHOTOGRAPHY

Photo credit: Ed James via Fine Art America

Many people like to shoot with natural light only, which is fine but not when it comes to macro photography. I don’t care what anyone says, taking macro and close up photos using only natural light is not the best way.

You can use natural light for macro and close up shots of flowers, jewelry and other still life subjects as it is possible to use slow shutter speeds and still get the shot, providing you are using a tripod or some other type of sturdy support. If you are taking handheld shots you may struggle to eliminate camera shake during the longer exposures.

You cannot use natural light when taking macro photos of living subjects that move because the slower shutter speeds (and longer exposure times) will result in blurry photos (because of subject movement) and missed shots.

If you want to take handheld macro shots of still life subjects or take macro/close up photos of living subjects it is advisable to add a burst of artificial light and use a flash. The flash will not only “freeze” the movement of living subjects but also lift the shadows and add more light where it is needed to get an even exposure.

You can use a standard speed light or flash for macro photography but you do need to use it correctly. Leaving the flash in the camera’s hot shoe is likely to cast the subject in the shadows (and one you can’t light) which isn’t going to result in a pleasing photo. If you want to use a speed light for macro photography you need to take it off camera via and off camera flash cord or flash triggers. Off camera flash is a great method but it is not always the best solution.

An alternative macro flash to the speed light is the macro ring flash, and this is what I use for all my macro photography. The ring flash is less powerful than a standard speed light but is still enough to illuminate the subject, is attaches to the end of the lens so there are no shadow issues, a ring flash provides nice soft lighting and you can also change the lighting ratios to add some depth to the photo. In my opinion the ring flash is the best flash for macro photography and it is well worth investing in one.

The ring flash I use is the Yongnuo YN14 and I have to say it is a great bit of macro photography kit. The YN14 is based on the Canon MR14 and it has the same features, works the same way, and is just as powerful but it is a fraction of the price. Check out “Review of the Yongnuo YN14” for an honest and unbiased review on this awesome macro lighting solution. 

CHOOSING BETWEEN CANON AND NIKON REALLY ISN’T AS TOUGH AS EVERYONE MAKES OUT

I am active on quite a few photography forums, and I am also guilty of reading a lot of photography blogs (more than I really should) and if there’s one question that comes up time and time again, or a poll topic that comes up time and time again it is the age old “What is best – Canon or Nikon?”

Okay, this topic has been done to death and the bottom line is neither one is better than the other. Photographers shooting Canon make money, as do photographers shooting with Nikon photography equipment. Both Canon and Nikon make cameras that are tough, durable and well made. Both Canon and Nikon make cameras that a jam packed full of technology, and both Canon and Nikon make camera with excellent image quality. I guarantee that you won’t be disappointed with either a Canon camera or a Nikon camera.

Since Canon and Nikon are just as good as each other choosing the best one, or rather the most suitable one for you really isn’t that difficult, and people over analyse it, think about it too much and also research it too much. Okay, choosing Canon or Nikon is a big decision, after all if you choose the “wrong one” it is going to be a costly mistake, but making the decision shouldn’t be too hard.

The only way to tell whether you are destined to be a Canon shooter or a Nikon shooter is to get down to your local camera shop and try each one. Let’s say you are looking to buy and entry level dslr camera – you need to go to your local camera shop and look at the Canon 1300D and the Nikon D3300. Hold each of the cameras, play with each of the cameras, search through the menu of each of the cameras and take some test shots with each of the cameras.

When I was buying my first DSLR I spent hours and hours (scratch that – I wasted hours and hours) researching and reading about Nikon and Canon and what brand is the best. After a few weeks my other half got bored of it all, bundled me in the car and drove me to the local camera shop (Warehouse Express) to go and have a go with the different types of cameras.

Physically seeing and playing around with each of the cameras was the best thing I could have done as I made my mind up within half an hour. Out of all the cameras I found the Canon 450d (Canon’s entry level dslr at the time) the most comfortable to use and the easiest to adjust whilst looking through the viewfinder.

It’s a good job my wife dragged me to the camera shop because I was ready to pull the trigger on the Nikon D3100 and order one online. Because my mind was made up (or so I thought) I wanted to like the Nikon but I couldn’t. The D3100 didn’t feel right to me, and the menu system wasn’t to my liking either. The trip to Warehouse Express stopped me from making a big mistake.

If you are torn between Nikon and Canon and want to know which one is best, the answer is neither of them. Ignore what you read online – all Canon owners are going to say that Canon is the best, and likewise all Nikon owners are going to claim Nikon is the best, and get down to the camera shop and try each one out for yourself. This trip could stop you making a big, and not to mention costly, mistake.  

PROOF YOU DON’T NEED TO SPEND A FORTUNE ON AN EXTERNAL FLASH

When I bought my first flash gun I was under the illusion I had to spend a lot of money to get something that would get me started in the world of flash photography. Consequently I (naively) ignored the third party branded external flash guns and speed lights and headed straight for the Canon branded speed lights.

There are some “cheaper” Canon branded speed lights available however I knew it was a waste of time going for something low powered like the Canon 270EX when I would only be wanting more and spending on a speed light with a bit more oomph in the future, so rather than buying cheap and then replacing it in the future I figured I would be better off buying a powerful speed light in the first instance. With this in mind, I dug deep (and very deep) and bought the Canon 600EX.

I have to say that the Canon 600EX is an awesome speed light and it did everything I needed it to (and some). The build quality of the 600EX is exceptionally good, it is very powerful and it is packed full of features (including manual mode, TTL mode and HSS). The only criticism I have other than the price (it is damn expensive) is it doesn’t have the friendliest of interfaces, which surprises me given Canon cameras are so intuitive.

I no longer use the Canon 600EX and, even though it is a great speed light, I don’t intend on using one anytime in the future either. Unfortunately, I had a slight accident with my 600EX and ended up breaking it beyond repair a few days before an important shoot, so I had to get a new speed light, and fast.

With money a bit tight at the time there was no way I could afford to replace the 600EX with another 600EX, and the only option I had was to buy budget. Looking around I had two options, the Yongnuo 568 (which was the most popular and had some very good write ups) and the Godox Ving (which had some good write ups but was nowhere near as popular). The Godox Ving was cheaper than the Yongnuo 568, but only marginally cheaper, but what clinched it was the delivery. I could get the Godox Ving delivered free within 2 – 3 days whereas the Yongnuo 568 was going to cost me around a tenner for delivery within 5 days. A tenner may not sound like much, but given the speed lights were just under a hundred quid each, the delivery cost was another 10% - which is a fair old whack. With the free (and faster) delivery I made the decision to buy the Godox Ving.

I wasn’t expecting much from the Godox Ving so when it arrived I have to say I was surprised. It was no Canon 600EX but given it cost a fraction of the price I wasn’t expecting it to be. That said, the Ving is just as powerful as the 600EX, it has TTL metering and it also has HSS. The Ving is also more user friendly and intuitive than the 600EX, which was a bit of a bonus. Overall I was very impressed with the Godox Ving (read my review of the Godox Ving speed light here), and the shoot went as planned.

I had originally planned to use the Ving for the shoot and, in time, replace it with another Canon 600EX however that plan soon changed. I was so impressed with the Godox Ving I ended up buying 3 more so I could have a ganged 3 speed light set up and an on-camera fill flash. I managed to buy three Godox Ving speed lights, plus three radio triggers (Yongnuo 622’s – read thereview here) for less than the cost of a single Canon 600EX. Now that’s what I call bang for the buck.

I still have all four of my Godox Ving speed lights and all of them are still going strong and as good now as they were the day I bought them. Buying the Godox Ving speed lights has shown me that there really is no need to spend a fortune on a speed light since it is only used to add a burst of light when needed and it doesn’t matter whether a top end Canon 600EX or a cheap and cheerful (but still exceptionally good) Godox Ving is used to provide the light.

If you are looking for a new speed light don’t dismiss the Godox Ving because it is a budget unit. Take a punt, give it a go, and I guarantee you won’t be disappointed. 

The Godox Ving speed light - an absolute steal and my flash of choice.

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CHOOSING THE PERFECT MACRO LENS

A macro lens is essential for shots like this

If you want to take macro and close up photos you need to get yourself a specific macro lens. You may have read about alternative macro photography equipment, such as reversing rings, close up filters and extension tubes but forget about these since they are no good. If you want to capture true macro photos you need a proper macro lens.

There are several different types of macro lenses available, and the best one will depend on the subject you want to shoot. For example, a 50mm macro lens is fine for still life subjects but no use for moving subjects, such as insects, whereas a 180mm macro lens is suitable for still and moving subjects.

If you only want to take macro photos of flowers, and nothing else, a 50mm or 60mm macro lens is all you need. 

With short focal length macro lenses you have to get real close and personal to the subject to get the shot, which means there is little working distance. The problem with shorter working distances is the lack of light, so you are going to need to deal with this as necessary. Short focal length macro lenses are super cheap, and are the best budget option.

If you want to take macro photos of moving subjects, such as insects you are going to need a macro lens with a longer focal length. The longer the focal length the greater the working distance, which means you don’t have to get so close to the subject. Keeping further away from a living subject reduces the chances of spooking it and it flying off or scurrying away, and increases the chance of getting the shot.

Basically, the longer the focal length the greater the working distance, which is good but there is a problem. Long focal length macro lenses are big and heavy, and controlling them, i.e. keeping them still for a sharp shot, can be tricky. The best compromise is the mid length macro lens, such as a 100mm macro lens since this provides a  nice working distance and is also manageable.

If you are like me, and shoot a Canon camera “the best macro lens for Canon cameras” may be an article of interest, especially if you are thinking of getting a macro lens in the future. 

The macro lens I use is the Canon 100mm f2.8L IS and I highly recommend it. Take a look at the pros and cons of the Canon 100mm f2.8L IS lens to see just how good this lens is. 

SHOOTING INSECTS IS SOMETHING YOU HAVE TO TRY

Insect photography really is awesome - try it.

Macro and close up photography is cool, and it is something I think all photographers should try at some point. Okay, macro and close up photography won’t be for everyone, but you never know unless you try it, right?

Typical macro and close up photography subjects include flowers, jewelry, coins and other similar items, and this is what most people go out and shoot when they first get their macro lens, reversing rings or extension tubes. Some people stick to just taking macro photos of these subjects and miss out on what is, in my opinion, the best subject for macro and close up photography – insects.

Insects, creepy crawlies and mini beasts are fascinating and since they are found all over the place, you don’t need to go too far from your front door to find one to photograph. In fact, take a good look around your home and the chances are you won’t even have to go out the front door to find something suitable to take a picture of.

Macro photos of insects, creepy crawlies and mini beasts are fascinating and macro photography equipment pics up details you can’t see with the naked eye. For example, macro photography equipment highlights the individual hairs on a fly’s legs or each separate eye on a spider. Life though a lens is cool, but life through a macro lens is something else, and you really do have to use one and take some sample photos to see what is possible.

Taking macro shots of insects, creepy crawlies and mini beasts isn’t easy, but then nothing in photography is and if it were there would be millions of professional photographers earning a living selling their photos. Fortunately, there are some hints, tips and tricks you can use to capture great macro photos of little critters and “macro – shooting insects” is an article you may want to take a look at.