Photos from Thanksgiving 2012

Mom Enjoying a Cuppa

I visited my parents over Charlotte over Thanksgiving. My brother and his girlfriend, Margaret, came to visit as well. They’ve been together for a bit, but I hadn’t a chance to meet Margaret until this visit—not that I had any doubts, but she was super nice and a fun person to have around.

I tried to take a few shots on Thanksgiving day, but I sort of ended up painting myself into a corner with a lighting setup that was a little too complicated for my own britches. (I had two flashes, one with a LumiQuest Softbox LTp, and one with a regular LumiQuest Softbox. I was using a line-of-sight flash trigger—Canon’s ST-E2—which usually works great, but my flashes were on opposite ends of the kitchen and that didn’t play so well with the line-of-sight part.)

In the following days, though, I pared down my setup to solely a LumiQuest Quik Bounce mounted to an on-camera 580EX II and that worked out much better—I was able to open the baffles on the Quik Bounce and that allowed me to bounce a some of the light off the ceiling, which helped soften the light quite a bit. When next Thankgiving comes around, I’ll probably try to stick with a more simplified setup (like I had on the latter days) rather than overthinking things quite so much.

Photos from Bryan and Lyn’s House

Kitchen

My friends Bryan and Lyn moved to San Diego and they asked if I could help take some shots for the listing for their house. I thought it would be a fun thing to try and I jumped at the chance. As I don’t as often take shots of homes and interiors, I did a little reading up on the subject over the few days before the shoot. Among other pages I looked through, I found that Photo Centric has a pretty comprehensive set of pages on photographing interiors.

I won’t go over all the tips they mention, but among those that stick out in my mind, they recommend using a tripod (no surprise, there) and they also stress the importance of keeping one’s camera level, especially when taking shots with a wide-angle lens. Keeping one’s camera level left-to-right is probably old hat, but they point out that keeping one’s camera level front-to-back particularly helps lessen wide-angle distortion. (This is one of those times where a hot-shoe bubble level can come in handy.)

Given the challenges of lighting an empty house—and that I didn’t want to take up their Realtor’s whole afternoon with intricate strobe setups—I turned to HDR for my shots. As I don’t often shoot HDR, I figured I should brush up on some of the details, so I picked up my well-worn copy of Scott Kelby’s “Adobe Photoshop CS5 Book for Digital Photographers” to jog my memory. (The book is mostly about processing photos with Photoshop CS5—and it’s excellent for that—but it also has a couple chapters on topics like HDR workflow.)

If you’re just getting into HDR, there’re a couple things to keep in mind on the picture-taking side. Among them, you need to shoot in RAW mode and you also need to set your camera to use exposure bracketing with a span of at least 2 stops on either side of your normal-exposure shot (that is to say, a shot 2 stops underexposed, a normal exposure, and a shot 2 stops overexposed). It’s OK if you’re able to exceed 2 stops on either end—such as a sequence of -4, -2, 0, +2, +4 if you happen to have 5-shot bracketing—but the important part is that it’s at least 2 stops.

Canon DSLRs allow for a 2-stop bracketing interval, so you can get by with just 3-shot bracketing. On the other hand—and for reasons that aren’t quite clear to me—many modern Nikon DSLRs allow for at most a 1-stop bracketing interval. Fortunately, many of those same Nikon DSLRs offer up to 9-shot bracketing sequences, so even if your shots are 1 stop apart, you can still go for a sequence such as -2, -1, 0, +1, +2 and you’ll have the range that you need.

Another trick that Scott mentions in his book is that if you enable both bracketing and high-speed continuous shooting, you can capture a full HDR sequence with a single shutter press. (On my Canon 40D, I have to hold down the shutter—click, click, click—before I let go, but other camera models might allow you to tap and let go of the shutter and have it take the entire sequence.)

It’s rather handy to be able to hold down the shutter and have the camera sweep through your bracketing sequence, but even so, one’s overexposed end of the bracketing sequence may end up with exposures as long as 3–4 seconds. You may feel that’s the least of your concerns if you’re using a tripod anyway, but sometimes even the action of depressing the shutter can introduce a tiny amount of blur when you’re dealing with exposures that long.

To help counteract that potential for camera shake, one easy solution is to use a remote shutter release. It doesn’t necessarily have to be one of those fancy wireless shutter releases—although those are fine too— but even a simple wired shutter release with a 2–3' cord is perfectly fine. The main thing is just having a shutter that’s physically separate from your camera body.

Pre-HDR-processing bracketing sequence I used for Bryan and Lyn’s kitchen

There’s a perception that HDR shots necessarily have that overprocessed “HDR look”, but that doesn’t have to be the case. If one practices restraint and resists the temptation to turn all the knobs to eleven, one can end up with shots that make use of HDR without being a garish mess. As well, although one can use fancy 3rd-party software for processing HDR shots, Photoshop from version CS5 forward is actually pretty decent, so if you already have that, you’re all set—and that’s what I used for these shots. (HDR processing in Photoshop CS4 and earlier, on the other hand, is fairly rubbish and if that’s the version you happen to have, you’re probably better off with 3rd-party software such as Photomatix.)

If you had wanted to see how one of my exposures came together, I’ve included the pre-HDR-processing bracketing sequence I used for the shot of Bryan and Lyn’s kitchen. At first glance, the 2-stops-overexposed shot (the bottom shot among the three) may look similar to the final HDR shot (which you can also see at the top of this post), but if you take a closer look, you can see that both the fridge and the window ended up blown-out in that shot. As well, if you look at the kitchen ceiling in each of the three shots, you can see how no single exposure was able to capture the ceiling without either overexposing or underexposing swaths of it. Fortunately, that’s an area in which HDR can help and in the final shot I was able to get a more even exposure across the ceiling.

If you know what to look for, you may see a few signs of HDR in a couple shots, but I was really just looking for lifelike exposures without turning the shots into photographic versions of Toontown. After processing the shots, I passed them along to Bryan and Lyn’s Realtor and he added them to their listing. I’m really happy to have be able to help out my friends a bit and I’m pleased with how they turned out.

Recipe: Ginger Molasses Cookies

My brother made some of these ginger molasses cookies over the winter break, and I rather enjoyed them. They have a crisp exterior but a chewy interior, and they sort of resemble a cross between gingerbread and spice cookies.

Later I asked my brother for the recipe and he happily passed it along, mentioning that he originally got the recipe from his friend Kristin. (They’re yummy, Kristin!)

Note: The full recipe makes about 40 cookies, while the halved recipe makes about 20. I’m including both versions since you might not always need forty cookies ;).

Ginger Molasses Cookies—Full Recipe

Ingredients:

  • 4 ½ cups all purpose flour
  • 4 teaspoons ground ginger (ground ginger from the spice aisle is fine)
  • 2 teaspoons baking soda
  • 1 ½ teaspoon ground cinnamon
  • 1 teaspoon ground cloves
  • ¼ teaspoon salt
  • 3 sticks butter, softened or at room temperature
  • 2 cups sugar
  • 2 eggs
  • ½ cup molasses
  • Set aside in a cereal bowl: ¾ cup coarse or granulated sugar with 1 teaspoon kosher salt mixed in with a fork

Directions:

  1. Preheat oven to 350°.

  2. In a medium bowl, stir together flour, ground ginger, baking soda, cinnamon, ground cloves and salt—set aide.

  3. In a large mixing bowl, beat butter with an electric mixer on low speed for 30 seconds to soften. Add 2 cups sugar, beat until combined, scraping sides of bowl occasionally. Beat in eggs and molasses until combined.

  4. Beat in as much of the flour mixture as you can with the mixer. If need be, use a wooden spoon to stir in any remaining flour mixture.

  5. Shape dough into 1 ½ to 2-inch balls. Roll the balls in the sugar & kosher salt that you had set aside. Place dough about 2 ½ inches apart on baking sheets.

  6. Bake at 350° for 12–14 minutes. If you’re baking multiple sheets at a time, swap the sheets halfway through. Bake the cookies until they’re light brown and puffed. After you take them out of the oven, let them cool on the baking sheet for 2 minutes, then transfer them to a wire rack to cool.

Ginger Molasses Cookies—Halved Recipe

Ingredients:

  • 2 ¼ cups all purpose flour
  • 2 teaspoons ground ginger (ground ginger from the spice aisle is fine)
  • 1 teaspoon baking soda
  • ¾ teaspoon ground cinnamon
  • ½ teaspoon ground cloves
  • ⅛ teaspoon salt
  • 1 ½ stick butter, softened or at room temperature
  • 1 cup sugar
  • 1 egg
  • ¼ cup molasses
  • Set aside in a cereal bowl: 6 tablespoons coarse or granulated sugar with ½ teaspoon kosher salt mixed in with a fork

Directions:

  1. Preheat oven to 350°.

  2. In a medium bowl, stir together flour, ground ginger, baking soda, cinnamon, ground cloves and salt—set aide.

  3. In a large mixing bowl, beat butter with an electric mixer on low speed for 30 seconds to soften. Add 1 cup sugar, beat until combined, scraping sides of bowl occasionally. Beat in the egg and molasses until combined.

  4. Beat in as much of the flour mixture as you can with the mixer. If need be, use a wooden spoon to stir in any remaining flour mixture.

  5. Shape dough into 1 ½ to 2-inch balls. Roll the balls in the sugar & kosher salt that you had set aside. Place dough about 2 ½ inches apart on baking sheets.

  6. Bake at 350° for 12–14 minutes. If you’re baking multiple sheets at a time, swap the sheets halfway through. Bake the cookies until they’re light brown and puffed. After you take them out of the oven, let them cool on the baking sheet for 2 minutes, then transfer them to a wire rack to cool.

Photos from SXSW 2011

Next Week Out Skinny

I’ve been going to SXSW—a music, film, and interactive conference—for a long time. But I look forward to it every year and this coming year (2012) with be the 10th Southby for me.

It’s not lost on me that I’m posting my shots from SXSW 2011 when we’re only about three weeks out from SXSW 2012. I don’t have much of an excuse other than to say that I guess I had a lot going on last year. But they’re posted. Of the 303 shots I took over those six days in March, I’ve posted 19 of them.

Photos from Winterfamilytime 2011

Adrian’s New Chef’s Hat

I visited my parents in December for Winterfamilytime. Pleasantly, the weather was really nice in Charlotte—it hardly felt much like winter some days (not that I minded).

Among the photos I’ve posted, I used the same lighting setup that I had used last year—I used one flash with a Lumiquest LTp Softbox that I attached to the second-floor walkway railing and I used my other flash with a Lumiquest Softbox that I attached to the mantle.

Cross-light often accommodates a fair degree of flexibility when photographing an environment, though for reasons that elude me, it seemed to work a little better for my shots last year than it did this year. (With a cross-light setup, two lights face each other on a diagonal axis to the subject that’s in-between them.) Although it’s somewhat a hunch, what may have happened this time is that I may have had too wide an arc between the subjects and my lights.

On one hand, it’s hard to say where people are going to sit, and on the other hand, there’re only so many places from which one can hang flashes. So as I daydream around how I might set things up next year, I’m pondering the idea of maybe getting a third flash to offer some fill-in light along the axis that may be getting the short end of the stick lighting-wise. (You could think of the lighting setup I’ve been using as similar to a “/” shape and the one I’m considering might look a bit like a lowercase lambda, “λ”.)