Back in the good old days of 2007 I started a post series called Mailbag where I posted and tried to answer questions that I get from readers. It was a good idea, because I find myself quite frequently answering the same kinds of questions over and over. But, I never quite got around to making that into a regular series… two doesn’t quite sound like a series does it?

For 2010, I’m going to start it up again, beginning with this question from a reader about a budget lighting:

I am an amateur photographer and enjoy taking pictures of food. Currently I’m trying to put together a family recipe book with photos.   The lighting in my kitchen is not very good. I found your blog and I read the blog post about food photography gear from 2006. My question is about lighting gear. Do you still recommend the Tota-Pak or V-Light Pak?   $200 would be about tops for my budget. Any recommendations would be appreciated.

My first recommendation, if your kitchen doesn’t have good light, would be to find a different room in your house with a window. You only need one good sized window, and a table set to its side. My kitchen doesn’t get good light either. My studio is upstairs, with windows on the south and west sides.  On sunny days, cover the window with a very sheer curtain or some tissue or vellum to soften the light or it will be too harsh.

But of course, there are still times that sunlight just won’t work, like when you are trying to shoot your dinner (or, in Seattle sometimes in dead of winter, your late lunch). So, having a nice, compact lighting set is nice to have.

The Lowell Tota’s are good lights. They worked very well for me getting started… the bulbs last a long time, they give nice soft light when used with the umbrellas, and they are pretty compact. One thing to be aware of is that these lights do get very, very hot and are somewhat easy to knock over, so be very cautious running them around small kids or pets.

The other option, which is a bit less expensive, is the Lowell Ego light system which uses standard household lightbulbs (Update: they use compact florescent, which everyone should be using now anyway! See the comments for more on the replacement bulbs). These are super easy to use, and work quite well for tabletop work. As long as that is all you are doing, I’d probably say go that way. The Tota’s are more flexible though if you want to get wider shots, like people cooking in the kitchen.

I still use natural light 85% of the time, but I’ve moved to an off camera speedlight kit (with pocket wizards) which is super compact for taking on location, and battery powered so I don’t have to worry about finding electrical outlets near where I’m shooting (something you will have to think about with either of the Lowell lights mentioned above). You can get a very simple speedlight kit for about $249. I use rechargeable Nimh batteries because they do chew through the batteries pretty quickly.

Do you have questions? Send them my way!

Have you ever noticed little bits on your photos? Not the little crumbs from a cookie that help make the photo more real looking. But, little indiscernible dots or smudges or blobs that appear, usually if you are shooting something on a solid white background. That’s dust. And, if you are using a dSLR, you probably have some on your sensor.

Here’s a quick way to tell. Close down your aperture as far as you can… probably somewhere around 22. Then take a properly exposed photo of something white. Any dust that is on your sensor is going to show up, and look something like this:

The first image is at 100%. You can see two little light grey spots within the red highlighted area. The second box (below) is that red box zoomed in even further. If you look closely in the first box, right by the right edge, you’ll see another dust bunny… a little squiggly do like thing. These little specks will appear in the same place on every single photo I take. Now how annoying is that?

The good news is that there are many ways to fix this problem. First off, if there are just one or two spots, the clone brush in Photoshop or the spot healer in Lightroom will make quick work of them. The only time they are really noticeable (if they are small and light like these) is when they are on solid color backgrounds where they are also easy to fix.

If you easily get weary of the manual dusting, SensorKleen is app that can do the cleaning for you. Basically, the software analyzes a batch of photos, and tries to find the common spots… then it can clone them out automatically. I tend to go the old-fashioned way, but if anyone out there has tried it and has feedback, I’d love to hear it. I’ve also heard that the software that Nikon ships with its cameras that has a dust removal feature.

Of course, once it gets bad enough, you really do need to clean your sensor. There all manners of brushes and swabs created for this task. Personally, I’m terrified to touch the sensor on my camera. I tried to clean my view finder up one time and mucked it up… so I stay far, far away from the inner workings. Instead, I take my camera in 3 or 4 times a year to get it professionally cleaned. In Seattle, I can highly recommend CameraTechs who will clean a dSLR sensor for between $35 and $45 dollars (depending on the size… 5Ds are more than 20Ds). If you live near one of the Canon service centers in New Jersey & California, I’ve heard rumors that you can take it in there and they will clean it for no charge.

Canon has started to introduce automatic sensor cleaning to its cameras, but early results have been not so good. Olympus’s model seems to have faired better, so perhaps there is hope in the future for this technology. Until then, CameraTechs has a pretty regular customer in me.

I’m a bit late finding this, but if you haven’t seen it yet, and were curious about how the relatively inexpensive Lowel Ego Lights worked for food photos, check out Steamy Kitchen’s excellent post that shows how much difference they can make. Brilliant.

Fun camera… but not what I actually do my work with…

Wow. It seems like I just posted my Guide to Food Photography gear… but it’s been almost a year, and I have realized a good chunk of my equipment has changed during that time. Since the number one question I get from readers is what gear do you use, I thought I’d give you a new peak into the studio & camera bags.
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If you’ve been using a digital SLR for a while, you know how frustrating it can be to pick up a point and shoot camera and get good shots. For that matter, if you use a point and shoot, you might be just as frustrated. A point and shoot, for all its ease of size and automation, makes all kinds of decisions for you in what makes a good photo, and while often it is right, it is just a piece of hardware and can’t read your mind about exactly what you want. When you photograph food, this becomes particularly clear.
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One of my early posts on Still Life With walked through my workflow of taking food shots in my studio (ie, my kitchen). Well, I recently realized how much a seemingly small change has made to my overall workflow. That change was starting to shoot tethered to my laptop, and it’s had numerous impacts on the steps I follow.

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It must be the holidays! I’m getting tons of requests for lighting and camera recommendations, so I thought perhaps I should do a little post on my gear and photo-centric wish list. (plus, I just updated my Amazon Shop, which includes most of this stuff… I’ll keep it updated with my latest finds.)

Camera

I’m still shooting with a Canon EOS 20D for most of my shots. I love this camera… it’s a great size and produces beautiful shots. Of course, the Canon EOS 5D is on my wishlist… but I think it’s still many months off.

In the studio, I shoot with one of three lenses almost exclusively: the Canon EF 100mm f/2.8 Macro, the 50mm f1.4 and the 45mm f/2.8 Tilt Shift Before I got the tilt-shift, I used the 50mm quite frequently… but it’s so close to the 45mm, that I rarely use in the studio anymore. 75% of my shots are now with the 45 T/S. It is an amazing lens.

Outside of the studio is a different story. For shooting on location with minimal gear, the 50mm 1.4 is a must have. Nothing else handles low light like this lens (ok, the 1.2 version would, but can anyone afford it?). I also love to take the 24-105mm f/4L, which is a great lens for well-lit shots and gives a bit more flexibility for framing. Just the little bit of zoom handles most of the shots I want to take. If I’m up for bringing a 3rd lens with me, then it’s the 200mm f/2.8L , which is my favorite telephoto lens… cheaper than the 70-200 2.8 and a bit crisper.

I also have some accessories. My favorite is the Canon EP-EX15 Eyepiece Extender, which lets me look through the view finder without always smudging up the display on the camera. Such a simple little thing, yet it makes me so happy.

I also love my Remote Switch, which lets me take photos on slow shutter speed without having to mess around with the timer. Of course, I’m sure I’d also like the Wireless Radio Remote too.

Lighting

A good portion of my lighting is free, or nearly so. Big windows and french doors that face south and west. I’ve covered the southern windows with a frosted vellum that is available at art supply stores by the roll. That, and a few big sheets of styrofoam board are my lighting solution for about 75-80% of my photos.

When I don’t have enough light, I use the Lowel Tota system, which is a reasonably priced start into studio lighting. The Tota-Pak includes a 750W tungsten halogen lamp with bulb, a stand and an umbrella is regularly $280, but I just noticed that it is on sale for $194 on Amazon right now. The V-Light Pak, which is 500W is on sale as well for about $5 less. I haven’t used them yet, but I recently got the Tota-frame and Assorted Lighting Gel Set for the Tota-lamps as well.

I also have a very small fresnel light by Mole-Richardson that I use only for special cases that I need just a little bit of extra light in one spot. It’s fairly dramatic lighting, esp with all the accessories you can put on it.

Props & Accessories

My tripod is a set of Manfrotto legs and a Really Right Stuff ball head. This is a heavy duty studio tripod… the kind of thing you wouldn’t want to throw into a backpack and take with you, but excellent in the studio. I also have a great arm that clamps onto my tripod for holding onto miscellaneous gear like reflective discs.

White dishes are my most frequently used, but I have quite a few solid color things as well. And some dishes with Asian prints. But, if you are just starting out, make sure you have a good variety of white plates and bowls, and some simple flatware. Forks appear most frequently in my shots, quickly followed by spoons. I tend to use the smaller flatware more frequently, but I also have a couple of interesting serving tools, like a copper ladle and coffee scoop.

For backdrops, head to your local fabric store. You can get some good deals on cloth paying by the yard. Who cares if the edges aren’t finished when they don’t show up in the photo. Also, hand-made paper found at arts supply stores or card stores makes for some really nice backdrops, esp when you have a working sweep.

For a more finished look, I also have a fairly wide selection of towels and linen napkins that can be folded and placed under or around dishes. I prefer simple patterns and solids, in fairly light colors for these… but I do have the occasional piece that is quite bright and playful. I find most of my linens in the sales racks.

For styling your food, a good set of tools to have on hand are a pair of chopsticks (for pushing, poking or picking things up), tweezers, a pair of manicure scissors, some cotton swabs, a spray bottle (with water) and plenty of paper towels. Joe Glo wipes are also really good for little clean-ups.

Software

I reference Photoshop CS2 for most of the articles on Still Life With. It’s really, really expensive but it’s also just about the only tool that you can use to do advanced editing. If you don’t need advanced editing, just go with Photoshop Elements. If you outgrow it, Adobe is generally pretty good with giving upgrade discounts. Or, if you are really just getting started, you can always go with iPhoto on the Mac or Picasa on the PC without any outlay of cash.

My newest software necessity is Phase One’s Capture One Pro. It’s a raw workflow tool that lets me shoot tethered to my Mac. I have a long USB cable that connects my camera to my Mac, and as soon as I take the photo, it’s on my laptop and I can see it full res to make sure that I’m getting what I wanted. It’s completely changed the way that I shoot and edit, and I couldn’t be happier about it. But, it was a serious expense. Unless you are going pro, there is no reason to pay that kind of money. That said, I’ll have more info on shooting tethered in an upcoming post.

BTW – I’ve been thrilled to get so many mails asking me my opinion on this stuff. I’m very happy to help… so if you have other questions, do feel free to shoot them my way!

Technorati Tags: camera gear, Food, Food Styling, Photography, shopping

A few weeks ago, I posted about a new rental lens service called Ziplens. Unlike Rentglass, Ziplens had the two lenses in stock that I was hoping to try, so I placed an order to rent them for a couple of weeks. The lenses have come and gone back, and I must say, the whole process was amazingly simple and effortless.

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A new online mail delivery lens site has entered the arena, which is great news for those of us who were on the lookout for some of the specialty lenses that always seemed to be out of stock at RentGlass.com. Ziplens offers almost exactly the same service as RentGlass… but at least at the moment, has most of their lenses in stock. Plus, and added bonus, you can reserve out of stock lenses that will be shipped to you upon return. I like that system much better than Rentglasses notification system, since the few times I’ve been around when the In Stock email alert came in, the lens was back out again by the time I added it to my basket.

I’ve got a couple lenses on their way to me now, so I’ll let you know how it goes.

[via PhotoDoto]

Technorati Tags: Photography

This is cool. RentGlass. com lets you rent lenses for your SLRs so before you plop down thousands of dollars on a lens you may end up hating, you can try it out for relatively little. For example, the Canon 24mm Tilt-Shift is available for $40 to $30 per week (instead of it’s $1,000+ price tag), and the 50mm 1.4 is only $17 per week. The weekly price goes down if you rent for a slightly longer period. Right now, only Canon-compatible lenses are available, but Nikon lenses should be online around June 20th.

Lens come with prepaid return shipping and label (you ship back in the same box) to make the whole process as easy as possible. Plus, your “week” doesn’t begin until the package is delivered… something they can tell with USPS tracking.

If you live in a city with a specialty camera store, you probably already have access to lens rental… but this is a great service for those who don’t have that luxury. And, be sure to compare the prices of Rentglass with your local shop… one local shop rents that same Canon 24mm TS lens at $30 per day or $120 a week!

[from Photodot]