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hi

Whitehouse fashion school had their annual parade over two nights, Matt K and krystian Polak accompanied me one after another.

Shot with my new 70-200VR f2.8 constant 1/250 ISO100 with bounce flash, regardless of my jittery monopod VR performed well

Had to bounce flash because i didn't want the full effect of direct flash, but in instances where i had to switch to landscape orientation i got images that were illuminated from the right. I really need to get a flash arm.

It was the longest parade going for more than an hour with no breaks - nuts!

Leather gets a touch of cabaret flair and attitude.


85mm f1.4 is the best lens to use for the runway, but the 70-200 is versatile and you can creatively frame images which is a bonus but it's also bulky and hard to handle, you can't really switch positions easily without lugging a monopod and the gear attached.




My absolute favourite range featured this Victorian influenced Haute Couture creation with a crazily crafted organza headpiece, it was so stunning i concentrated on this dres neglecting to shoot the other cool dresses that appeared in the range, as the format allowed for 3 models to walk simultaneously along a wide runway, not the best format as I tended to miss one or two models opting to shoot one in portrait orientation.


My favourite shot in this set.


shot this one with f4


gangster chic made a stylish appearance much to the crowds applaud


Lighting was great during this segment


see


fashion design also involves knowing about textile technology and application, this silk pieced was acid etched to make round little bubbles in it - innovative!
the designer on the right won a scholarship to study fashion design in Florence Italy - well obviously.


many more to come...

wendellt,
Where are all the photos which you shot behind the runway including the prep. rooms?

And 85/1.4 or 105 or 135 f2 are the best glasses to play at these fashion shows.

Wendell,

I can see some obvious improvements of the quality of captures and the composition with the 70-200. I think you have made a very good investment.

Now what can I sell so I can have one

Yes, Wendell!
You have got some improvements with these shots and with the 70-200VR.

Flash arm or portrait flash package is a must tool of trade in switching from landscape to portrait, other flash arms are very bulky and required to set it up on the tripod, the RRS can be used handheld or in mobility, also it works perfect with the LS PJ.

Nice work Wendell

Nice work Wendell. I wish I had that lens in my arsenal. I would have liked to be able to get up close as you have. Now to process all that stuff!

Er, Wendell,

wendellt wrote:Had to bounce flash because i didn't want the full effect of direct flash, but in instances where i had to switch to landscape orientation i got images that were illuminated from the right. I really need to get a flash arm.

The flash head swivels for exactly this purpose!

gstark wrote:Er, Wendell,

wendellt wrote:Had to bounce flash because i didn't want the full effect of direct flash, but in instances where i had to switch to landscape orientation i got images that were illuminated from the right. I really need to get a flash arm.

The flash head swivels for exactly this purpose!

Gary,
But it's so tough with the 70-200VR, coz the lenght of the lens and it's still on its side. Best is get the flash on top or over the barrel of the lens.

Wendell, Great job with these pics, i think they are stunning and i think maybe some might be looking at these flash plates etc.. for ease of use as we know you do a lot of this and do it well.

Well done Wendell, your shots are improving each fashion event you shoot, and we never get sick of looking at the crazy new fashions and the "pretty ladies" (for Rove watchers).

That organza headpiece / hat is very cool!

Birddog114 wrote:Best is get the flash on top or over the barrel of the lens.

Actually, I would dispute that, and especially if you're shooting using direct, not bounced, flash. The further away from the lens axis that your flash is, the less likely you will be to get redeye.

That's one reason why the big Metz hammerheads - 45CTx and 60CTx - series were so good - they increased that lens to flashhead separation. I honestly cannot recall a case of redeye when using a big Metz, but even with an SB-800, you do need to take steps to avoid it.

While I accept that the 70-200 is big and heavy, that's always going to be the cae with that lens, and a flash bracket on top of that is only going to make things heavier and potentially more difficult, rather than easier.

It takes but a poofteenth of a second to swivel the flashead, and you're done!

Wendell,
Get yourself a Lightsphere PJ and it won't matter where the flash is... No shadows and no red-eye... You don't need a bracket...

leek wrote:Wendell,
Get yourself a Lightsphere PJ and it won't matter where the flash is... No shadows and no red-eye... You don't need a bracket...

leek,
He does need the flash bracket, even with the LS PJ.

Birddog114 wrote:

leek wrote:Wendell,
Get yourself a Lightsphere PJ and it won't matter where the flash is... No shadows and no red-eye... You don't need a bracket...

leek,
He does need the flash bracket, even with the LS PJ.

That's not what the Lightsphere marketing says :

Gary Fong wrote:Lightsphere PJ - It's the end of the flash bracket!

Hi guys

At fashion week all the pros in the pressbox didn't use lightspheres they used flash arms and their gear setup looked nice and in place for that event.

i will either get a metz flash on a flash bracket or arm. Currently looking for a temporary cheap flash arm one that doesn't cost US$450 from RRS

Personally i don't like the fill flash effect on my images, if the lighting is great I don't use flash, just had to use it on the whitehouse show becuase the lighting was uneven.

leek wrote:
That's not what the Lightsphere marketing says :

Gary Fong wrote:Lightsphere PJ - It's the end of the flash bracket!

Anyone can say what they think, but in reality, it doesn't do well and flash bracket will be needed.

Perhaps he's saying the LS PJ helps to avoid the shadow of the long lens when flash mounted on the camera hotshoe, so flash bracket doesn't need in this case, but do need in some other shooting situation, where you want to use the long lens and having the flash off the hotshoe.

We are talking to get the flash off the hotshoe and use it in mobility or handholding also.

I don't know how you manage wendellt.... It must be a tough job.

Might have to change from sports to catwalks, better looking women!

Seriously though, nice images. Does the flash bracket make a great difference? I just got B&h's catalogue in the mail and it's got a few in it (it's got EVERYTHING in it).

Raskill wrote: Seriously though, nice images. Does the flash bracket make a great difference? I just got B&h's catalogue in the mail and it's got a few in it (it's got EVERYTHING in it).

Yes, flash brackets helps and required in many shooting as portrait, wildlife, bird, macro.
There are many brands & styles with these brackets and lot of variation of their values, depend on how deep your pocket is.

Wendellt,

Pretty good shots All of them are full or nearly full frames? Asking, because I am interested how zoom like yours could perform in sense of framing images.

I really like the second one. Maybe a touch of post and it will be th top class

Regards,

K.Polak

Hi Raskill

I enjoy shooting fashion, it's dynamic, exciting, and the creative flair is in abundance, the lovely women presenting the garments on the catwalk is just a bonus.

Leek, thanks for suggestion on lightsphere I will consider it

Birddog no backstage access this time, guys with long lenses look scary enough, but i took social pics at the afterparty

Krystian
all full frame, 200mm on the tight crops and it helps with composition you can only do so much with a 50mm until the model gets closer, problem with zooms is that when i zoom i have to refocus i use single servo mode so i miss certain poses somtimes, AFC continuous tracking focus never works models move too quickly faster than AF-C can compensate for.
The more shows you do the more you can anticipate, it also halps talking to the stage director and getting a mini brief of the order of the models just so your prepared just like i did when you were there,