The Moment It Clicks: Photography Secrets From One of the World's Top Shooters

was done with film, but now it’s easier to do a double exposure in-camera with digital. For example, on a Nikon D3, it has a doubleexposure mode where you make one picture, the subject turns, and you just click again—it’s just not that tough. The secret to doing this (moving fast) is the focus cursors: you want the focus cursor on the eye. When he turns, you move to the equivalent cursor on the left side and now you know the two faces are in register.

     

    Steve Martin
    Get the Light Off the Camera
     

    “Remember, it’s a game of inches. Even getting the light source out there at the end of the reach of your arm makes the light better.”

    Obviously, to avoid straight flash, you gotta get the light off the camera. Sometimes this is easy. Leave it hot shoed to the camera, crank it up, and bounce it off the ceiling. Or the wall. Or swivel it 180° and bounce it off the wall behind you.
     
    Remember, it’s always good to redirect the light. That can be very easy, or it can be a bear. With wireless TTL flashes, just keep a master flash on the camera and a remote flash in your pocket or camera bag. Pull that puppy out and start moving it around. Remember, it’s a game of inches. Even getting the light source out there at the end of the reach of your arm makes the light better.

    Unfortunately, I’m not Mr. Fantastic and I can’t stretch my arm over a highway. Getting the light off the camera on this shot included a 30′ boom, a heavy movie-style stand, a couple hundred pounds of sand bags, a whole bunch of rope, three assistants, my pickup truck, a hand-held camera flying along a couple inches off the pavement, a lead car to warn off oncoming traffic, some very illegal highway maneuvers, and a high-speed vehicle duet that was right out of The Road Warrior .
     
    All to get that cheek shadow on the camera side of his face. Looks like he’s drivin’ west, headin’ into the sun.

    Straight flash? Highway heats up, the bike chrome gets nuked, and a lot of the tough-guy-on-the-chopper feel goes away. Straight flash makes him small, something Mr. Welbourn, an offensive lineman in the NFL, is very definitely not.

     

    John Welbourn
    Stay Close to the Candle
     

    “Looks like candlelight. It works, and it won’t cost you any dough.”

    Take this to the bank when shooting candlelight: ISO 400,second, f/2.8-and-a-half. Give or take a smidge (technical term). Flash settings: dial –2 EV (exposure value), and put half-cut of CTO (an amber/warm gel) over the flash head. That’s it. Looks like candlelight.
     
    This tip is better than “Foxy Lady in the third race at Belmont.” It works, and it won’t cost you any dough.

    Just remember to stay close to the candle. And remember, the candle is warm, yellow light. The last thing you want to do is blow that away with a strong, neutral white light. If you do that, you are setting up a psychological disconnect for the reader. Instead of getting involved in the photo, the reader says, “Huh?” Lighting is all about feel and color, and in this soulful, quiet situation, you feather the light in, and you stay away from the settings on the strobe that say “jackhammer.”

     
    Floor It!
     

    “Never underestimate the floor as a light source.”

    Ever look at your subject and wonder why their face is all aglow with the light? It’s often because the light is coming from below. Look around. The light from the door or from the window… is it hitting the floor?
     
    Never underestimate the floor as a light source. Set up your main light. Look average? Need a little glamour? A little fill? Throw a Lastolite panel [ 1 ] on the floor…or a fill board…or a bed sheet. Bounce a light into it at –2 EV off the main light value.

    [ 1 ] Lastolite Panel: A kit that has both diffusion and reflective material that fits onto a rigid, collapsible frame. Comes in 3×3′, 3×6′, and 6×6′ sizes. Ideal for diffusing or flagging light sources, or simulating window light. Breaks down into a small, light duffel bag. Very roadworthy.

    Presto. Your subject’s face starts to come alive, those undereye shadows soften, and your average executive, well, I’ll stop short of saying you’ll turn ‘em into George Clooney, but it’s helpful, let’s put it that way.
     
    Don’t try this if your subject wears glasses. We’re talking hit city, bad reflections. But, if your subject is a high-fashion model in Shanghai and you’re shooting her in a hip nightclub, hit the