All Images And Text On This Site Are Copyright 1999-2000
by
Thomas D. Hill Jr.
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16 Feb 00
Nikon SB-28
I bought a SB-28 when I originally got my first camera-a F90x. This flash has been indispensable for most of my photography in low-light situations. You'll notice through my gallery, I've used this flash with some success. I wouldn't say it's because of great skill and understanding. I haven't had much training as to how to employ it and most of my learning has been limited to trial and error. As a result, I've had a lot of success and quite a bit of "head scratches".
Probably the first thing I learned when using my F90x and SB-28 flash combo was the camera sets itself to properly expose a bright background and the Matrix Balanced Fill Flash is used to illuminate the subject in the foreground. I first noticed this when running the camera in aperture priority and turning on the flash on. In high contrast situations, the camera's shutter speed typically sped up to account for the bright areas. This all came to light-no pun intended-when I tried to use flash exposure compensation values recommend by pros using Canon equipment and was surprised by my underexposed pictures. I had expected accurately exposed pictures with a hint of flash to accentuate a feature. Unfortunately, my results were entirely different. There were accurately exposed backgrounds and terribly underexposed subjects. A little research revealed not only my camera adjusting it's shutter speed to expose the background, but the flash was already reducing the fill light using the "Balanced" portion of my flash's exposure technology. As a rule now I set the flash to Matrix Balanced Fill Flash at about -.3 EV. I'll may set the exposure compensation to other values depended on the situation but generally, I just leave it at -.3 EV.
This philosophy goes out the window when I'm using my camera's centered weighted or spot metering. Matrix Balanced Fill isn't available under these conditions. Actually, Matrix Fill is available it just isn't balanced and therefore automatically reducing the flash's output. I can practically use Canon recommend values for exposure compensation. You'll notice when the flash is turned on the camera's shutter speed doesn't adjust for bright backgrounds and continues to use values calculated for the overall scene. I've use this mode under limited conditions where I don't want the camera to over think a situation. Most of the time, I set the flash and depend on whatever I get.
Bogen 3021 Tripod
The single most important accessory in my inventory is my tripod. Commitment to using it has probably made a the biggest impact on my output of quality photographs. Not only does it stabilize your camera therefore allowing you to take long exposure pictures, the process of fiddling around with it and composing your picture makes your 35 mm act more like an 8x10 large format. I've totally converted to the belief that slower is better. Thought and consideration of what's going into your image takes time and energy. Anything that forces me to reconsider my composition and think about what I'm doing in a good thing. I try to get away from assembly line photography and the mindset that you'll eventually make a great image if you take enough pictures. I don't think that very creative and it's plainly wasteful.
I know many photographers are very particular about the tripods they use. Several hundred dollar Gitzo's are the mainstay of today's Pro photographer. I, however, find use with the ubiquitous Bogen-Manfrotto 3021. This darling has been maligned over the years because of it's weight and many parts. Rumor of key elements separating themselves from the tripod are common in photography circles. I've used mine for years and have only had one problem what was easily fixed. It's never let me down. I've always been able to depend on it to support thousands of dollars in camera equipment. Maybe I have a particularly reliable tripod but based on my experience, I can't justify going to a more expensive tripod.
One unfortunate feature of an all aluminum tripod is it acts like a great heat sink. Heat doesn't flow any faster than from your bare hand to cold metal. Personal experience has shown that you can actually freeze flesh to metal when holding this. If you can imagine licking a lamp post-AKA A Christmas Story-or licking a ski lift-AKA Dumb and Dumber, you've got the picture. To solve this there are several high-tech-read pricey-solutions on the market. I went to the hardware store and but pipe insulation covers. I cut them to length and Duck tapped them securely. Cost: $5.00. Not only have I solved the freezing body part problem but I also have a nice set of padded legs. My shoulders have been thanking me since.
I use a ball-head on my tripod. At first I used a Bogen 3057 that worked as well as it cost. For simply stabilizing your camera and short lens on the tripod, this ball head works fine. Unfortunately, telephoto utility is sorely tested and the ball-head falls very short. You can't effectively adjust the ball-head's friction and therefore dreaded inadvertent camera/lens flop over is a constant hazard. I've never been able to trust leaving my camera with anything larger than my 70-180 zoom on this ball-head. I can attribute a couple of gray hairs to worrying about any of my lenses on this ball-head.
I knew purchasing my 500 F4 AF-S would force me to invest in something more reliable. I got a Kirk BH-1 ball-head because of several factors, not the least of which was great reviews. Effectively, it does everything well. The friction adjustment is functional. I can reliably freeze the head to prevent dreaded camera flop-over. In most cases it's movement is smooth. Combined with my 500 F4 AF-S, it's superb.
Even though the usefulness of my Kirk BH-1 made me very happy, I invested in the Wimberly Sidekick to use with my long telephotos. It's an accessory that balances your long telephotos and allows almost a weightless feel when shooting action shots. All you do is position your ball-head in the 90 degree setting, fit in the Sidekick, attach your camera to the Sidekick, then balance the whole apparatus. The process takes about 20 seconds and the benefits are tremendous. In flight photos of large birds are significantly easier. I'm not saying things are easy with this setup. They are just a lot easier than before. The best part of the Wimberly Sidekick is it doesn't replace my current ball-head. I just remove it and I'm ready to use my tripod normally with all my other lenses.
One hidden benefit I've discovered with the Wimberly Sidekick is it can allow me to shoot upright photos when I have my tripod's center column reversed for shooting objects low to the ground. You don't have to contend with all the normal problems you experience with the center column is reversed. Instead of having to stand on my head, the Sidekick can keep with camera upright. It's a nice feature that I haven't heard anyone else speak of. So, if your interested in low level photography and haven't invested in a Bogen Super-Clamp, you can use your Wimberly Sidekick to keep things upright.
