Strobist is the world's most popular resource for photographers who want how to learn to use their flashes like a pro.
New to lighting? Welcome. Start with Lighting 101, just as millions of other photographers have done before you. Or scroll down to access Strobist's other free courses below.
You are currently viewing Strobist in index mode. If you prefer, you can view Strobist's most recent posts in more traditional blog format.
Lighting 101 is the core foundation of Strobist. It is a free, start-from-zero tutorial that will teach you the basics of lighting and minimalist lighting gear. Lighting 101 will have you up and running in no time—and at minimal expense.
Lighting 102 is the sequel to Lighting 101. Where L101 was about gear and basic concepts, L102 will teach you how to further understand and control the qualities of your light to make it do your bidding.
Lighting 103 is a deep dive into color. It explores the intersection of light and color to help you give your photos more nuance, realism and depth.
Strobist Lighting Cookbook, currently in progress, combines the concepts learned in L101-103 to give you more understanding and fluidity with your lighting. We'll also look at some of the shoots from a 360-degree/ecosystem perspective.
On Assignment features full walk-throughs of over 170 real-world assignments, complete with discussions ranging from lighting to concept to execution—and even some screw-ups.
It largely follows my path as a newspaper shooter and beyond, progressing from simple speedlights to more complex studio flashes. Occasionally, OA also features the work of other photographers.
Sad fact: There are a lot of companies that make some pretty crappy lighting gear, but are still happy to take your money. The Strobist Gear Guide is designed to help you avoid making many of the costly rookie mistakes I made over the first few years of my career.
This is the gear that works for me, day in and day out. It is solid, reliable and will get the job done without destroying your wallet.
Books are gear for your brain. Chosen wisely, they represent some of the best value for dollar you can spend as a learning photographer.
Featured on the Strobist Bookshelf are my current favorites, winnowed from hundreds of books read over the course of my career. It is a relatively short list, but there are solid selections for nearly any lighting photographer. The Bookshelf is updated regularly.
We are all born with more time than money, and die with more money than time. Strobist has a strong tradition in DIY lighting projects, which will help you to expand your lighting palette for little or no cash. (Pictured above: the $10 Macro Studio.)
Being visually oriented, most photographers embrace the concept of monkey-see, monkey-do. If that sounds like you, the links in the video vault will point you to the best 100 videos of the past nine years.
From the straight tutorial to the strange, it's all here. (Pictured above, Joe McNally's .)
Over the last few years we have had occasion to interview not only interesting photographers but also a few artists. And occasionally we'll turn the mic over to another photographer, for a change in perspective.
And for the record, we occasionally interview dead people. Because no one else is doing it...
Books, lights, mods, grip—and I am not even ruling out BBQ sauce in the future. If it is worth your time I will talk about it here. If it not worth your time, I'm probably not gonna talk about it.
Unless it is spectacularly bad, in which case who can resist?
Just what it says: simple explainer posts on how to do something cool. Or repurpose a common item for a photographic use. Or whatev. This one's pretty loose...
Playing With a New Light: Two Approaches
Thousands of miles apart (and brought together by the magic of Photoshop) readers Tanya Shields and David X. Tejada both made ring flash adapters recently. Then they proceeded to test them out on a nearly identical subject. I found the differences in the way they tested their new lights to be very interesting.
More after the jump. ________________________
Canadian amateur photog Tanya Shields, (left) built her ring light adapter out of common household items. It's a neat approach, as attested to by the fact that I immediately went out and ripped the design off. I built mine in about three hours (one good movie, one so-so movie) from cardboard, parchment paper, foil-backed tape, gaffer's tape and glue.
Total (prorated) cost: Under $5.00.
Yeah, yeah, I know: "What about the cost of your time, David?"
Well, first of all, I like making stuff like this. I also like watching movies. And my accountant will tell you that my time does not in fact appear to be particularly valuable in the monetary sense anyway.
Long-time pro David X. Tejada, (right) whose lighting videos have spent so much time on Strobist that they keep a toothbrush here, made a spiffy new hardware store ring flash. (He shows you how to build it here.)
While the two ring lights are very different in construction, they create fairly similar light sources. What you'll get from these designs is a typical ring flash look, flavored by the fact that the ring will likely be a little hotter on the side closest to the flash.
Some may see the lack of absolute consistency as a hindrance, but I would prefer to think of it as a feature. The ring is going to fill all the way around, with likely about a stop or so difference between the flash side of the ring and the other side.
Since the rings are very portable and hand-holdable, you can choose to put the hot side on the top or bottom by rotating the ring. The hot bottom will give you more of an in-your-face ring shot look, whereas a hot top will give you more of a subtle ring look.
(Incidentally, this is the first time that the terms "David X. Tejada" and "hot bottom" have ever appeared on the same web page.)
Anyway, through some freakish and coincidental force of nature, both Tanya and David both proceeded to test their new ring flashes out on a young man wearing a hoodie. The similarities in light source and test subject matter struck me as interesting, and made me think about two completely different approaches to thinking about the same light source. ________________________
Tanya did exactly what very many of us would have done: Walk around here house shooting anything or anybody who would sit still long enough. Her self portrait up top was done with her ring flash, too.
When I made my first ring flash, I did just about the same thing. The light just puts a whole new spin on just about everything. And you are like a kid in a candy store -- a weirdly 3-D, flattish, wrapped-shadow candy store. You go out and shoot a memory card full of photos that each like all of the other ring flash pix out there.
Nothing wrong with that. You just can't help yourself. It's too fun.
But someone like David, who has been around the block a few times, tends to think of the ring flash a component in a multi-light scheme. This is an approach that many of us can learn from.
Take the example above. David shot his nephew (and fellow Strobist reader) Ian, using a similar ring flash to Tanya's model.
But David is using the flash as part of a triangle lighting setup, with two other speedlights positioned about 20 degrees behind Ian on each side. In doing so, he is completely wrapping Ian with light. Working about two stops above the ambient exposure (as David is) means that Ian is effectively being lit on another plane than the diffuse, grayish ambient.
___________
POP QUIZ:
Q: How would I know David is working about two stops over the ambient? A: Because on a cloudy day, properly exposed snow would be rendered a couple of stops over medium gray - bordering on white. But David's snow is very close to medium gray. Bringing his subject up with strobe allows him to put the snow at any tone that he wants, from near-white to pitch black. ___________
Okay, back to the photo: Which means that not only can David get this cool separated (dare I say, almost Dave Hill-ish) look, but he could also do the warm gel / cool gel thing, or make that dropped-down ambient any color he wanted.
Mind you, this is not a typical look that will pop up every week in one of David's oil-rig annual reports or brochures. But one day when he needs to amp a boring portrait, will be able to whip this technique out to save the day and look like a hip young Gen-Y shooter in the process. (Don't worry, Dave. You're better lookin' than that Lawrence kid.)
Here's the point: The first thing someone like David T. does with a new light source is to get past the obvious and start to experiment with it as an integral part of a lighting scheme rather then as an end to itself.
To be fair, my first experiences with the ring light were much more similar to Tanya's. But I am learning to think more like David T. as I go forward.
________________________
UPDATE: Australian reader Sam Webster took his new ring adapter into the bathroom to shoot underwater portraits. I thought that was a neat twist, and a cool look for the water-themed series of shots he was doing for a local band.
He did a video of the shoot here. More of his pics are here.
It's double-feature Friday here on Strobist, where hotshot corporate shooter David X. Tejada has posted two new videos of his go-to lighting gear for shooting on location. Dave's kickin' some good light, as we've seen before, and I always appreciate a peek inside the cases of a talented location photographer.
In the second video, he gets into some of the less common gear he uses, including ready-made, store-bought(!) grid spots for his tricked-out Vivitar 283's. He also uses an an old favorite of mine, the Morris Mini flash.
(Hit the fridge for a li'l beverage, then settle in for part two and some links after the jump.)
Cool beans, Dave. Thanks for sharing.
If you have a killer small-flash location lighting bag, film your beautiful self showing it off and shoot us a link in the comments. We are such geeks for this stuff... __________________________
While in Denver late this summer I got to hang out with David Tejada, a corporate photographer from the area and frequent blogger/teacher. (Dave needs no introduction for long-time readers of this site.)
So I couldn't pass up shooting him -- and using his own cool DIY beauty dish to do so. Read more »
Corporate shooter David X. Tejada has been mentioned enough times on this blog to legally qualify us as stalkers.
(Hey, whatever it takes to let him know how much we truly love him. Besides, no one has issued a restraining order yet.)
But if we were not following his every move, then how would we know that he has taken a cue from some of the speedlight beauty dish designs floating around and created what is maybe the best version yet?
A cheap plastic pot, some paint, a CD case, and Dave's The Moment of Zen: A $2.39 convex mirror from an auto supply store. Check it out, here.
Dave X. Tejada: Head Shots, and Pimping Your Chimping
How do you get to never be without access to your prized Golden Girls DVD collection while on the road, and write it off on your taxes at the same time? If you are David X. Tejada, you make up some lame story about how clients would rather chimp themselves on a seven-inch screen instead of the 2.5" back-of-the-camera version.
Being Dave, he sneaks in a little lighting info, too. That big feathered soft box / reflector combo is makin' some bacon for him. And I love how well the small seamless rolls fit into cubicle land. You can shoot Dilbert and get him right back to work before Wally comes back from the coffee machine.
And anyone catch the second, stealth fill card in there? That table is white and folds up to nothing. Makes me wonder if he scrounged it from on site, or if he gets to write off his picnic gear, too. Great idea.
I'll tell you right here that the next Wally-Mart special fold-up table I buy will be white.
And don't worry, Dave. I'm right there with you on Nikon not increasing the size of the back-of-camera monitors as fast as our eyes are going south. __________________
Strobist reader/pro shooter David X. Tejada has posted another video, this time of a shoot at a drilling rig. (Dave specializes in that energy industrial stuff.) I especially like the parts in the video which show him interacting with his subjects after having set up the light.
Dave's photos have a very "naturally lit" look, with the light not calling attention to itself. This is important to remember, unless you happen to be shooting for a client that is also a lighting geek. One of my weaknesses is I tend to like to amp the light no matter what, which can sometimes make the picture about the light rather than, well, the picture.
What Dave is doing is more subtle, and, I would suspect, more lucrative. ______________________
David X. Tejada on Location Shoots, Bart Simpson and Saddam
NikonPro has a neat little feature up on our own David X. Tejada. Lotsa good info in there - including how to defeat a subject who shows up for a corporate shoot wearing a "Bart Simpson strangling Saddam" T-shirt.
Also at NikonPro this month, another Strobist reader is featured: Bob Krist talks about why he has shelved his Nikon D200 and now travels with a sub-$1,000 D80.
On Assignment: David X. Tejada, Kicking Butt with Small Flashes
First update: Adds podcast link to bottom of post.
Alright, confession time.
I was scanning through the new pix in the Strobist Flickr pool and I come across some thumbnails of mix-light, outdoor photos.
As I was deciding whether or not to drop this guy a "hey, pal, we try to limit the pix to off-camera strobe around here" note, I opened one up.
Well, shut my mouth.
Not only is Colorado-based pro David X. Tejada using his SB-800's subtly, effectively and creatively, he is doing it in ways that do not call attention to the light itself. He's just making killer pix.
Will I be, uh, incorporating what I have learned into my own photos? Sure will.
Take the top photo, for instance.
This is not the garden-variety, mix-light city scene it first appears to be. It's a shot of the mass transit train rolling past, done for the maker of the cars. David just decided to amp the photo by including the cars into a beautiful mix-light scene of the city.
But, as you know, the shutter speed at that time a day is not going to be anywhere near what you need to stop the train. So David just let it fall where it may (1/13 @f/4) and used two small SB-800's on Pocket Wizards in the garage below him to freeze-blur the train as it went past.
This guy is going out on shoots with a little gear and a lotta brain.
(Click on any photo to see it bigger.)
Take this architectural shot, for instance. Looks like available light. But David has two SB-800's (just outside of the frame on each side) to provide detail for the two planters.
Subtle, but very effective.
And that's the next level you reach for after you have grown tired of the "HEY-LOOK-AT-MY-LIGHT!" style of lit photography.
Finally, this simple graphic of an I-beam uses small flashes to add color and detail to the main subject by lighting it from each side. Ditto the guy on the left.
If you want to know what this picture would have looked like without flash, look at the smaller beam at right.
I talked to David on the phone after seeing his pictures pop up in the Flickr pool. He and I both agreed that, even though you own the big lights, it can be more fun to leave them at home and find ways to solve problems with the little fellas.
If you are a photographer and you want to see what can be done with small flashes on a larger scale, check out his stuff. He is providing good info on techniques in his Flickr postings.
And if you are a company who wants some good art, hire him. Just remind yourself not to worry if he shows up for your annual report shoot with a body, a tripod and a duffel bag full of "amateur" flashes.
And if you would like to hear David talk more about his lighting philosophy, you're in luck. StudioLighting.net has a podcast interview with him from a little ways back. It's 18 megs, so dial-uppers should be forewarned.
Welcome to the On Assignment archive, where we translate the skills you learned in Lighting 101 to the real world. These posts include many of my own assignments from the last ten years, and you'll see my lighting skills growing right along with your own.
Each On Assignment post links to the next. So if you want, you can eat 'em like peanuts. Enjoy.
Do you have more time than money? Time to get your MacGuyver on with this collection of DIY projects. From the ridiculous to the sublime, it's all here. Most of these have been submitted by Strobist readers with more ingenuity than cash. That said, no matter how flush you are it is always better to save your cash for things you can't make yourself.
Links are coded to open in new tabs, for easier multi-project browsing. Pictured above: $10 DIY Macro Studio
The best part about facing the oncoming winter in Maryland is knowing I am gonna bail for a week of 80-degree days in Dubai at Gulf Photo Plus. It's my favorite annual photo event of all, and the only teaching gig I am planning for the whole year.
Heisler's coming back. Dave Burnett is coming. Martin Prihoda, too. And of course many of the regulars will be there. On top of that, I'm especially excited to be teaching a completely different set of classes this year. Read more »
Grover over at Photoshelter did a cool behind-the-scenes look into the one-man photo department at Threadless Tees, AKA Strobist reader Sean Dorgan.
Sean is self-taught and does all of the cool, better-than-they-have-to-be T-shirt shots for the site. (Most sites just import the design files into the web page, or at best shoot the empty shirts on white paper. Bleh.)
I have corresponded with Sean occasionally as he has grown from a newb flasher into someone who is doing some pretty neat stuff in the name of hawking cool, community-designed T-shirts. I was not at all surprised to see that beat-to-crap Tejada beauty dish he started out with, late in the vid either.
This should go without saying, but if your company has some sort of need for photography you might consider stepping up to the plate with your camera like Sean did. Worst case, you might rescue yourself from your cubicle a few hours per week.
Props to the increasingly education-oriented folks Photoshelter, and to Sean for raising the bar for Threadless.
If you are one of those people with more hours than dollars (we've all been there) you are gonna like this DIY ring flash video courtesy Roy at Motley Pixel. It's a variant of the design I first saw done by David Tejada. But the video (two, actually) lays it out in very nice detail.
Of particular note, and an evolution on Dave's design, are the multiple layers of diffusion at the flash end. This evens out the light around the ring. Nice touch.
First part is above, hit the jump for the second video. Read more »
And when I say "I miss," I mean that I miss it in the rose-colored glasses sense. Because some of the most fun I have had in the last 20+ years has been while shooting for small, community newspapers. So a few months ago I started stringing for a local business monthly as a way to keep touch with what I used to enjoy so much.
It was in that capacity that I was assigned to shoot a full-page portrait of Stan "The Fan" Charles, pictured above. Stan was to be the cover for the Maryland Entrepreneur Quarterly section. Which is pretty impressive, considering his entrepreneur chops are being earned running a successful newspaper in 2010. Read more »
Interfit has released some pretty cool-looking speedlight accessories and bracket system under a line called "Strobies."
Name similarities aside, there is absolutely no connection of any kind between this site and the Strobies XS stuff. And from a quality of light standpoint I really dig where they're going. My concern is how well the math holds up.
More wishy-washy waffling and indecisiveness inside... __________
Remember when we talked about the difference between a speedlight and a mono with respect to the architecture of the tube and reflector?
This new mounting frame, left, brings the two different types of flashes together in terms of quality of light. At first glance it looks like any one of several DIY speedlight-into-softbox mounts, but they take it a step further and include a system-oriented mounting flange at the business end.
Now, the flash head (mounted into a beauty dish / soft box / reflector / etc.) has its light positioned in the focal point of the light modifier. The diffuser dome sends the light out in all directions, completing the deal.
This architecture (or, rather, the lack of it) is what is wrong with just about every DIY speedlight beauty dish. David Tejada's version comes close, but still does not duplicate the bare-tube-and-beauty-dish combo.
So, What's Not to Like?
Think about what has to happen for that speedlight to get to the quality of a decent-sized bare tube mono. The tiny little flash tube emits light, it is reflected (with some loss) by the built-in reflector and thrown forward. Then it is collected and diffused by the plastic dome.
This diffuser dome step eats up a lot of light, and it happens before the light ever gets to the first light-sucking bounce or diffusion surface of any of the Strobies mods. Thus, high 9's on quality of light, and (an estimated) low 6's for efficiency -- I would not expect a lot of output along with that beautiful light quality.
Maybe a Mono?
In essence, you are spending both dollars and lumens to get your speedlights to create the same quality of light as monoblocs.
They look very well made, and I would be curious to see a price list. Because for the cost of outfitting one of these strobe-to-quasi-mono setups, you may well be able to pick up an actual, small monobloc. I am thinking AB400 or Elinchrom D-Lite, maybe. And you would still need a speedlight to stick inside the "Strobie" if you went that route.
If you already have the speedlight of your dreams, and are working indoors for close-in portraiture, the "Strobies" might be just the ticket. This is especially true if you are looking for beautiful, beauty dish light and TTL workflow. That's a plus the monos don't offer. But if you need high quality and high quantity light, be sure to take a look at all of the factors before you make the jump.
These are new, and I haven't seen any prices yet. So a lot will depend on that. Please update us in the comments if you see any hard numbers floating around. __________
Reader Tom Seibert has a detailed post on how to make a large DIY beauty dish for speedlights, including a bracket that takes the strain off of your flash by not using it as part of the structural support.
In a second post, he shows how he was able to adjust the beam pattern of the dish to make for a much smoother light source.
It is an evolution of the Tejada beauty dish design, but pushes the dish size and introduces a more sturdy mounting system.
UPDATE: More on how to adjust the beam, here. __________
First things first: I really need to do a sig photo for the speedlinks. I'm thinkin' tastily lit macro shot of two sausage links sizzling on the griddle. Got any other ideas? Comment 'em to me below.
Until then, your latest batch of artless speedlinks, after the jump: __________
• Robert Benson blogs about an insane man named Mark J. Rebilas, who will PW-remote his cameras just about anywhere. Holy crap, would you strap your DSLR to one of those airborne BMX bikes? Company body -- yeah, maybe. Personal body -- uh, no.
• Elinchrom has debuted a new 400WS battery flash: The Ranger Quanta. (Specs here, first Photokina video grope here.)
• If you haven't seen the Rangefinder Magazine article on small-flash corporate shooter David Tejada, you can now read it via PDF.
• Would you like to see dramatic portraiture up close and personal? Are you willing to work for free (grub included) to do it? Michael Grecco is looking for an intern.
• Martin Prihoda just finished his first gazillion watt-second lighting workshop, so you have to figure there was a YouTube video coming...
It's been forever since we did one of these, and I had a bunch of cool stuff pop up this week. So here goes:
• What? You haven't pimped your McNally yet? Me, neither. But I think I'm gonna. (Note to Annie: Please actually read the post before jumping to any naughty conclusions...)
• Live near Denver? Now you can get your small-flash learn on in person with Dave Tejada.
• Lighten up, Frances: Check out Zack "OneLight" Arias' excellent series of white background tutorials. Dude gets the Apple reflection look with a $10.97 Home Depot panel -- gotta love that. Great series, Zack.
The video above was done as an introduction Joe McNally's upcoming book, "The Moment it Clicks," and originally appeared on Nikon's website. But Monday it also popped up on YouTube -- on a new Joe McNally channel.
We have seen other pros (i.e., David X. Tejada and Chase Jarvis) creating an online presence and allowing people to plug into their brains. And we have seen how having access to that faucet of quality information helps so many other photographers. Someone like Joe McNally buying into the idea is a great step in the right direction, IMO. It will raise the quality of the whole, ongoing discussion. And I'm thinking he won't be the last one to make the jump, either.
For all of the bitching and moaning that happens about the huge changes rippling through the world of photography, in terms of pure learning this much is true: There has never been a better time to be a photographer.
Back to the book, I was lucky enough to get a sneak peak at it when it arrived in my email in-box a little ways back one evening at about 11:30 p.m.
As for what I thought of it, suffice to say that Mr. McNally now owes me one good night's sleep. I ate the whole thing in one late-nite sitting. It's a great read, and there will be more in this space when it gets closer to shipping, hopefully later this month. ____________________
Just for kicks, I took a few moments to set up a couple of SB-800's according to the Christmas game plan I outlined on Sunday. This is a technique I use a lot for family events (birthdays, Christmas, etc.) when I know where things are going to happen and I just want to light a room.
This is a good, low-pressure, no-risk way to experiment and practice. So the next time you have to light a room for fluid situations and every photo counts, you'll be ready. Or at least slightly less petrified.
Hit the jump for the easy-peasy lighting setup and some results from different areas of the room.
___________________
Okay, so here is the living room layout and lighting setup. I have annotated it with a grid for easy reference. For instance, the two PW'd SB-800 speedlights (on light stands) are at E-2 and A-10, respectively. They are set to 1/8 power + 1/3 stop, and pointed toward the ceiling with a 24mm beam spread.
(Click here to pull up a 1000-pixel jpeg of the lighting diagram for easy reference during the rest of the post.)
This diagonal, soft cross-light is an easy, go-to technique for evenly lighting a room with a couple of small strobes. This is a great way to shoot meeting shots, group shots, candids -- whatever.
Using the grid on the diagram as a reference point for both camera and subject, let's walk through a few shots in different parts of the room and see how it looks.
Pictured at the top of this post is my daughter Emily, opening a present near the middle of the room. The camera position is at A-4 and Em is at D-6. As you can see, the strobe at right is the main light, and the left/back strobe becomes a rim/fill light. They both combine to light the rest of the room.
The cool thing about this setup is that I can shoot from just about anywhere in the room. The only thing I have to do is to keep my strobes out of the frame.
In the photo at left, Ben and Em are entering the room after being help upstairs until the ridiculously late present-opening start time of 7:30 a.m. They are at about A-3 and B-4, respectively, and the camera is at A-8.
The flash at E-2 is now the main light, with the flash at A-10 becoming fill. We are also getting fill from the continuous light, a CFL, located high at about A-4. Shooting at a 1/50th of a sec at f/3.5 at ASA 400 picks up this warmish fill a little.
Again, as in the earlier photo, the light is not calling attention to itself, but rather is just making everything crisp and well defined. It's not dramatic, it is simply designed to work nearly everywhere in the room.
Next is Ben, 7, a certified Lego-a-holic, with his new Lego motorized, R/C bulldozer. The thing has over a thousand parts, and he is almost done with assembling it for the first of many times.
Ben took the high-risk route of penning a one-item Santa wish list this year. I do not know if I would have had the guts to do that, but Ben was resolute. That's the 7-year-old equivalent of putting a thousand bucks on 36-red at the Roulette table. It paid off. And, I have to say, that thing is awesome.
Ben is at D-8, and the camera is at B-5. But he is turned away from the closer A-10 flash, so it becomes a bright rim light while the E-2 flash becomes the flash that lights his face. It is hard to hide from this lighting scheme.
Last but not least is Ginger, our affectionate-but-dimwitted cat, stoned out of her gourd on catnip (in red package at left) late on Christmas Eve. She looked the way Susan and I felt. Mind you, our condition was fatigue-induced and not at all drug-aided. Unless you count Christmas cookies.
Cheech Ginger is on the ground (or well above it, depending on what we are talking about) at about E-8, and I am about a foot away at D-8 wishing like heck that catnip worked for me, too. (Hey, that stuff is cheap and grows like a weed really fast.)
Again, the lights just work. Nothing flashy or attention getting. Just even, crisp lighting that does the job.
One more important thing to note was that I invited the other adults to feel free to pick up and camera the camera and shoot whenever they wanted. Once the light was set up, it was pretty hard for them to miss. So, why not?
So, there you are. Make better Christmas/birthday pix while you bone up on light to juice up your next meeting/interview photos. It's a win/win and you makes some brownie points with the Significant Other at the same time.
____________________
Tanya did exactly what very many of us would have done: Walk around here house shooting anything or anybody who would sit still long enough. Her self portrait up top was done with her ring flash, too.
But someone like David, who has been around the block a few times, tends to think of the ring flash a component in a multi-light scheme. This is an approach that many of us can learn from.
UPDATE: Australian reader Sam Webster took his new ring adapter into the bathroom to shoot underwater portraits. I thought that was a neat twist, and a cool look for the water-themed series of shots he was doing for a local band.
