Dustin Diaz Photography

333/365. Is that a lens cap in your pocket? — why yes it is, sir.

quite a few things...

this is in fact a separate shoot altogether, separate from yesterday, which means as you can tell I'm still excited about this new charcoal background. I feel like no matter what I shoot can go straight to a magazine ad.

That is of course, with proper lighting. Which is why I've been doing a bit more in the studio lately since it brings forth a new challenge of obtaining "perfect light"

The difference is, when going outside in the deep darkness of the city, carrying softboxes, speedlights, and telephoto lenses, it's more of a miracle that I even get lights to those places, since I usually travel alone and don't have a car (and don't need one).

Which brings me to the point of shooting in the studio. It comes with an unsaid rule of "if you don't take a good photo, then you suck" (yeah, that's what's going on in my head). Afterall, you're in a controlled environment, and able to fiddle with lights all day long without worrying about bums asking for change, or rushing to beat the sunset, or timing your "in the middle of the road" shot before a trolly runs you over.

What's all this mean?

Shooting in the studio is hard, and it takes time, and involves making a lot of mistakes.... like.. a whole lot.

On a related note, when you're behind the camera AND in front of the camera, it takes double-time. But really, throwing on a nice jacket every once in a while doesn't hurt your photos. Sure beats the 'ol t-shirt 'n jeans.

Ok, enough typing of words that most folks blow by. Let's do this...

setup, camera, strobist info: see here

332/365. Underestimation — forget about it

Some of you knew already, but this is my first play with the new charcoal seamless, and it's completely awesome.

Plus I got to finally sport my new Ted Baker Jacket (purchased in Paris during our Honeymoon)... and I'm pretty sure I made the jacket look better than they did on the Ted Baker website.

On another note, turns out I'm in competition with a Youtube star for "Flickr" Photographer of the Year. So if you're still up for this quest that seems to be taking forever (Mashable allows you to vote once a day (gah this makes me sick to my stomache)), you can still do this....

But nevermind that now, we've got real problems.... let's check out this stupidly complex setup!!

setup, camera, strobist info: see here

304/365. I'm a School Girl — Happy Halloween

This is, without a doubt, Erin, looking extremely hot and sexy in her Halloween costume.

Unfortunately ,between getting a trick, or a treat... it looks like you'll be getting tricked into not getting strobist info tonight — even thought the big mama softbox came thru with a second performance.

And since it's nearing on 2AM, it's time to hit the sack. See ya tomorrow.

250/365. Teresa — I beg your pardon

This is Teresa, a friend of Erin's. Had a long family weekend... I have half the will to explain it and I understand I'm back by a few days. Live will go on. Baah.

On a astrisks note, I will no longer be posting to the strobist info group as per new rules which require text additions. In the meantime, I will continue to post fully documented photo setups....

speaking of that....

setup, camera, strobist info: see here

235/365. Got time to wait for tomorrow — To find it, to find it, to find it ~ Stone Temple Pilots (Plush)

Alas I've returned from the weekend. and if you were wondering, I still managed to take photos each day despite not remembering even taking them. I just knew that I needed to shoot something before stumbling back to the bedroom for sleepy times.

Anyway, here's me in our studio. And for those wondering, those aren't new shoes, I just decided they fit a little better than my Nikes.

And one small piece of news, Erin and I will be visiting London and Paris near the end of September. That means Julius, look out! We're comin' your way!

K. Follow the light...

setup, camera, strobist info: see here

189/365. When she walks, she swing her arms... instead of her hips ~ Cake (let me go) — have you waited for her for so long?

So... the return of stubby (the 200mm ƒ/2.0) didn't happen. Nikon mixed up my orders and sent back my old D700 (which will now be up for sale).

On this photo itself, Erin and I rigged up the Flash Bullet studio. For a second I thought about doing my usual Flickr/90second edit... but there was just too much good stuff (about 5 minutes worth). Plus it really shows how we work together when shooting with each other.

So without further waiting, it's definitely worth your time checking out the setup, camera, and strobist info video (via iPhone 3Gs - hosted on Youtube).

strobist info (for those who prefer text):
SB900 @ 1/2 in 28" softbox high and above
SB900 @ 1/16 @ 35mm direct left
SB900 @ 1/64 @ 200mm into 1/8" grid direct right
580EX2 @ 1/128 @ 105mm front left

168/365. I can't stop raving... I can't stop raving... I can't stop... ~ Dune — have some ecstasy

So... I've never personally done ecstasy, but good 'ol Flat Eric here seems to be havin' a blast. Oh, and if you curious about the tie in to Dune, have a throw back and watch the rave video.

Tonight started off with me wanting to take a photo of our new wedding rings... but then... somehow... it turned into this.

Ok, time for some more Q & A pulled from the most common questions I get from y'alls emails

Q: "How do you get such perfect focus on your self portraits?"

A: Well, perfect is debatable, but my technique is simply and works "most of the time" and with patience.

First, use your AF to lock onto something near by where you will be standing. Notice in near all my shots I'm near "something". Lock on those things. Then swap your camera back to manual focus, then start firing away with your remotes, timers, intervals, tourists... who/whatever fires it, your chances are now much greater. Even in this shot where I had a tourist press the shutter, I disabled the AF on them so they wouldn't have the option to mess it up. I knew "exactly" where to walk and stayed directly on that focal plane.

Secondly, use "spot focusing". You Nikon folk, it looks like this as explained by Rockwell (ignore what he says about it — it's still useful).

The "big dumb rectangle" is given too many options and doesn't know where to focus.... especially at night in busy settings like... oh I don't know... a city!

Q: I've been thinking about by *brand x* flash. What do you think?

A: If you haven't read this article I wrote on Flash Photography and pwning the inverse square law, do that now... and there's a section at the bottom which discusses a bit about "what flash do I buy?"

Personally, I LOVE the SB-900, but it's understood that for most folks it's a big commitment. The way I see it, it's like buying a new lens... except most great lenses can cost $1,000+. And in my world, my flashes are far more important and an influence in my photography than a pile of lenses.

Q: "Would you ever consider making a book with all these setup shots?"

A: Don't think it hasn't crossed my mind, but that's time I don't have right now. One day I'd love to throw together some of my most unique shots along with outtakes, alternate takes, and of course some extra commentary on how I arrived at each shot.

But you know... not now.

And finally, that link that usually ends up at the bottom....

setup, camera, strobist info: see here (pssst... 4 light setup!)