Dustin Diaz Photography

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

224/365. The Missionary — of the mission

So I figured for this one I would reverse the game and let everyone else figure out how this was setup. I technically have the setup shot but I'm holding it back.

Secondly, I wanted to answer a question that frequently comes up in emails, twitters, and comments.

Q: "Why use a 200mm standing 40ft away when you could use a 50mm at 10 feet away?"

A: Good question. In terms of field of view, there would be no difference. But let's put this into perspective though.

Based on this logic, why not just take a 14mm and stand 3 feet away? Can you begin to imagine the shot now?

Here is the difference (aside from being $4,500 apart)

1) Depth of field based on inverse square law (also, see a related article I wrote on pwning the inverse square law

2) Sharpness. Telephoto lenses are... very much like telescopes. They are extremely sharp, especially when you want to see the stars.

3) Distortion. The wider the angle, the more distortion. The longer the lens, the less distortion (this also includes light fall off and vignetting).

Lastly, none of this is to say that I don't like my 50mm (it's a lovely lens). But it's no match against the stubby. Just have a look at differences between my 50mm ƒ/1.4G set and 200mm ƒ/2.0G set.

cheers.

174/365. Controlling light is an art ~ Me (I said this, right now)
take a hit (looks great large)

So.... this is me... playing with flying sparks! Clearly not doing a great job at "controlling light" — but I never claimed to be a firefighter.

Anyhow, tonight I was given attention by three different people. One guy who wanted to sell me "energy drinks" for six bucks each. He had three; all of which he pulled from his pocket. Weird. Then he asked me where he could get film developed for cheap. Um... "Walgreens?"

The next guy just wanted to watch. I can usually handle a hundred people watching... but one guy with nobody else around is a little more awkward. I just stood there and waited until he left.

Then the third guy randomly had a 40 gallon plastic bag full of woman's clothes.

man: "hey, I'll take your photo"

me: "no thanks, it has a timer."

man: "but you won't have to run back and forth — just let me do it!"

me: "It actually has an 'interval timer'."

man: "All you fuckin' artists are all alike"

me: "You're right. Thanks for understanding."

setup, camera, strobist info: see here

162/365. This place is a prison ~ Postal Service

A few things... (deep breath)...

I was featured in an interview for Strobist.com. Thank you David Hobby — I am infitnitly honored.

This shot was taken after one of those longer kindof work days. This photo mostly explains it.

Now to talk about a few geeky things (this is where normal folks stop reading).

I thought a lot about the similarities between new age web design (I'm not calling it web 2.0) and location photography. It nearly mirrors a quote Doug Bowman mentioned on Twitter — "the challenge of designing around user-customization is the new 'designing around dynamic content'".

In the world of location & strobist photography, our dynamic content is each and every location. But as time goes on, we shoot similar locations, and they can become somewhat predictable. However the customizations that happen on-spot, is wind. It's always hard to tell what weather is going to do — but we use precaution...

Here are some precautions I take.

1) setup lights first (attach gels, pocketwizards) "without" umbrellas, softboxes, octaboxes, etc.

2) Secure stands with weight

3) Setup camera, adjust exposure appropriately.

4) attach light modifiers (umbrellas etc) — then raise lightstands to appropriate height.

5) shoot quickly, then immediately tear down.

all this stuff said, setup junkys read on...

setup, camera, strobist info: see here

160/365. All I wanna do is, and a, and take your money ~ M.I.A. (Paper Planes)

This is Erin wearing one of her new Betsey Johnson sweaters. It's completely awesome. I'm too tired to think of more than a description than that. strobists read on...

setup, camera, strobist info: see here

157/365. I saw a man. Not a machine ~ Terminator Salvation
(up close)

If not for the lighting alone, go see Terminator Salvation. Have a margarita before you go, and watch a masterpiece of light.

Regarding this photo, this wasn't originally intended to replicate anything from the Teminator movie, but I thought the quote was fitting.

It still amazes me what we can do with one light and by simply taking it off the camera, create vastly different and stunning photographs.

This shot, had it not been a selfy, is the equivalent of someone holding the camera in one hand, and a domed speed light in the other. No umbrellas, softboxes, or grids — just up close, eye-level, and personal.

For the truly curious... read on..

setup, camera, strobist info: see here

149/365. Your friendly neighborhood Spider-man ~ Spiderman (2002)
(get friendly with spidey)

So, Spidey makes another comeback! I count the days between the last time I use this mask just to have good reason to use it again since I don't want to over do it too frequently.

Anyway, Nikon finally sent me an estimate which I immediately paid and now waiting for its prompt return. This of course means I'm still playing with Erin's 5D2, which of course means more video as well for you strobist junkies.

On a quick note, for all who have sent me Flickr mails... I extremely apologize for not getting to you! :( I have 116 unread messages which is... unweildy. But fear not, I will get to you all, please just continue to be patient. Thanks for all your support for my 365 — I will continue to give as much knowledge to my ability....

and for the rest of you that just see "bla bla bla bla" and scan to the bottom for the strobist info... here you go.

setup, camera, strobist info: see the video

143/365. And then God said... ~ Genesis 1:3
(let there be light)

After yesterdays photo, I often forget what it's like using wide angle lenses for more than just documenting my single focus telephoto strobist shots. Not only that, we get some nice looking skies when the fog rolls in at night.

For this shot I left the shutter open for a just a tad over a second so I could get a little bit of motion blur with my hands since I wanted them to look semi-translucent as if I were whipping up light commanding the two light poles to shine upon the building... as if I had these awesome Godly powers.

On another note, so far the D3 has been treating me well. I am considering selling my D700 once it comes back from Nikon. I love the compact (yet full-sized body) of it, which makes for some good ergo. And I say screw the D3Axe! That's way too many megapixels jammed into the same sized FX sensor. No thanks.

Finally, strobist camera nerds... keep on keepin' on.

setup, camera, strobist info: see here

140/365. Girl phoned me the other day and said "Come on over, there's nobody home." I went over. Nobody was home ~ Rodney Dangerfield

So I have rented another Nikon D3, this time from Borrow Lenses. Damn are they so much cheaper! And they deliver for free :) This shot was taken up near Guererro in a nice little neighborhood of houses. I was fond of the "no wind" factor, and of course, this fence. I tricked out my radio remote by placing my iPhone in front of it.... making it look like a phone that can call the moon.

Other than that, I've been getting quite a few questions on "how do you do this every day?" — I thought about this, and the answer is simple.

If you're passionate about something enough, you will do it. Consider a cross-country runner (athlete) who trains daily. For anyone to be decently competitive, they must train at least two (or more) hours a day. Including warmup, an eight mile run, cooldown, stretching, and lifting weights.

These same principles apply to what I'm doing now, except I'm not running, I'm going out, setting up lights, taking a photo, tearing down, post-processing, documenting (via strobist info), and describing this right now.

Which brings us to the final point, you strobistas can read on...

setup, camera, and strobist info: see here

132/365. I consider skateboarding an art form, a life style and a sport ~ Tony Hawk

It's no secret that I love skateboarding. Been doin' it since preschool. Nevertheless, tonight was frustrating despite it being perfect weather and zero traffic in this alley (I could have posed nude (Ha, yea right)! The exposures just weren't turning around right... and I finally figured it out in the end, that I never set the ISO (it was at 1,250)... even that rim light at 1/128th was coming out too bright (I thought). Oh well, the life of a 365 goes on.

One particular thing to note is that everything else you see (broom, roses, detergent buckets)... they were all found lying around in the alley. Figured I could make good use of 'em.

Other than that, you strobofenes can read on...

setup, camera, strobist info: see here