Camera Padding Insert: Anti-DIY

The completed padding insert, with the equipment it was made to protect.

Well, I finally did it. I made the padded insert to convert my purse into a camera bag. My intent was to post how it was done, but truthfully, it's a fair amount of work. And if you don't have the materials already handy, it could cost as much as one that you could just order online (Amazon.com has plenty of choices of size, color, etc for $15-50).

Bottom Line: Just order one. Or reconfigure the pads and dividers from your "real" camera bag to fit your purse.

Confession: I'm an amateur at the sewing machine. I lost the manual before I had a chance to read it. There were many things I realized I did wrong during this project. Sometimes the most important lessons are the ones about what NOT to do. So, if you want to make your own, for whatever reason (you want custom fabric, you prefer a thicker padding, you want to hone your sewing skills, etc), then tally forth! And if you're going to make one of your own, I'm going to assume you know how to sew, so I won't go into detail about the actual sewing process.

First, measure your purse. What size padding would fit in your purse and still allow it to close properly? Write this down. STICK TO IT. Yes, really.

Now, gather materials. Make sure you have enough. I had extra fabric and velcro strips from a previous sewing project. The two inch thick foam padding I had was packing material from a furniture purchase, so that was FREE. I wanted padding thicker than the 1/4 inch thick pads that come with most camera bags, but two inches is a bit much, so I cut it in half for most of this insert. I left it two inches thick for the base of the insert, since the most likely source of shock is from putting the bag down on a table or floor.

Minimum 1 yard of fabric, foam padding, measuring device, sharp knife, velcro, cutting guide for straighter cuts, and usual sewing notions.

Next, figure out the plan. Draw simple blueprints. Make note of the dimensions. Where should the velcro go? Are there extra features you'd like to add, like pockets, covers, etc? KEEP IT SIMPLE. I chose to cover each piece separately, meaning I was making 7 pieces. Had I made the wall one solid, continuous piece, then that would have meant only covering 4 pieces, nearly half the amount of work. My other mistake? See how the walls are different heights? That's because I didn't stick to my plan. I started with the camera laying down, but wanted to be able to add two extra pieces of equipment, so I changed my plan. Standing my camera up makes it easier for me to grab it out of the bag for a quick shot, but it made it taller than the height dimension I had determined from my measurements. It would still fit into my purse, but I wouldn't be able to close it.

This was my plan for my insert. Turns out, it wasn't the best or easiest way to go.

Sew, sew, sew! Cover each piece with your fabric. Make sure you sew on the velcro, pockets and anything else before finishing each piece. Otherwise, you'll find yourself sewing by hand for a few hours. And believe me, hand sewing velcro is not my idea of fun.

Covering my pieces with fabric. I went with two colors for aesthetic reasons, but it added another level of difficulty. Keeping to one fabric would make things much, much easier.

Put it together! Give it a test, make sure things fit.

The base of my purse was roomier than the opening of the purse, so it's a little more snug at the top.

This is how I would like to carry my camera -- with lens attached, standing up. Additional extra lens and shoe mount flash handy.

This was the original plan, which actually fits in the purse. Camera laying down, grip easily accessible and one accessory readily available.

My "new" inconspicuous camera bag purse, padded up, zipped up, ready to go!

There were things I could've done better, more efficiently, but I'm happy with the results: a fun, colorful camera padding insert that I feel confident with (over the store-bought padding). Best of all, I don't have to carry a boring, black "professional" camera bag anymore. So, all in all, SUCCESS!


Kudos,

Mui Chao
Photographic Artist
SimplyMui Photography

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Camera Bag?

I'm not a fashionista. I'm still a tomboy at heart, but having two girls have made me a little more tolerant of pretty, girly things. I've even expanded my black/gray/olive green/navy blue wardrobe to include other colors, like maroon, purple, cream and coral (although I insist I will never wear pink. Not that there's anything wrong with that). I'm also very minimalist and don't like to draw attention to myself. The purses I've carried for the past decade (the ones that don't double as diaper bags), looked something like this:

My dinky purse. Just barely big enough to hold my wallet, phone and keys.

Now, throw in the Photographer aspect of my life. On my stock agencies' "Wanted" lists are things like snowy scenery, traffic jams, tourist shots, Open/Closed signs on business windows, skylines, etc. Things that require me to go out and about and keep my camera on me in my daily life.

Obviously, my DSLR with additional lenses, batteries, filters, and speedlite are not going to fit into my tiny purse. So, I had to carry this:

My backpack-styled professional camera bag. Holds lots of equipment.

This was great for carrying all the gear I would need to shoot anything on the fly. I loved it for when I'm doing a formal shoot on location. But as a lone woman doing informal, around-town shots, it screams "HEY, I'm a photographer and I probably have REALLY expensive stuff in here. Come rob me!!"

I wanted to be a little more inconspicuous, so I got a bigger purse (relatively speaking) to stash my camera & wallet in. This meant I had to leave behind the extras. Still, my basic camera set-up (just the body and my go-to lens) weighs 5 pounds, which quickly wore out the purse. And there was the concern about protecting the camera against bumps. I wrapped in a scarf but obviously, that's not the best protection.

There's a few websites now selling more attractive camera bags, geared towards photographers who want a little more style and flair. I perused Kelly Moore,  Epiphanie Bags, Cheeky Lime, Shootsac, and more. But the Ladies' bags are usually too girly and wild for my taste. And the Men's styles are a bit dull. And alas, the ones I want are always the pricier ones. My favorite so far:

Camera bag from Porteen Gear. This one is "For Men" but I LOVE it. All bags are custom made to order, so you can choose your size, style, and materials. Woo-hoo!

However, I'm a frugal person. So I drew up some sketches for what I want in a bag, bought some discounted colored leather from Jo-Anne's Fabrics with every intention of crafting my own custom camera bag, and then happened upon a wonderful find.

Large Jessica Simpson purse found at Marshall's for $50.

Yes, the color is outside of my normal comfort zone, but it's a good size and well constructed. And I figure if someone grabs it and runs, it's easy to spot and chase down.

I don't like that I have still been wrapping my camera in a scarf to put into this spacious bag. And I certainly don't want my extra lenses, speedlite, or batteries knocking around in there either. I've started to build a padded compartment to hold my equipment in here and will post it when it's finished. Stay tuned!!

Mui
Photographic Artist
SimplyMui Photography

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Holiday Portrait Deconstructed

There's a very popular pin going around and if you are on Pinterest and have any interest in photography, babies, or holidays, I'm sure you have seen it. This one:

Photo by Lizvette Wreath Photography

Even with the setup diagrammed in the image, people are still having trouble copying this look for themselves. They are getting results like this one found on Pinstrosity:

Submitted to Pinstrosity, a blog of attempted Pins gone wrong

This isn't a problem that only casual photographers are running into. Fellow pro photogs are trying to figure out what they are doing wrong, and if I hadn't moved halfway across the country twice, I would simple go over and troubleshoot with them in person. But I figure this is a good opportunity to explain what's going on.

First, you need a clean space (or to fake one). You can set up in a living room, basement, or family room. Ideally, I would have a long narrow, clutter-free room for this, but since I don't have that, I chose my bedroom. The bed provides an elevated platform so I don't have to crush myself into the hard floor to get to my little ones' level or to see their faces. Second, I want to keep this as simple and shoe-string budget as possible. Even though I can pull out the studio lights, umbrellas, soft boxes, transmitters, meters and reflectors, I don't want to.

K.I.S.S., right?

On another note, DOES SIZE MATTER? A friend was concerned that her queen sized bed was constraining her. Honestly, that doesn't matter. And to prove that, I've used a blue ribbon to mark on my king bed where it would end if I were using a queen bed. I didn't get any blue bits in any of my shots.

So here's my setup:

So, you don't need a huge room. I was working in a space 8 feet wide by 11 feet long. The exact measurements and specs don't really matter, but I wanted to show you what my space was. If the room was longer, then I would have been able to add another layer of lights in the foreground (like the first image above). More space would also mean I could include more of my models' bodies and get better blurs, but let's make due with what we have!

There are other blogs that explain the setup, but I'm going to go a little more technical and show you the difference little changes in settings can make to the image you create. So, set your camera to MANUAL MODE (gasp!!) and trust in yourself. You need to know how to manipulate your ISO, aperture and exposure time, and how to read your in-camera meter.


STEP 0: Choose your light source.

Yes, I said "Step 0." You need to decide how you will light your setup first and foremost. If you don't have a good flash unit, or you just love soft, natural light, these are the type of results you might get. Of course, if you have direct sunlight getting on your model or the set, you might want to put a sheer white curtain on your window. (Note: all the sample test shots below are un-manipulated, un-corrected captures so as not to confuse you. You can always add your exposure adjustments and artistic flair later.)

If you don't have windows, if the sun has set, or you like to have control over your light source, use a strobe or flash unit. I find that indirect lighting (bouncing off white/light walls) provides soft, natural-looking lighting. I like to point my strobes into the corner behind me. I didn't want to set up my studio lights though, so I just popped my SpeedLite (camera flash unit) onto my camera and pointed to somewhere to the side or behind me, depending on how I wanted my booger-faces lit.

If you want to get fancy, you can set up an additional hair light. But again, I wanted to keep this simple. Although, really, I should have put up a reflector. You can use actual reflectors or white foam board (like your kid's science fair boards) or white fabric. The reflector would be set up opposite of your light source to fill in the shadows. So, if the model is in the middle of the set and I aim my flash towards stage-right, then I would set up the reflector stage-left. Got it?


STEP 1: Put on the lens of your choice (if you can choose).

You do NOT want a wide angle lens for this. Wider angles create more depth of field and the secret to this shot is to GET YOUR DEPTH OF FIELD AS SHALLOW AS POSSIBLE. As you can see below, 70mm blurred the background out very nicely. 50mm is okay -- you get to see more of the scene and models, but you can kind of make out the light strings in the background. Anything wider, like the 40mm length at the bottom is very undesirable, unless you want to see the mess of light strands in your background. In my opinion, 80mm would be ideal, but then I would either need more space to back up into, or I could climb my dressers and squish myself against the back wall. Otherwise, I would be capturing just parts of faces.

STEP 2: Set your f/ stop to the widest it will go. 

All the other blogs tell you to use your f/1.4 or f/1.8 lens. Well, not all of us have that uber expensive piece of equipment! (Okay, I have one, but I'm trying to prove a point here.) I am hereby debunking that assumption and saying YOU CAN DO THIS WITHOUT SPECIALIZED LENSES. If you can get to f/2.8 or f/4.0, then you'll be fine, with slight limitations and considerations.


STEP 3A: Set your exposure and ISO. (for natural lighting)


This one is easy. Using your in-camera meter, stand where you (the photographer) plan to be standing. Aim at the model setting at the front edge of the bed with the wall of lights behind them. Hopefully, the window(s) are providing enough light for you. Set your ISO to a higher setting, but not one that will create too much ugly noise on your shots. Older cameras got ugly around 640 ISO. New ones can push 1000+ ISO and still look pretty nice. Move your exposure to something you can hand-hold (above 1/60th). If you are shooting active kids, you'll need a faster setting (1/100 and up). Or just sedate the kids. Just kidding. Sort of.


STEP 3B: Set your exposure and ISO. (for strobe/flash lighting)

Using your in-camera meter, stand where you (the photographer) plan to be standing. Aim at the wall of lights WITHOUT the model in the way and with your strobe OFF. Your goal is to have the in-camera meter read +1/3 to +1. Why? So those little tiny Christmas lights get to burn in and make an impact on your portrait.

Now, set your exposure to something you can hand-hold (above 1/60th). Anything slower will probably result in light streaks and blurs, which can be a cool effect to play with. If you are shooting active kids, you'll need a faster setting (between 1/100 and 1/200). BEWARE not to set it faster than your shutter can handle. Newer cameras can capture the full image at speeds of 1/200th. Older cameras max out around 1/125th, after which, half your shot will be solid black. That's the shadow caused by the flash on your internal camera shutter.

Move your ISO to a higher setting so your meter reads between +1/3 and +1 while your exposure setting is between 1/60th and 1/125.

Did I lose you yet?

Now, with your strobe ON, make sure it's set to ETTL (a.k.a. smarty-pants auto flash mode) at +0 exposure compensation. Lastly, swivel the flash head so it is NOT pointing directly at the model. WHY?? If you point it at the model, you will get harsh lights, ugly shadows and an unattractive background. If you point it directly behind you, the light on your model's face will be flat. If you point it to the side wall, the light will be dramatic. If you point it up to the ceiling, it will create raccoon eyes. If you point it to the floor, your model probably will not get any light OR will look like they're telling ghost stories at camp. So pick an angle somewhere behind but to the side and slightly upward. Got it?

STEP 4: Shoot!!!

Have at it and enjoy! Just remember to keep as much distance between the background lights and the models as possible. And remember that the closer you are to the models, the more blur you'll get. Why? I think that explanation is too technical & boring, so just trust me.

ADDENDUM: Point-and-Shoot Cameras

If you don't have an SLR camera or a fancy prosumer camera that allows you to switch to Manual Mode, here's what you do:

..... Go buy a DSLR. (Just kidding)

Okay, play with your point-and-shoot. If you can find the NIGHT PORTRAIT mode, then that's your best shot for this. Otherwise, try your SPORTS mode or PORTRAIT mode on a tripod. And remember to stay ZOOMED-IN. Do not go wide-angled. Good luck!


SAMPLE SHOTS

What the h*ll am I talking about and what's the big deal about the f/ stop and focal length? Well, that's what controls your depth of field, allowing those beautiful bokeh circles to dance like fairies on your holiday portraits. Here are example shots to show you the difference between f/1.4 (big, beautiful bokeh EVERY TIME), f/2.8 (lovely, magical circles of light), and f/4.0 (cute little firefly lights most of the time, if the models can follow instruction and stay in their space).

See the difference in the quality & size of the bokeh when the aperture is increased?

Here's the same comparison, but you can see the difference between 50mm and 70mm focal length.

Lastly, how far you stand from your models makes a huge difference too. Stand as close as you can with the longest length you can fit into your space. This is where a macro telephoto lens comes in handy.

She's standing about 3 feet from me. The distance between her face and her hands are about 12 inches. By focusing on a point 2 feet from me instead of 3 feet away, the background bokeh is completely different -- bigger circles, softer, prettier.

Well, that's the end of this long-winded deconstruction of what looked like a simple, beautiful portrait. Isn't it amazing how good photographers make things look so easy? I'm sure I'm not using all the right terminology correctly, but hey, motherhood has burned off a large amount of my intellect, so please forgive me my many imperfections. Yes, I realize I misspelled "aperture" in my sample images, but I've spent a good deal of time on this and really need to go back to being a mom.

When you try this for real (for a real client or for your family's real holiday portraits), add some layers of interest -- scatter some ornaments, have a color scheme, have the kids blow glitter or confetti at you, wrap them in extra lights. Or keep it basic -- think about wardrobe, wipe the boogers and Doritos off their faces, and tame some wild-child hair.

Happy shooting!

Mui
Photographic Artist
SimplyMui Photography

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Fun with Lights (Bokeh!)

The holidays are here and those twinkling little Christmas lights make amazing backdrops for family portraits. When there's some distance between your cuties and the lights, the lights turn into lovely circles of light. You know what I'm talking about. Those light circles are called "circles of confusion" or "bokeh". I came across a great blog that gave instructions on how to make those out-of-focus lights even greater.

See how the lights make a little circle blurs? That's what bokeh looks like normally.

Kevin & Amanda's blog instructions call for black cardstock. I had no black around, just colorful file folders. A little color & personality shouldn't hurt, right? And they taped their pieces together from the inside, which looks much nicer, but I think tape on the outside holds stronger. Wish I had my friend's super cool fun colored tapes at this point. Anyway, as you can tell, I got a little happy with this project and tried different shapes and different levels of detail / intricacy. To make it easier to change out the bokeh design, I made some pockets on either side of the holes.

The slits are pockets to slip in the bokeh designs quickly and easily.

Here's the cover with my heart bokeh design in place.

So what do effect does this have on the pictures? Check it out. These shots were taken casually, handheld, using available light.

With the snowflake design. Lights that are in focus aren't affected by the cover, only light spots which are out of focus will take on the shape.

Holly design

Hearts. Greater distance and greater blur creates larger bokeh effect, but they also become overlapped.

I tried a triple heart design here, but I think it's too busy.

Dollar sign! This might be fun for commercial concepts.

Holiday wreath. Cute for the holidays.

Couldn't resist trying a Virginia Tech logo.

My big girl thought these effects were pretty cool and asked for a smiley face one.

Yes, a Hello Kitty one for my girls.

The little one loves Hello Kitty.

The tutorial recommends a lens with a huge aperture (1.8, 1.4) which allows you to create greater blurs in smaller space. While I love my 50mm 1.4, it's not ideal for chasing small children. So I created a bokeh design cover for my 24-70mm 2.8 macro lens. Happily, it works GREAT.

I love how dainty the bokeh hearts are in the background. I had my two year old hold a white notepad to reflect light back up to her face. Love her face!

Testing out the distance & effect by holding a string of lights. My hand is arm's length away. And it's a 5 foot string of light. This shows you don't need a huge room or a fancy lens to take advantage of this.

I'm about 95% sure these cute bokeh designs will make an appearance in this year's holiday cards. If you see a crazy photographer with purple cardboard on her camera running around Salt Lake, feel free to come up and sneak a peek at the shots I'm getting. :)

Hope you get some great holiday shots!

Mui Chao
Photographic Artist
SimplyMui Photography, LLC

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Halloween

Trying out cheetah face painting

Posing at Gardner Village

Sharing a toothless grin by the pumpkin display

Sisterly Love

Holding bunnies at the Petting Zoo at Gardner Village

Even waiting around can be fun

Little witch in the school Halloween Parade

Heading out to a costumed play date

Super scary Swamp Fire (from the Ben 10 cartoons)

Evil witch casting her spell

Together at Wheeler Farm

This was totally their idea!

Going for a wagon ride around the farm

Maniacally laughing in the hay maze, while holding a skull.

Which witch is the cutest of them all?

Apparently, Halloween is a big deal here in Utah. It's fun and exciting all over the country, but here, they spent the weeks prior making Halloween art. And day of Halloween? They dedicated the whole day to the celebration -- all the kids dressed up (teachers too!), they had school-wide parades all day long, and parties in every class. Of course, we had no shortage of fall/Halloween activities in the area that we participated in.

Fun, fun, fun!

Mui
Photographic Artist
SimplyMui Photography

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