Charles Glatzer is a Certified Professional Commercial Photographer with a Master of Photography Degree, and an Award winning photographer, a two-time recipient of the Kodak Gallery Award of Excellence, "the benchmark for saluting technical execution and visual impact in the photographic arts." A full time professional since 1983, Charles possesses a wide range of photographic talents with a special emphasis in nature and underwater photography.
Charles owns and hosts monthly "Shoot the Light" seminars and workshops throughout the USA and his underwater photography workshops are conducted on live-aboard dive boats throughout the world. All workshops now employ state of the art digital technology, allowing real time, in-field assessment of metering theory, compensation, composition, fill flash, DOF, etc.
Charles is a Photography Advisor for the Potomac Museum Group and Endangered Encounters. He is the Principal
Photographer for the new Atlantis Marine World Aquarium, NY, a past Adjunct Associate Professor at Long Island University and lecturer at the prestigious EXPLORERS CLUB in NYC. He serves on many judges' panels for both national and international photographic competitions. His Natural History presentation and lecture hosts include Fuji Professional, the Professional Photographers of America, ASMP, the Audubon Society, Nature Conservancy, Sierra Club, among others. Charles was the keynote speaker at this year's (May 2003) prestigious "Kachemak Bay Shorebird Festival", Homer AK.
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Represented by the world's premier stock agencies, his images are published internationally in both the advertising and editorial marketplace. Recently his images were on public display including the Orlando International Airport and Disney's Epcot Center. Fujifilm Professional has played an active role sponsoring, in part, Charles career for many years; poster signings, film and product, workshop/lecture sponsorship and image purchase are greatly appreciated. Additionally, Charles is sponsored in part by Wimberley, Lowepro, Photoflex, Vested Interest, Capture One DSLR, Robert White, Wildlife Watching Supplies, and Image Arts. His images, articles, product reviews and informative postings can frequently be seen in print, and on the web at www.photomigrations.com and www.naturescapes.net
His equipment and experience includes 4x5, 6x6, 35mm film and digital formats. His leap into the digital domain started with PhotoShop 3 and LS 2000 film scanners. He has further expanded his creative and teaching options shooting almost exclusively now with 35mm digital format. Charles uses Lumedyne strobes and Quantum radio slaves for off camera lighting. Gitzo CF tripods with Arca Swiss B1 ballheads, Wimberley products (gimbal head, sidekick, flash brackets, and lens plates), Groofwin Pod, Groundshot plate, and beanbags are used for support. Sekonic L358 incident meter is used for exposure. All equipment is carried in Lowe Pro bags. His films of choice are Fujifilm's, Velvia and Provia.
Camera equipment: well versed in both Nikon and Canon film and digital bodies. Current equipment includes Canon digital 1D and 1V HS film bodies, 16-35, 24-70, 70-200 IS, 180 macro, 300 2.8 IS, 500mm IS w/ converters and extension tubes, 550 flashes and all accessories.
Visit www.shootthelight.com to see more of Charles Glatzer's stunning images or to find out more about his workshops.
I shoot with a D1x (eat your heart out) in manual mode and an SB80 flash set to TTL auto. If I set my aperture/shutter speed to under expose by one stop and have my flash set to minus 2.0, will the flash be affected by my exposure choice or be two stops under the metered reading?
This is an excellent question. As you are aware I have switched to Canon gear, and I am therefore not familiar with SB80 flash in question. However, I have always worked in the same manner as you state above, and I have found whether I set in the camera in Manual priority or Auto Priority with compensation applied that, my flash exposure with or without compensation used is based on the exposure I determined, and not what the camera initially suggests. Moreover, I always treat the ambient light and flash as two separate entities. I always assess the ambient light first, setting my exposure for the most important highlight and or subject. Once this is accomplished, I now determine whether I need flash at all, or I should use it as a main, fill, or balanced source. Thereafter, I apply the correct amount of flash compensation for the subject at hand.
Can you explain the differences in how you compose when shooting for slide shows vs for editorial?
I generally make no distinction, shooting what I feel best serves the subject and conditions encountered. It is my hope that all image shot will go beyond presentation. That said I will make sure if the subject is cooperative that I cover the basis, shooting as many variations with good composition as possible. This includes horizontals, verticals, full and 3/4 body as well as full frame headshots and environmental images. The more choices I can offer an editor, etc the greater my sales potential.
Of course, when presented with the opportunity I will shoot for a cover image with additional room on top and the left side for copy and at times try to fit the format for a two-page spread.
I know you use an incident meter a lot for your photography in many situations. Can you elaborate on the benefits of using one and when you would not want to use it?
The benefits are many, but the number one reason is consistency. My livelihood depends on my ability to consistently produce accurate images regardless of the subject and environmental conditions encountered and the incident meter eliminates most of the variables found with in-camera metering.
There are times when incident metering is not the best choice, such as when your subject is in light different than that of the meter or when the subject is running through areas of light and shadow or like that on a partly cloudy day. While recently shooting in snow on an overcast day, we determined a center-weighted reading plus 2EV off the snow would yield the same result as incident minus 2/3. It was more efficient to use this method than the incident when the light level would rise or fall due to cloud cover. Knowing the fundamentals of exposure and the workings of your camera will allow you to choose the best method for the situation in hand. It really matters not the method used, as a firm understanding of exposure should allow the photographer whatever the meter pattern or method used to render the subject as desired.
Please see my Incident-metering Article for additional details.
What advice would you give to those who are thinking of getting an incident meter?
Learn the fundamentals of exposure first, and then get one. Trust it as you would a compass. Go into the field and practice exclusively with the method until you feel proficient, But, remember to be successful in the field it is imperative that you also have a firm understanding of in-camera metering techniques. Knowledge is the key.
Note- the Sekonic L-358 is my meter of choice. The 1/3 direct readout, Aperture/Shutter Priorities, flash capability and weather resistance make this the best in field meter for the Nature Photographer.
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