available light portrait (model – Anelisa)
photographing people - available light portrait
While unloading lighting gear from the van to shoot a last few images for a certain section for my next book, I turned around and noticed the way the light fell on Anelisa. Beautiful portrait light. The (cropped) pull-back shot will show why .. Read more inside...overpowering hard sunlight with flash
overpowering hard sunlight with flash
With this part of a photo session with Johannie, we worked in an alley. The light was very uneven, with some swathes of sunlight falling directly on her. (See the image below for the photo without flash.) To get rid of this uneven sunlight falling on her, we have to add at least as much light on her as the brightest areas lit by sunlight. In the example above, our exposure is set to 1/250 @ f13 @ 200 ISO and we can see from the bright patch of light on her shoulder, that we’re at the edge of acceptable exposure. Any wider on our aperture, or Read more inside...dynamic composition – changing your viewpoint (model – Carrie)
dynamic composition - changing your viewpoint (model - Carrie)
Near the end of the recent photo session with Carrie, I walked across the street to find another angle. Walking back, I noticed the sun just dipping behind the roof of this old train station. I thought it might flare interestingly if I caught the sun just on the edge there. The problem was that I had to step into the street a few times when there was a lull in the traffic. The angle was a tough one since I had to, or rather, wanted to keep my camera at ground level to shoot up. I wanted the flare, and I wanted this Read more inside...review: Lastolite Ezybox 24×24 softbox
review: Lastolite Ezybox 24x24 softbox
Softboxes used on location shoots, need to be easy and quick to set up. Ideally they should also be compact. Several photographers have recommended I check out the Lastolite Ezybox. So I took the plunge, and got the Lastolite EZYBOX 24×24" softbox (affiliate). Lastolite has a range of other Softboxes as well. All just as easy to use, with the Lastolite-specific way of expanding and collapsing. There's a specific way you twist it to collapse it. It's all in the wrists. The speedring simply clips into Read more inside...composition – framing the shot
composition in photography - framing the shot
In composing a photograph, what you exclude from the frame, is as important as what you include. With this portrait of Anelisa, I noticed that at this angle, the light reflecting off the black-painted wall created a warm glow of light behind her. With the receding lines of the bricks, I immediately composed the photo to exclude everything but our model and the specific background. A very specific background. Looking at the edges of the camera's viewfinder, I eliminated everything that could distract or didn't add to Read more inside...recap: photography workshop – New Jersey and NYC
recap: photography workshop – New Jersey and NYC
Aleona was one of our striking models at the recent 2-day long flash photography workshop held in Jersey City and New York City. The setting in this photo is the DUMBO area of Brooklyn, with Manhattan in the background. The challenge was to overcome the hard sunlight with a small speedlight ... and still make it look good. The flash photography workshops have undergone certain changes over time - the material and sequence of material are always honed over time. The biggest recent change is that the workshop has expanded with an Read more inside...photographic composition in editing
composition in photography
In composing an image, it isn't just a matter of placing your subject somewhere in the frame. This is true for whether you go by the rigid restrictions of the Rule of Thirds, or whether you like a more central composition .. or a composition with a lot of negative space .. or whether composition is more in the way you instinctively react to the scene and subject in front of you. Equally as important as where you place your subject, is what you include and what you exclude in the frame. With photographic composition you have to look at the edges of your Read more inside...photography: combining video light and daylight
photography: combining video light and daylight for photography
An image from the most recent workshop, held in Jersey City - our model, Catherine, lit by a combination of daylight coming in through the window, and a video light held aloft. The careful use of the different color balance of daylight vs video light, gives this image its arresting palette. I did make sure that her face was mostly lit by video light, for a uniform color there. The camera was set to Tungsten WB - the preset appropriate for a video light. The background is the Manhattan Skyline. It is blown out because Read more inside...background exposure and flash
flash photography - background exposure and flash
When I saw this dramatic sky with the approaching storm during our recent shoot at Coney Island, I knew I wanted to photograph our model against it. By the time I actually started taking photos, the raindrops were already spattering around us. So there was little time to work. I knew I wanted a brooding sky. Now, depending on how I chose my exposure, I could've had a much the sky appear much brighter, or just a little bit brighter than shown here. There's a whole range of possibilities in how I could've exposed for my Read more inside...- « Previous Page
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