Softboxes with speedlights
Softboxes with speedlights for on-location lighting
Off-camera flash is the easiest way to create dynamic lighting - and using a speedlight with a softbox, is on-location lighting at its most elegantly simple. For most of my on-location portraits, I like to travel (fairly) light, and my lighting of choice is a speedlight, wireless transmitters and a softbox. The softbox is either held up by a light-stand (which I weight down with my camera bag), or held up by an assistant (with the softbox on a monopod.) I like TTL flash - it often gets us there faster than manual flash. But for Read more inside...On-location photo session in New York – BTS video
On-location photo session in New York - BTS video
I met Marco when he attended one of my photography workshops - he is charismatic and with that photogenic ruggedness, I thought he'd be a great subject to photograph on location. He was visiting New York from Germany for a few days, and I asked if he would be up for a photo session. And here we are. With this photo session, I also wanted to try out something I saw Dani Diamond does - where he has an on-camera stabilized gimbal for his Go-Pro, to give a wider point of view from the photographer's perspective. A kind of Read more inside...When to use high speed flash sync (HSS)
When to use high speed flash sync (HSS)
Let's cut straight to it - there are only two reasons you would need to use high-speed flash sync: to have an appropriately shallow depth-of-field, to have a sufficiently high shutter speed to freeze action. That's it. Just those two things. When you need shallow DoF, or a faster shutter speed than max sync speed, then you go to high-speed flash sync. What HSS doesn't do - it doesn't allow you to overpower the sun. When you go to from normal flash mode (at or below max sync speed), into high-speed flash sync, then you lose Read more inside...recap: NYC photo walks – photography workshop
recap: NYC photo walks - photography workshop
A fun addition to the photography workshops that I present, are the occasional Photo Walk in NYC. We roam a small area in New York with a model, and look for interesting views and places as background. There's no lecture style seminar, but I am there to answer any questions about lighting, posing and photography in general. I want these events to be informative and fun ... and for you to get some stunning images. More details about the Photo Walks: We travel light - no need to bring flashed and light-stands and tripods. Just a camera Read more inside...How to position off-camera flash
How to position off-camera flash
One of the most frequent (but easily corrected) mistakes I see when photographers use off-camera flash, is that they didn't position the flash in relation to their subject. They simply place the flash to the side (and often at a too-extreme 90 degree angle from their own position), with the flash too low in height. Your subject's pose and their position most often dictates how you should place the flash. We perhaps instinctively expect a light source to come from above somewhere, because that is where the sun is, or the light is coming from a Read more inside...Off-camera flash: Rim-lighting and using flare
Off-camera flash: Rim-lighting and the intentional use of flare
For these promotional photos for aspiring model twins, Carina and Carolina, we went to a park. There are certain things I look for when working on an location, that I know will immediately give me a better chance at successful portraits. My book, Lighting and Design for Portrait Photography, looks at exactly that thought-process throughout the 60 chapters in the book. The technique here should be quite obvious by now: A long lens (a 70-200 used closer to the longer end), compressing the perspective. Shooting Read more inside...Best softbox for on-location headshot photography
Best portable softbox for on-location headshot photography
I vary the lighting kit that I use for on-location portraits and headshot photography. It could involve multiple lights, or a single-light setup on location. My choice of lighting is most often decided by how complex it need to be, and the logistics of getting to the location and setting up. More than struggling with something, I detest the appearance of struggling with something. Let me explain - when working with clients, it all needs to appear smooth and efficient. Everything in place, and professional. No struggling Read more inside...Flash photography tutorial: Balancing flash & ambient exposure
Flash photography tutorial: Balancing flash & ambient exposure
This topic - balancing flash and ambient exposure - seems to one that many newer photographers struggle with. The big hurdle seems to be the basic starting point - how do you decide on the exposure for each? I'd like to explore this topic a bit with this post. The trigger for this was a question that someone emailed me regarding an image in one of my books on flash photography. Instead of answering the question directly, I thought that a wider answer might be more illuminating. We're still on that perpetual quest Read more inside...Creative portrait photography on location
Creative portrait photography - Allowing opportunities to happen
There was an interesting challenge for me during a recent individual photography workshop in NYC - Don (who arranged the workshop), already knew the essentials of lighting techniques, and said what he really wanted was insight into the way that I see a photo before I take it. How do I know something will work or not. Don was particularly impressed with the series of photos of Anelisa that I shot for the review of the Profoto B2 Flash. The shallow depth-of-field images was a particular draw-card. Serendipity - I love Read more inside...- « Previous Page
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