photo shoot

video clip: behind the scenes – Profoto B2 review photo shoot

For the review: Profoto B2 Off-Camera Flash, I had Erik Colonese shoot a behind-the-scenes video clip while I photographed Anelisa. It’s a fairly long clip because we decided to keep in a lot of my dialogue with Anelisa as I direct her. The video clip also expands on the review with some info on the Profoto B2 Flash (vendor), and I also touch on camera settings and using the flash.

As is usual, I want the material on Tangents to be of wider interest, even when it is a review of a specific product. There’s something in the video for everyone, regardless of your specific interest in Profoto.

As regular followers of the Tangents blog know already, Anelisa is my favorite model – she has a sparkling personality and we have a great rhythm, but more than that, she knows how to switch it on instantly for the camera. You pretty much can’t take a bad photograph of her. Now, as consummately professional as she is, she can’t see what I am getting in the viewfinder, so it is still up to me to direct her. That’s something to keep in mind if you work with models – talk to them, and guide them. It really becomes a collaborative effort then. This BTS video clip shows some of that.

For the entire photo shoot with Anelisa in various spots in Manhattan, I wanted to shoot at f/1.4 to give a very specific look. It helps isolate your subject from the background. The wide aperture meant a high shutter speed … which meant that I used the Profoto B2 in high-speed flash sync (HSS), to get this look. For more technical info, check the review: Profoto B2 Off-Camera Flash.

Thank you to Erik for shooting and editing the clip; Anna Russell for patiently assisting; and Anelisa for fueling the creative spark, and for braving the cold.

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review: Profoto B2 Off-Camera Flash – photo shoot

Over the years I have used a variety of off-camera lights on location shoots and at weddings, and have worked my way up from Dynalite and Quantum flashes (and speedlights), to the Profoto B1. The Profoto B1 (vendor) has made such a difference for me in the ease of use, the speed of setting up, and the sheer power of 500 W/s of light. I love my B1 flash. For example, here is how I used the Profoto B1 portable flash at a wedding.

Profoto has now released the Profoto B2 250 W/s Air TTL Flash, and it comes as two options:
Profoto B2 Location Kit with two flash heads (vendor)
Profoto B2 To-Go Kit  with a single head (vendor)

The Profoto B2 immediately intrigued me for a few reasons. As a quick summary, the B2 offers:
250 W/s power. (Half that of the B1)
High-speed flash sync and
TTL flash exposure metering, as well as a
Freeze Mode where the flash duration is cut down to 1/15,000 sec. at lower power settings.
– It is much lighter and compact than the B1 – but this comes with a few penalties.

Before we discuss the advantages and disadvantages of the Profoto B2 vs the B1, I have to mention that every review I’ve read so far, mentioned the B2 as a lower-cost alternative to the Profoto B1. However, I don’t see the Profoto B2 positioned like that – the single-flash unit is about the same price as the B1. So there’s no financial advantage there. Now, by the time you get to the 2-flash head Location kit, then the B2 kit is less expensive than two Profoto B1 heads … but still with certain disadvantages to it.

So really, I don’t think the Profoto B2 was meant to be a lower-cost option to the B1, but was meant to just be a different option to the B1. Just different. You have options. You get to choose what suits your needs best.

To test the Profoto B2, I met up with Anelisa and an assistant in Manhattan, to do a Fashion-styled shoot out on the streets. Exactly the kind of thing where the Profoto B2 is meant to excel – being a portable high-powered flash that offers high-speed flash sync, as well as TTL flash exposure metering.

The behind-the-scenes video clip adds more info about the Profoto B2. It’s a fairly long clip because we decided to keep in a lot of my dialogue with Anelisa as I direct her. That’s something to keep in mind if you work with models – talk to them, and guide them. It really becomes a collaborative effort then.

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business headshots in the studio, with a contemporary / modern look

When Matt Sweetwood, the owner of the largest Camera Store in New Jersey, discussed doing new new business headshots for him, we agreed that a more contemporary look suited him. There’s a large dynamic personality at work here … and using an 85mm f/1.4 lens wide open would place attention on his eyes and his expression. Nothing else is really in focus aside from his eyes, and this really makes for a compelling portrait that grabs your attention.

We shot various sequences, with the background brighter and darker. In the end we settled on a sequence of images with the lighting shown in the top photograph – it has an airy brightness to it, and looks modern. With the colors muted like that, it draws attention to his expression even more. No bright colors to distract.

We also had fun with various expressions just to mix it up a bit.

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photo gear & logistics: corporate headshots

With any professional shoot, forethought and planning is a necessity. For personal photography there’s always place for serendipity. But relying on luck with a professional shoot isn’t going to go all that far. The same goes for photographing on-location headshots – planning is essential.

With the on-location corporate headshots described in a previous article, I aimed for efficiency and speed. I set up various speedlights and soft boxes around the office place for environmental headshots. This way I could step each person through the various spots and get similar photos of everyone. But there was a certain flexibility in the final look that was okay with those portraits. Still, the setups were done beforehand. I also worked on my own, so I put some thought into how to do the logistics single-handedly.

I was approached by a large law firm in New York to do their headshots – more than 200 people that I had to take headshots of partners and personnel. The company needed corporate headshots that had a specific look to them, with a specific value to the grey background – all in a way to create a consistency with the photos, online and in printed material. With more than 200 people that need to be photographed over the course of two months on various days, there had to be a way to ensure repeatability. The look wasn’t environmental, but more conservative and traditional.

I decided to go with studio lighting gear, instead of speedlights. More power, larger light modifiers, and faster recycling times. The Profoto lights are also known for a more consistent color balance. Ideal to speed up my workflow afterwards when editing the photos. With the environmental headshots, the speedlights were sufficient because I was shooting at wider apertures and higher ISO settings to bring in the ambient light. With these more traditional headshots, the ambient light wasn’t a consideration at all and I wanted more juice than a speedlight.

This did mean carting most of my studio gear on location. I did a test setup when I first met the PR team to discuss this. This gave me an idea of the logistics. Just the logistics of getting all that gear out of the car and into the building, and setting up fast, meant I had to reconsider a few things. Then of course, at the end of each day, all this had to be done in reverse. And repeated over a number of days. Keep in mind that this is Manhattan where finding parking in front of a building to load and unload can be a real hassle. There’s just no time to unload a lot of bags.

With the test run, I had a large hand cart that I strapped bag and cases onto. But this was a bit too clumsy. It took a bit too much time to unpack the car on the sidewalk and load the hand cart. Then, navigating elevators were also not as smooth as I wanted it all to be.

More than struggling, I hate the appearance of struggling. There’s a real appeal in not looking clumsy in front of a client. Clearly it is just so much better to appear professional, well-organized and efficient.

This then is a description of just how I did that on the subsequent days where we did the headshots – rolling in looking slick and proficient and setting up fast!

When I posted an iPhone shot of the setup to Facebook, there were a lot of questions and interest in the setup, so I thought it might make for an longer discussion here. Oh, the crazy person at the top is my assistant on this shoot, Presley Ann. Before any of the company’s people sit down for their headshots, I need to be completely ready, and she sat in for the test shots.

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progression of an idea in a photo session – cosplayer, Ger Tysk

For me, there’s always some anxiety before a photo session – especially when you have the opportunity to photograph someone quite unusual and photogenic like Ger Tysk, a cosplayer. (She also creates cosplay outfits for others, and has published a book on Cosplay.) Her latest outfit is Black Widow (from Marvel.) Now, the stressful part before a photo session like this, is that there is the pressure of having a great opportunity, and then having to create a photo series that is worthy of the moment. Even if you don’t quite reach the peak of the Epic scale, you still want to have photos that look inspired and interesting. You know, something worthy of the effort and time and opportunity.

I can pretty much guarantee you now that when you see an interesting or striking photograph that someone created (as opposed to a pure  photojournalistic moment), it’s usually not success on a first try. Very often there is a series of images and attempts before an idea comes together.

I was armed with some serious gear – Nikon D810 (vendor) and Profoto B1 portable studio light (vendor). So really, if there is any limitation here, it would be myself. Everything was in place – a supremely photogenic subject, an interesting location a friend showed me, as well as some serious gear. Now it is up to me, as the photographer to pull something out of this mix that looks stunning. And that is where the pressure comes in. Time to look around, explore ideas and figure something out.

I’m quite proud of the final photograph from this part of the location, but it didn’t just immediately come together. There was a thought-process and various attempts and dead-ends before it looked like yes! this is it!

So I want to step you through parts of this photo session to show how fell into place.

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dramatic lighting with fresnel lights – photo session w/ Jen Rozenbaum

For the portrait session of Jennifer Rozenbaum, I wanted to show her in her “office” – the studio where she shoots boudoir images of her clients. But instead of photographing Jennifer in a boudoir style, I wanted this to be portraits of her, the boudoir photographer, where she works. Her office as such. Still, it needed to be sexy, a little feral, yet sweet, and very much her.

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camera & flash settings: photo session with a couple in bright sunlight

Analyzing other photographer’s work to figure out how they got the result, and figure out how to re-create it if you want, is a solid exercise. I do it often. It’s part of expanding your understanding of photography and lighting, and a way of expanding your technique and your repertoire.

The challenge to figure out the camera settings and additional lighting for a sequence of photos from an engagement photo session – reverse engineering an image: photo session with a couple in bright sunlight – had some interesting guess-work, and some good sleuthing.

Let’s have a look at the images posted in the challenge, and then slowly step through the thought-process. Some of these are near-instinctive decisions, but some are done with a quick frown and an “ok, let’s do it this way then”:

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reverse engineering an image: photo session with a couple in bright sunlight

When I posted this sequence of photos on Facebook of Jessica and Tony’s engagement photo session in New York, there were a flurry of questions. Which lens? 50mm? 85mm? What type of lighting? What were my camera settings?

Well, this stuff has been covered before with numerous articles on photography technique, and lighting with photo sessions. So by now, anyone who regularly follows the Tangents blog, and have done some reading, will be able to figure this out.

So here’s your challenge – look at the photos, look at the location, and reverse engineer the camera settings and lighting. Figure out the possible camera settings, lens choice, focal length, and details about the lighting. I’ve added 1200 px images if you click through, to make the thought-process easier.

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video clip: behind-the-scenes during photo session w/ Ulorin Vex

I’ve posted some of the images from the recent photo session in my studio, with Ulorin Vex – and here is the behind-the-scenes video clip. The instructional stuff will be in the related articles – this is more of a glimpse of the rhythm of the shoot in the studio.

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available light portraits – composition and light

Over time I noticed that my style in photographing portraits have gravitated to a specific look where everything is quite simplified – the lighting, the background and the framing of the shot. Whether I use the available light, or video light, or off-camera flash, or even on-camera bounce flash, there’s a certain uncomplicated look. I’d like to think of it as elegant unfussy simplicity.

Analyzing this, it is easy to see there’s a specific method here. It’s a method which helps especially when under pressure. Here, even allowing extra time for the crazy peak-time traffic here in New Jersey, I was still running late for the photo session with Christy. When I arrived, falling back into a familiar rhythm of shooting portraits, allowed me to get images that work, very quickly.

The essential idea is that the light has to be good, and the background has to be complimentary. Then it is a matter of posing our subject, and composing the frame. Invariably then, the starting point is finding that intersect between good light and a good background. And if  you don’t have great available light, then you need to create it with additional lighting.

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