off-camera flash

review: Bolt VB-22 barebulb flash

These are good times for photographers who love using off-camera flash. There are more and more options coming out for us to choose from and use.

B&H has rebranded their own version of a popular series of flashguns. The Bolt VB-22 bare-bulb flash (B&H) looks like the Cheetah Light CL-360, and the Godox Witstro AD360, and the Neewer AD-360. They all seem to have similar spec. So if you’ve been browsing for any of those options, B&H has the Bolt VB-22 flash at a competitive price.

For the photo at the top, I had my camera set to 1/200 @ f/3.5 @ 100 ISO to have the window appear in a certain way – bright enough, and out of focus. I used the Bolt VB-22 flash with a white Westcott 7′ Parabolic Umbrella (B&H) as the large light modifier. More about this further down in the review.

 

contest & give-away prize (now closed)

This contest is now closed. Check my comment at #89.

I have one of these Bolt VB-22 flash units (with accessories) to give away as a prize! 

To be in line to win the main prize, (the Bolt VB-22 flash), post in the comments how you could use such a flash (which is 2 stops more powerful than a speedlight), or how it would make a difference to your photography. Make your entry informative or fun. Show us your website if you want. Show us an image or two.

I will pick one winning entry on Monday, Feb 2nd. The most interesting or informative or deserving entry chosen by myself and my assistant, gets the prize. Unfortunately, due to high shipping costs, this part of the contest is only open to people in the USA who live in the lower 48 states.

However, there is a secondary prize which is open to everyone, worldwide! A copy of Tilo Gockel’s book – Creative Flash Photography.  The winner of this book prize will be chosen via random number generator.

Creative Flash Photography

Creative Flash Photography, is divided into 40 chapters, or as the author calls them, Workshops.  Over the course of 290 pages, Tilo Gockel gives us insights in how he uses speedlights to photograph a diverse range of subjects:  portraits, product photography, macro photography, shooting for eBay,  photos for Catalogs, food photography.

Check out my book review: Creative Flash Photography for more.

If you order an eBook, then the coupon code Flash40 offers 40% off the ebook version of Creative Flash Photography.

Learn more inside…

{ 93 comments }

high-speed flash sync (HSS) with the Profoto B1 portable flash

The already impressive Profoto B1 500 W/s AirTTL flash (affiliate) became even more awesome in Dec 2014 when high-speed flash sync (HSS) capability was added through a firmware update.

The photo above was taken at 1/2000 @ f/1.4 @ 100 ISO. I wanted that super-shallow depth-of-field, and I wanted the light to be more flattering than you’d get from a bare speedlight. In this case, I used a Profoto RFi 1’×3′ softbox (affiliate), with the Profoto B1. (I kept both baffles on the softbox.)

The summary: it works! But there are a few minor limitations or quirks though that you have to be aware of. (More about this in the summary at the end of this article.)

Learn more inside…

{ 30 comments }

photography: gelling flash for late afternoon sun (& deep blue skies)

The warm light from the nearly-setting sun, accentuated with gelled flash. Towards the end of the recent photography workshop, we were shooting on the rooftop – the warm tone of the sunlight contrasting beautifully with the blue sky.

To punch it even more, we added gelled flash via an off-camera speedlight in a softbox. We had to gel the speedlight of course, to make sure the blue color balance of the flash didn’t kill the natural light. We used a 1/2 CTS gel here which brought the flash’s WB down to around 3700K. (This photo of our model, Melanie, was taken by Rosario.)

Learn more inside…

{ 10 comments }

on-location portraits – when simplicity counts  (model: Anelisa)

This is one of those images – a portrait which is simplicity itself – and yet there is something about it, with Anelisa‘s riveting gaze and her pose, the muted complimentary colors – and the photograph just falls together somehow in a way that makes it one of my favorite photos that I’ve shot in a while. Even the lighting is simplicity itself – an off-camera flash in a softbox. But this didn’t need anything more complex than that.

Perhaps it is the juxtaposition of the rough texture of the wall, and the soft look of her skin that gives this image some of its impact. I’m not one for (over) analyzing photographs to figure out why they work – I much more prefer that the photograph’s impact comes from an “I just like this” level. I took several compositions, but preferred this off-center horizontal version.

Learn more inside…

{ 9 comments }

gelling your flash for the warm light at sunset

Since the light from a speedlight is relatively quite cold, (ie, blue-ish), it can create an unpleasant color cast when you use flash with existing warm ambient light. A typical problem situation would be the Incandescent environment that we often find ourselves in at night. But there are other times when the WB from our speedlights (typically around 5400K) is just too cold (blue) compared to the light we have at sunset. (The Daylight WB preset relates to color of daylight during the middle of the day.) Then we need to do something with our flash to help match those warm hues at sunset. Gelling is the answer.

With this photo session of Lauren and Chris, we were at this breath-taking vantage point overlooking Manhattan. The sun was starting to set and taking on those very warm tones that look so gorgeous. Blue-tinted flash would’ve spoiled this. Since they were in a shaded spot, I had to use additional lighting here. I had to try and make it appear as if they were bathed in the same warm light.

I normally keep 1/2 CTS gel taped to my lens hood, so that I have ready access to gels. The 1/2 CTS is measured for 3700K which would’ve been too warm in this instance. So instead of covering the entire face of the flash-head with the gel, I only partially covered it, by turning the gel sideways. In other words, taping it down vertically instead of horizontally over the flash head … and this was just enough to have the same warm light on the couple, as there was on the city. A much better balance.

Learn more inside…

{ 23 comments }

photo session – Modern Gypsies – golden birds

Another series from the recent publicity photo session with the Modern Gypsies, with two of the girls in costume, as golden birds. With costumes this detailed and complex, I wanted a simpler background. One that didn’t intrude, and somehow complemented the subjects. Classic architecture!

Here are the behind-the-scenes images to how we came to some killer photographs for them …

Learn more inside…

{ 9 comments }

off-camera flash with a small softbox

Most of the images shot as part of the Sigma 35mm f/1.4 DG lens review, were with available light only. But for one sequence, I used off-camera flash. I didn’t intend carrying a lot of equipment, so I stripped it down to the minimum. That meant forgoing my usual softbox, the Lastolite EZYBOX 24×24″ softbox (vendor). Instead, I opted for the much smaller Lastolite 8.75″ speedlight softbox (vendor). And instead of a light-stand, Nicole’s friend, Andrew helped out on the day by holding the softbox and slave speedlight.

In getting to the final image, the thought-process was similar to that described in this article: off-camera flash for that extra bit of drama (model: Olena).

So let’s run through the sequence of images …

Learn more inside…

{ 10 comments }

going for that classic look in a photo – lighting & posing  (model: Elizabeth)

When I saw the beautiful architecture of the Court House in Denver, CO, I knew that I wanted to use this as a backdrop for part of the mini photography workshop in Denver. In terms of composition, the imposing pillars and leading lines of the steps would simultaneously make a simple and classic background. Our model, Elizabeth, fortunately had this simple, yet elegant black dress as part of her wardrobe. For me, this photo comes together with the way the model (with her own style and styling), and the chosen location, complements each other.

That’s all a long way to say that I really like this image.

So while “having some kind of idea what you want to do” at the start of a photo session, is always a help, the success of any resulting photographs are most often a result of all the other choices coming together as well – posing, composition and lighting.

The composition is fairly straight-forward. But do notice that I shot slightly upwards towards her, to accentuate her legs. Shooting down would’ve created a strange fore-shortening effect. The focal length on the zoom lens was 38mm – wide-ish. If you’re photographing people with a wide lens, it is best to shoot from belly-button height with the camera – exactly where an old twin-lens reflex camera would’ve been held. This way you’re not shooting down, nor shooting up. So spatial distortion is minimized.

Then there’s also that touch of serendipity which brings some unexpected magic. In this image, her shadow was what helped pull the image together. Suddenly it isn’t just soft lighting – now it looks like a bit of sunshine sneaking through a thin layer of clouds. And the image pops!

The specific look to this B&W image was done via a recipe I created in Radlab.

To get that dramatic light on her, we used undiffused off camera flash. In other words – hard direct off-camera speedlight. Since this is a small light source, you have to be very specific in posing your subject. Posing “into the light” usually works best. You have to be careful though not to get weird shadows, but to have the light from the bare flash still be flattering.

The way the shadow fell behind her, was an accidental little bonus. I’ll take it when it comes.

More about the lighting and the camera settings ….

Learn more inside…

{ 14 comments }

camera & flash settings: what do you want to achieve?  (model: Ulorin Vex)

In one of the multitude of photography groups on Facebook, I saw a newcomer to off-camera flash say that she bought an Alien-Bee set, but she has no idea what to set it to. My reply was that she needed a light-meter. My thinking is that then she’d know what the specific output of the flash or strobe would be, and then be able to set her camera to it. But then, thinking about it some more, I realized if there is hesitation there or confusion, it is about what specific camera settings (mostly aperture) should be in the first place.

I think this is the baffling part of using off-camera lighting or studio gear on location for the first time – where do you start? What should your camera and flash settings be?

Well, if you shoot on location, your settings are usually decided for you by your available light …

Learn more inside…

{ 10 comments }

finessing photographic composition – and using off-camera flash vs. available light

With this background, I liked the way the dots were repeated in Olena‘s dress in reverse – white dots on black, instead of black dots / holds on silver. I liked the repetition, and decided to work with the composition of this photograph a bit.  For the final sequence of images – of which the image at the top is one – I asked Olena to really exaggerate the curve of her body to create an S-shaped, which in turn contrasted boldly with the rigid pattern of the background.

This article’s original title was going to be:  Off-camera flash vs the snobbery of “available light is always better”. When you look at the available light photo of Olena, you’ll see that the available light was pretty sweet – soft and flattering. But it lacked punch. It needed just that little bit of drama to it. The available light shot just looked a touch too bland. Off-camera lighting to the rescue!

I had the flash in a soft box to create flattering, yet dynamic light on her. I wanted her shadow to be more defined and become part of the composition, but that would’ve meant a harder light source. Holding the Lastolite EZYBOX 24×24″ softbox (vendor) fairly close to her was the compromise. This way her shadow added a subtle element to the composition.

Learn more inside…

{ 12 comments }