July 30, 2011
off-camera flash for dramatic light
During this recent photo session with a couple, Ashley and Michael, we roamed around the campus grounds of the university where they had met. In the one part of the grounds, there was this clump of trees, planted in a small rectangle with two seats. Since it was so dark there under the trees, they wondered who’d ever go and sit there. It just didn’t look appetizing. Then I though … hmmm, with some off-camera flash from behind, we can really make this place look like something.
July 22, 2011
off-camera flash – creating separation with back-lighting
Another image from the photo session with Bethany, when I was in San Francisco earlier this year. This interesting background is part of the lobby area of a San Francisco night-club. I knew the wooden panelling and subdued incandescent lighting would make an interesting background because of the repetitive pattern and glow. A slow shutter speed brought the background light in … and then I used flash to light her. I didn’t gel my flash – specifically so that the background light would go that warm. The pull-back shot will show the simplicity of the lighting …
July 5, 2011
wedding photography – light, lighting, posing & direction - making the decisions
The title of this article is quite ambitious. To cover all of that, it would be a 50,000 word book. But in editing this wedding at the moment, I noticed this photograph, and I love the look of it. So in the context of that one single image, let’s look how it all came together. While the photograph itself isn’t complicated, a lot of quick decisions went into making this image work … and easy to edit. A number of things had to be considered, but instead of being overwhelmed by juggling all the decisions and thought-processes simultaneously, there’s a way to break it all down to simple elements which will help the photo session come together naturally.
Now even if you’re not that interested in wedding photography per se, hang in for a while, for the thinking here is applicable to just about any other field of photography …
June 30, 2011
multiple off-camera flash – adding some pop with back-lighting
Lea is a model I’ve worked with on previous occasions. With her striking looks and easy demeanor, she is just a pleasure to photograph. We spent some time this afternoon in down-town Manhattan, looking for interesting spots as backdrops. Jessica, (my infamous assistant with an attitude), spotted this dramatic gate and interesting glass front. It seemed like the perfect place to start the photo session, but it needed something extra to give the photos some drama.
The final image is shown here at the top, but let’s look at how we got there …
May 20, 2011
off-camera TTL flash
This image of Amy, one of our models at the Treehaven workshops, came up for discussion with the group of attendees. As a straight-forward on location portrait using off-camera flash, it is ideal for an overview again of how easy the ambient & flash exposure metering is.
The basic approach with this portrait was to expose for the ambient light in the background, making sure our subject is somewhat under-exposed … and then to add off-camera flash with a softbox. The first question that came up was – how did I meter for the ambient light?
May 3, 2011
multiple off-camera flash – gelling your flash for effect
All the light you see in this image here, is from two speedlights. The blue color in the background is because I gelled my one flash. While that might give you the idea that I gelled the background flash with a blue gel, what I actually did, was gel my main flash with two 1/2 CTS gels. That’s all I had with me, but I wanted those hard cold blue tones to the background.
A single 1/2 CTS gel would take the flash to 3700K. Adding a 2nd gel didn’t take it as far as a full CTS would’ve, but closer to 3350K, going by my settings with the RAW file.
By having my main speedlight (in a softbox) now at a color temperature of around 3350K, meant the background shifted towards blue in comparison. Intended effect achieved!
Now, about the placement of the speedlights, and to explain what the spectacular background actually is ….
April 27, 2011
Continuing the photo session with Ulorin, we worked inside the hotel room for the next part. The photo above is a candid shot of Ulorin fixing her hair between changes in clothing. Ulorin’s next outfit shown in this article, was more revealing than the previous outfits during the photo session. (Just a heads-up for the Tangents readers who are surfing from their workplace.)
Photographing inside the room, I initially tried to work with just the window-light, but hit a small snag. The indirect light through the window kept changing on me as clouds moved in and out. Instead of changing my settings continually to match the light, I decided to revert to using flash to mimic the window light. This would give me consistent light.
April 26, 2011
Ulorin Vex was one of the two models that we used in the recent workshops in San Francisco. Having seen Ulorin Vex’s personal site and portfolio on Model Mayhem, I jumped at the chance of working with her again with a photo session the day after the workshops. Working with a model as professional and striking-looking as Ulorin, was an experience. We shot several sequences with different looks and backdrops and lighting, and I’ll share more of these over the course of the next few days.
The photographs shown in this article was from a sequence we did in the passage outside my hotel room. The lighting was surprisingly simple, but I had to improvise with the limited space we had …
April 24, 2011
manual off-camera fill-flash, controlling the contrast
In using a softbox outdoors on location, we easily get beautiful soft light. When we work indoors however, where the flash dominates, then the results can look very contrasty. The reason for this is that outdoors, the available light acts like a fill light. This is especially true when we consider our available light in our overall result and balance our flash with the available light. With the softbox being the only light source, the light, while still soft, can be too contrasty for our liking. Still, that single softbox is a lot better than hard direct off-camera flash … but it can be improved with some fill light.
The photo above of Ulorin, our model at the recent workshop in San Francisco, was lit with the 24×24 Lastolite Ezybox softbox. But we did lift the shadows with some more off-camera fill flash, bounced into the room.
Here’s the short explanation and a longer, thorough explanation of how we went about it …
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February 1, 2011
distance between softbox and subject
There are all kinds of formulas for how to figure out the optimal distance between the softbox and the subject. One of the most common suggestions is to use the diagonal of the softbox. While I believe this might something you can play around with in the studio, I do think it is an overly technical way to approach it when shooting on-location …
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