photo shoot

mimicking window light with off-camera bounce flash  (model: Ulorin Vex)

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.

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off-camera flash – change the light by changing your own position

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.

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.

Interestingly enough, the two photos shown above had exactly the same lighting. And this brings us to a key concept with light. This idea is true whether you use available light or off-camera flash … or even when you control the direction of your bounce flash.

With those two photos, Ulorin remained in the same spot. But she did change her pose towards the camera as I moved. Why the light is so dramatically different, is that *I* changed my position … and that in turn, changed the direction of light entirely.

It seems obvious stated like that, but I think this idea is something that really is brought home again when two images can look so different. And all that changed was the photographer’s position.

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Kate – a photo shoot in New York

Kate is from Ukraine and has a deep fascination for New York. As a present, Kate’s sister flew both of them out for a vacation here … and had me photograph Kate around New York yesterday. The idea was to get a mixture of portraits of Kate and some photos of Kate in obvious New York locales.

We started off in the Meat-Packing district because I wanted a photogenic spot that wasn’t too crowded during a weekday (in winter), so we could have an easy start to the photo session. Since Kate might not have been experienced with photo shoots, I thought this would be the gentlest start. From there we wandered around a few other chosen spots.

Shooting on my own, I brought along a 70-200mm f2.8 and a 24-70mm f2.8 and two speedlights. Even though this winter’s day was slightly overcast, giving us soft light, I still didn’t want to rely entirely on just the available light …

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creating a background with narrow depth-of-field & great bokeh

Shooting images for the review of the Nikon 85mm f1.4G AF-S lens, it struck me how truly superb this lens is. It improves on the legendary Nikon 85mm f1.4 AF-D lens in some key areas. (For me the updated lens was an immediate upgrade.)

But ultimately, you could get similarly beautiful images with any short portrait lens that gives you a very narrow depth-of-field AND has great bokeh. (Just to reinforce that again .. narrow DoF and bokeh are not the same thing. But I digress.) So, whether you’re shooting with a Nikon 85mm f1.4 lens (B&H), or the Canon 85mm f1.2 (B&H), or Canon 85mm f1.8 (B&H) … these images are easily attainable. It is more about the technique and thought-process and approach, than any specific piece of equipment. However, you do need photo equipment that enables you to achieve what you want to, technically and stylistically.

So walking around with Anelisa in New York, looking for great backgrounds I saw this fantastic Art Deco styled exterior of a diner. And I knew that with the various colors and shadings in the late afternoon, it would give beautifully colored reflections at various angles. Here is the pull-back shot …

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