Camera and flash settings : high-speed flash sync & off-camera lighting
I recently had the pleasure of photographing a remarkable young dancer from Slovakia, Sara Sobolova, who was visiting New York on a 2-week long training event for ballet dancers. Her mom arranged for a photo session in New York since this is her first time here, and because, let's face it, New York is a big deal! This is one of my favorite images from the sequences we shot in various spots in Manhattan and Brooklyn.
Below is the pullback shot to show the lighting -- a Profoto B10X flash Read more inside...
Very often when I use off-camera lighting on location, I'm not among for dramatic lighting, but rather using the off-camera lighting to enhance the existing light. I want to get a cleaner, slightly more punchy look - but one where the use of flash might not be that immediately obvious. To this end, I love using light-weight portable off-camera lighting. Something compact that is easy to carry, and easy for my assistant to hold up. When working in Manhattan, the use of a light-stand might get you in trouble in Read more inside...
Dance photography - studio lighting with dramatic shadows
Jaqlin and I wanted to create photos in the studio that captured the sheer power in her dance movements. It took several tries for me to get her at the peak of her jump.
The lighting here is very simple — a single Profoto B1x 500Ws flash (B&H / Amazon), and the Profoto Magnum reflector (B&H / Amazon). With the flash high up on a light-stand in the studio, I wanted it to simulate hard sunlight, with the shadow of Jaqlin, the dancer, being part of the design of the image.
The shadow has Read more inside...
While photographing dancer, Anna Russell, in this side-street in New York, I noticed those splashes of light against the wall. These little pools of light were from sunlight reflecting off nearby windows. I wanted to see if we could have Anna hit one of those in mid-air. What also helped was the general direction of light in this area - it mostly came from the main road to the left of the frame, since we were shooting in a narrow street with tall buildings.
The main splash of light on her was sunlight reflecting off this window of a building Read more inside...
Following on the article showing the Outdoor photo session with a dancer, Ella - here is a studio photo session with another dancer - Grace. For this particular sequence, I decided on using gels to add a splash of color to the images. Grace is impressively elegant, with powerful movements when she jumped.
As far as the poses and movements were concerned, I again let myself be guided by the expert here - the dancer herself. Similar to how I described the collaborations with Ella (previous linked article), and with Anna Russel, and Read more inside...
An additional challenge when photographing dancers in movement, is the exact timing. That fleeting pose in mid-air needs to be captured at the exact moment when their feet, hands and the entire body is positioned in ideal way. Some advice about this was given in a previous article on photographing dancers - tips on photographing dancers and ballerinas - but much of it relies on constantly conferring with the dancer, who will know exactly what they want.
Ella is a dancer, with a delightfully confident personality - especially so for Read more inside...
Photographing a talented dancer / model, Anna L Russel (Instagram), in the studio, I wanted to think further than just sequences. Recently I have moved more to thinking in terms of larger projects or longer-term projects, even if just over a single photo session. I liked the results from the first few jumps Anna did - explosive movements within which she momentally holds a pose before landing again. I don't know much about dance movements or what would be the perfect execution of a dance move ... which would then affect my timing Read more inside...
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...
