Vintage photo session and Off-camera flash
Vintage photo session and Off-camera flash
Anyone who regularly follows the Tangents blog or has my 2nd book, off-camera flash photography, might recognize Sarah. When she told me she was visiting New York, I made sure that I squeezed in a photo session with her in my schedule. The weather on the day was grey and drizzly ... enough reason to juice it up with some off-camera flash. And then play with the images in post-processing a bit. On this rainy day there were random pools of water in the street, and it took just a few minutes to find a viewpoint where we could get Sarah's Read more inside...Photo-shoot with a model: the progression of an idea
Photographing a model on-location: the progression of an idea
As often happens for me when working a model on location, the final photographs are the result of a progression of an idea, rather than a fully-formed idea from the start. That colorful background came to be because of how I gelled for the flash. It's a technique I've shown a few times, and here it helped me in bringing a blah scenario up to something more eye-catching. The idea is to create an interesting shift in the color balance between your subject and background. It works especially well if the background is not Read more inside...Tutorial: Bounce flash photography
Tutorial: Bounce flash photography
An photo of a jazz trumpet player during a session in a club, lit by on-camera bounce flash. Since it's a perfect example of how I use on-camera bounce flash so that it looks nothing like on-camera flash, I'd like to use it to illustrate this summary of on-camera bounce flash technique: The light in this image is nearly all from my flash. The red hue in the background, and spilling onto part of the trumpet and his skin, is from the strong red lights in the night-club. To eliminate this, I under-exposed the ambient light, by choosing my camera Read more inside...Studio photography: Low-key lighting variations
Studio photography: Low-key lighting variations
The mood and simplicity of low-key lighting make it especially effective. So when Ulorin Vex appeared out of the dressing room with this black dress, I knew it would work very well with a low-key set-up in the studio. We had set up the darker background for previous outfits, but for this black dress, the simplified lighting - just a Profoto beauty dish (affiliate) - worked especially well. There were two lights behind her to show off the curves against the dark background. The gridded softboxes are exactly the same as shown Read more inside...Direct off-camera flash as fill-light
Direct off-camera flash as fill-light
I really like using a medium-sized softbox when photographing portraits. A softbox allows me to get soft, directional light pretty much anywhere. The most recent example I showed here, was Lucia and Alvin's wedding in Central Park, New York. I do make it easier for myself when using off-camera flash for photo sessions on location - I pick my battles. I don't try to make everything work. With a photo session where I can control the light and background and setting for my subjects, I can make it easier for myself by not choosing tough lighting Read more inside...Wedding photography: Using high ISO and flash at the reception
Wedding photography: Using high ISO and flash at the reception
Chatting with other photographers at the recent WPS convention in Chapel Hill, NC, I was again struck by how there are so many different ways of approaching lighting. In this case, lighting at the wedding reception. The one photographer I was chatting to, set up multiple speedlights around the reception room, and then controls which are fired, from his on-camera Master speedlight. Very impressive. In recent years, the wedding reception venues where I've shot on the East Coast of the USA, have moved away from being the Read more inside...Maximum flash sync speed, and the Nikon SB-900 / SB-910 speedlight
Maximum flash sync speed, and the Nikon SB-900 / SB-910 speedlight
Because of the way the focal plane shutter works in DSLRs, shutter speed doesn't affect our flash exposure ... while we don't go over maximum flash sync speed. When we go into high-speed flash sync, our flash output drops. (The linked article there explains it thoroughly.) However, when we work with ambient light (and intend to add flash to our subject), then a change in shutter speed has an indirect effect on our flash exposure. A change in shutter speed will mean a change in aperture, and this is what affects our Read more inside...Off-camera flash: Short lighting vs. Broad lighting
Off-camera flash photography: Short lighting vs. Broad lighting
"Short Lighting" is when the side of the face turned away from the camera, is better lit than the side of the face closest to the camera. (top image) "Broad Lighting" is when the side of the face closest to the camera, is better lit. (second image) This has as much to do with the position of the light, as with how your subject is posed into the light. This is true for studio photography and off-camera flash on location, and for when you photograph a subject with just the available light. As shown in a previous Read more inside...Adding rim-lighting to available light, with off-camera flash
Adding rim-lighting to available light, with off-camera flash
Off-camera flash need not be all that complex as it might appear to you if you are new to this. During a lunch-time conversation, a friend told me that she felt intimidated by the on-location flash photography by other photographers. The way to use multiple-flash setups seemed impenetrable to grasp. How would one go about and where do you even start. This made me wonder - just how complicated should photography lighting be? I don't think it has to be complicated. It just has to be enough to be effective or solve a Read more inside...- « Previous Page
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