Posing and lighting technique
Posing and lighting technique - posing in relation to the lighting
When taking a portrait, the pose needs to suit the lighting. And vice versa, the lighting needs to be done in relation to the intended pose. Especially so when the lighting is dramatic. This is such a key idea - lighting and posing are tightly correlated. Started again: you pose the participants in relation to the light. You light the people you photograph, in relation to how you position the light. When lighting a couple, I tend to favor the woman in terms of flattering light. So in setting up a pose, the lighting Read more inside...How to position off-camera flash
How to position off-camera flash
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...Off-camera flash: Rim-lighting and using flare
Off-camera flash: Rim-lighting and the intentional use of flare
For these promotional photos for aspiring model twins, Carina and Carolina, we went to a park. There are certain things I look for when working on an location, that I know will immediately give me a better chance at successful portraits. My book, Lighting and Design for Portrait Photography, looks at exactly that thought-process throughout the 60 chapters in the book. The technique here should be quite obvious by now: A long lens (a 70-200 used closer to the longer end), compressing the perspective. Shooting Read more inside...Portrait lighting setup – Chiaroscuro
Portrait lighting setup - Chiaroscuro
Chiaroscuro is defined as the use of strong contrasts between light and dark - bold contrasts affecting a whole composition. Chiaroscuro in an Italian phrase meaning Light and Dark. Chiaro = Light; Scuro = Dark. In Film Noir, there are many examples of the use of Chiaroscuro, enhancing the mood. Here though, we're going to look at a straight-forward way of using Chiaroscuro as a lighting technique. This then becomes an easy starting point to experiment further. By adding planes that have a gradient between light and dark, you can enhance Read more inside...Best softbox for on-location headshot photography
Best portable softbox for on-location headshot photography
I vary the lighting kit that I use for on-location portraits and headshot photography. It could involve multiple lights, or a single-light setup on location. My choice of lighting is most often decided by how complex it need to be, and the logistics of getting to the location and setting up. More than struggling with something, I detest the appearance of struggling with something. Let me explain - when working with clients, it all needs to appear smooth and efficient. Everything in place, and professional. No struggling Read more inside...Posing people: Tips for improving your portrait photos
Posing people: Tips for improving your portrait photos
Throughout the numerous articles on the Tangents blog, I'm often asked about how I go about posing people. I've described some of it in the article, adjusting a pose with incremental changes. Instead of a traditional way of posing, it's mostly a "feel" thing, looking at my subject and seeing if there are elements that could be better balanced. This studio portrait of a model, Adrienne, doesn't follow rigid guidelines of formal portraiture. Her shoulder is a little scrunched up, and her head is tilted to the side. Yet, to my eyes, Read more inside...Flash photography tutorial: Balancing flash & ambient exposure
Flash photography tutorial: Balancing flash & ambient exposure
This topic - balancing flash and ambient exposure - seems to one that many newer photographers struggle with. The big hurdle seems to be the basic starting point - how do you decide on the exposure for each? I'd like to explore this topic a bit with this post. The trigger for this was a question that someone emailed me regarding an image in one of my books on flash photography. Instead of answering the question directly, I thought that a wider answer might be more illuminating. We're still on that perpetual quest Read more inside...Creative portrait photography on location
Creative portrait photography - Allowing opportunities to happen
There was an interesting challenge for me during a recent individual photography workshop in NYC - Don (who arranged the workshop), already knew the essentials of lighting techniques, and said what he really wanted was insight into the way that I see a photo before I take it. How do I know something will work or not. Don was particularly impressed with the series of photos of Anelisa that I shot for the review of the Profoto B2 Flash. The shallow depth-of-field images was a particular draw-card. Serendipity - I love Read more inside...Dramatic studio lighting: Using the beauty dish as a single light source
Dramatic studio lighting: Using the beauty dish as a single light source
I love the forgiving nature of large light modifiers - you don't have such precision with a huge softbox as you do with a smaller, more contrasty light modifier. But you also have less opportunity for dramatic light, as you do with smaller light sources. In line with the idea that a smaller light = harder light = dramatic light, I wanted to create a series of portraits that had a darker, moodier feel. Brian Calabrese, a photographer friend of mine, met up with me in my studio, and through various iterations Read more inside...- « Previous Page
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