Studio photography – Lighting simply for impact
Studio photography - Lighting simply for impact
This striking image is from a commercial gig, shot in my studio for a company launching a range of hair extension products. For this sequence, one of several different setups we did, the client wanted this view and this look - so I had to decide on the best way to light their suggestion. We really make the hair the focus of the image, so I had to shoot from above on a short step-ladder. The decision on how to light this, was based on the commonly accepted principle of starting with a single light first, and only then building it up Read more inside...More spontaneous portrait photography
More spontaneous portrait photography
A friend of my daughter sent me an email with a few observations and a question, which in turn, set of a much longer train of thought about portrait photography, and making it more spontaneous. My portrait photography tends to be controlled on some levels. I don't strictly pose, but I do control the pose and the lighting and composition - while still trying to retain some spontaneous reaction from my subject. Here's Terry's email (which was titled: Intrinsic Splendor) I was thumbing through one of your books to brush up on something Read more inside...Boudoir photography with a Hollywood glamor feel
Boudoir photography with a Hollywood glamor feel
I managed to acquire a lovely (and massively big) lighted table for my studio. I picked it up for quite a low price at a photography studio auction in New York, and now it has a new home. It was a missing piece in my studio - especially since I also offer the place as a photography studio rental (NJ) . But I digress. In other studios that I've used, I've used the glow of the circularly arranged lightbulbs, as a light source. For example in this photo session with Jessica Joy - composition: working towards the final image. A number Read more inside...book: On-Camera Flash Photography (2nd ed)
book: On-Camera Flash Photography (2nd ed)
The extensively revised and updated book, On-Camera Flash (Amazon), is now available on Amazon. Based on the best-selling 1st edition, this is more than just a cosmetic overhaul. Combining older material which have been polished and streamlined, with lots of new material and trawling the Tangents blog for the best material on how to use your on-camera flash to best advantage. Details about the book: On-Camera Flash (2nd edition) You can either purchase a copy via Amazon USA or Amazon UK. The book will also available as Read more inside...When to use high speed flash sync (HSS)
When to use high speed flash sync (HSS)
Let's cut straight to it - there are only two reasons you would need to use high-speed flash sync: to have an appropriately shallow depth-of-field, to have a sufficiently high shutter speed to freeze action. That's it. Just those two things. When you need shallow DoF, or a faster shutter speed than max sync speed, then you go to high-speed flash sync. What HSS doesn't do - it doesn't allow you to overpower the sun. When you go to from normal flash mode (at or below max sync speed), into high-speed flash sync, then you lose Read more inside...review: Sony Zeiss 135mm f/1.8 ZA lens
review: Sony Zeiss Sonnar T* 135mm f/1.8 ZA lens
One of the pieces of photo gear that I have lusted after ever since the first time I saw it, is the Sony Zeiss 135mm f/1.8 ZA lens (B&H / Amazon). That combination of the Zeiss name tag and the sweet f/1.8 aperture on the telephoto lens, predicted this would be a lens to experience. However, since I mostly shoot Nikon (and also have a small Canon system), and this is a Sony mount, it remained an unrequited love. Then I had a photographer in Germany, Thomas, asked about doing an personal workshop on flash photography Read more inside...Tips on working with models
Tips on working with models
One of the best tips I can give you when photographing a professional model - wait for your model to "give" you the photo. Time your photos - don't just arbitrarily fire the shutter. Most models need a moment to settle into position. Watch their movements and pose. At some point they are likely to go through a little mental routine where they might breathe out a bit and then look at the camera. That's the moment. Not the inbetween settling-into-the-pose moments. Photographing a model, Adrienne, for her Daily Fashionista blog, I could again quickly 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...- « Previous Page
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