favorite image from the weekend
Often seen in wedding portfolios, this is always a fun setup to do with groomsmen - the Reservoir Dogs style walk towards the camera. A great group of guys, good light with a nice background, and you have the ingredients for a photograph that the couple will just love. I fired off a rapid series of shots to make sure I have at least one image where the motion and expression of everyone worked. I didn't need flash, and it would've been difficult to set up properly with a large group of people walking towards the camera. So the light depended entirely on the shot being set up like this, Read more inside...
What if there is nothing to bounce your flash off?
What do you do when you can't bounce your flash?
A question that I'm often asked in emails or on this site or in person is, "What if there is nothing to bounce your flash off?" Sometimes the question seems to be directed as a challenge, but mostly I think photographers are hoping for a great solution that may have evaded them. Maybe, just maybe there might be a technique that could help when faced with super-high ceilings and wooden walls. Or, as in this photo above, when you encounter a venue with red ceilings and walls. This would be a tough color cast to fix in Read more inside...review: Lastolite Ezybox 24×24 softbox
review: Lastolite Ezybox 24x24 softbox
Softboxes used on location shoots, need to be easy and quick to set up. Ideally they should also be compact. Several photographers have recommended I check out the Lastolite Ezybox. So I took the plunge, and got the Lastolite EZYBOX 24×24" softbox (affiliate). Lastolite has a range of other Softboxes as well. All just as easy to use, with the Lastolite-specific way of expanding and collapsing. There's a specific way you twist it to collapse it. It's all in the wrists. The speedring simply clips into Read more inside...composition – framing the shot
composition in photography - framing the shot
In composing a photograph, what you exclude from the frame, is as important as what you include. With this portrait of Anelisa, I noticed that at this angle, the light reflecting off the black-painted wall created a warm glow of light behind her. With the receding lines of the bricks, I immediately composed the photo to exclude everything but our model and the specific background. A very specific background. Looking at the edges of the camera's viewfinder, I eliminated everything that could distract or didn't add to Read more inside...First curtain sync -vs- Rear curtain sync
First curtain vs Rear (2nd) curtain flash sync
A topic that has been briefly discussed on the Tangents blog before, is that of first curtain flash sync vs second curtain flash sync. First curtain sync is also often called front curtain sync; and rear curtain sync is often called second curtain sync. (This is also covered in my book on flash photography). Since it is an important topic in flash photography, let's look at what this entails and the difference between the two ways we can sync our flash .. and why would the one way would be preferable over the other. To help us Read more inside...recap: photography workshop – New Jersey and NYC
recap: photography workshop – New Jersey and NYC
Aleona was one of our striking models at the recent 2-day long flash photography workshop held in Jersey City and New York City. The setting in this photo is the DUMBO area of Brooklyn, with Manhattan in the background. The challenge was to overcome the hard sunlight with a small speedlight ... and still make it look good. The flash photography workshops have undergone certain changes over time - the material and sequence of material are always honed over time. The biggest recent change is that the workshop has expanded with an Read more inside...photographic composition in editing
composition in photography
In composing an image, it isn't just a matter of placing your subject somewhere in the frame. This is true for whether you go by the rigid restrictions of the Rule of Thirds, or whether you like a more central composition .. or a composition with a lot of negative space .. or whether composition is more in the way you instinctively react to the scene and subject in front of you. Equally as important as where you place your subject, is what you include and what you exclude in the frame. With photographic composition you have to look at the edges of your Read more inside...photography: combining video light and daylight
photography: combining video light and daylight for photography
An image from the most recent workshop, held in Jersey City - our model, Catherine, lit by a combination of daylight coming in through the window, and a video light held aloft. The careful use of the different color balance of daylight vs video light, gives this image its arresting palette. I did make sure that her face was mostly lit by video light, for a uniform color there. The camera was set to Tungsten WB - the preset appropriate for a video light. The background is the Manhattan Skyline. It is blown out because Read more inside...Mixing TTL flash with manual flash – wedding receptions
Mixing TTL flash with manual flash - wedding receptions
A common technique used in photographing wedding receptions, is to use additional lighting to lift the general light levels in large reception rooms. The additional lights can be wirelessly controlled TTL flash - but more often the additional lighting would be manual flash. Then you can use an on-camera flash, either in manual or in TTL. My preference when working like this, is for my on-camera flash to be used in TTL mode, and the additional light(s) to be in manual. In the photograph above, taken during a wedding Read more inside...- « Previous Page
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