This sequence of photos is from a photo session in my studio with a model, Eryn. I have this one canvas backdrop where I prefer the back of the backdrop, which looks distressed, rather than the proper painted front of the backdrop. I like it this way because it looks unusual compared to the front. I wanted to photograph Eryn against this canvas backdrop ... and I wanted to use window light. As I opened up the window blinds, the indirect light spilling in was also punctuated by the sunlight glaring off the hood of my car, creating these patterns Read more inside...
One of the few portraits of myself that I immediately liked — more than the background and the starkness of the B&W processing, what draws me to this image is the pose — it’s as if I am hovering in decision. There’s an implied narrative here, even if shrouded in mystery. Not quite a self-portrait but I was involved in the setting it up of this, and the other photos in the sequence.
Photo by my friend, Clayton. He used an 85mm lens.
Posing by me. I kept changing my Read more inside...
During a chance connection at WPPI photography convention in Vegas, Lupita and I struck up a conversation ... and later that evening we ventured out on the Las Vegas strip for a few late night portraits. With a fast prime lens - the Sony FE 135mm f/1.8 GM lens (B&H / Amazon) - we were able to use just the light on the part of the Strip we explored. Here are a few of my favorite images.
It's always an adventure using random available light like this -- there is such a wide range of nuanced shades of colors Read more inside...
Available light photography - looking for good light
When shooting for fun on location with a model, and have the time, I have this personal challenge - to find interesting sources of light. Those spots of found light where a little bit of magic happens. This photo of Anastasiya was taken in Grand Central, New York. While the station's architecture is impressive, the light levels there are very low, and quite flat. It's a place you want to take photos at, because it is so beautiful inside - but it is a challenge. The light there just don't lend itself to good portraits in an obvious Read more inside...
This is a simple illustration again of the idea that posing and light(ing) go hand-in-hand. You can't really separate these two aspects when photographing people. When there is a video team at a wedding, I have to accommodate them in not using flash when they are shooting their sequences during the romantic portrait session with the bride and groom. Then I have to rely entirely on just the available light.
In this example, they had the bride, Amanda, walk down the jetty twice - a good opportunity for me to shoot some extra images to pad Read more inside...
Direction of light - Using available light in the studio
This striking portrait of Rozalinda was lit by big window light in the studio. In using light - whether studio lighting or available light - you need to consider the direction of the light. You need to figure out how you want to place yourself and your subject in relation to where the light is coming from. Your own position in relation to the light and your subject, will significantly change the way the light appears on your subject. Check this article for an example: Change your position, change the direction of light.
With Read more inside...
A theme we have touched on regularly here is that “using the available light” is not a random decision. The best results with portrait photography in available light, is when we are deliberate. Deliberate in how we position our subject in relation to the light. This is the central idea in my book, Direction & Quality of Light - posing and lighting are inter-connected. With available light photography, it becomes a little harder to find light that is flattering - compared to using off-camera flash, where you can sweeten the light most of the time with the Read more inside...
For a review of the Fuji X-T2, I met up with one of my favorite models, Anastasiya, in New York. Working with just the Fuji X-T2 and the kit lens that came with it, I wanted to work with just the available light. But I wasn't just on the lookout for soft, flattering light - I also on the lookout for interesting found light, such as unexpected splashes of light. Available light portrait photography with intent! These two articles will show how surprising it can be to stumble upon interesting available light to enhance a portrait:
Observing and Read more inside...
Photography: Using light fall-off to illuminate your subject
John collects vintage … oh, everything. His entire house filled with collectibles – it is like stepping out of a time-machine into a different era. I joked with him that the only two things in his house from the 21st century is his fridge and his dog! Most impressive in a way, is John’s workshop where he maintains his two vintage era motorbikes and a Model A Ford. The tools in his workshop are all authentic to the era and are hand tools - no electric tools - and they work. The way John describes it, it actually makes sense Read more inside...
Photography tip: available light portraits - that sweet spot of light
A regular theme on Tangents, is using interesting found light sources while shooting portraits on location. For example: using sunlight reflected off a traffic sign.
With this straight-forward portrait of Irene, a photographer friend in New York, I want to show a neat little trick here - helping your subject understand exactly where you want them to stand.
Here we had random reflections of glass structures in Manhattan, giving random spots of lights. I wanted to use one of these spots of lights here as Read more inside...
