{"id":9551,"date":"2011-11-25T20:04:06","date_gmt":"2011-11-26T00:04:06","guid":{"rendered":"https:\/\/neilvn.com\/tangents\/?p=9551"},"modified":"2021-05-16T11:30:43","modified_gmt":"2021-05-16T15:30:43","slug":"wedding-photography-bride-groom-portraits-with-video-light","status":"publish","type":"post","link":"https:\/\/neilvn.com\/tangents\/wedding-photography-bride-groom-portraits-with-video-light\/","title":{"rendered":"wedding photography: bride & groom portraits with video light"},"content":{"rendered":"

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wedding photography: bride & groom portraits with video light<\/h1>\n

For that dramatic Hollywood look, a video light is probably the easiest light to use, especially when there is the need to work fast like on a wedding day. With Alli & Scott’s engagement photo session<\/a>, I knew I’d be working with a couple that would easily go along with any ideas that we’d come up with. We worked indoors at the Temple Israel in Long Island, New York, and there were all kinds of interesting nooks to explore.<\/p>\n

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The majority of their romantic portrait photos were taken using only a single video light – the\u00a0Lowel ID-Light<\/a>\u00a0<\/strong>(B&H). \u00a0I chose to work with the Lowel ID-light this time instead of the\u00a0LitePanels MicroPro LED video light<\/a>\u00a0(B&H), because I wanted a video light that was stronger, and that I could diffuse and focus, depending on what I needed. It was just the more flexible choice. (Check this comparative review of the Lowel ID-light vs LED video light<\/a>.)<\/p>\n

Processing for all these images were done in two steps:
\n1. A variation of my usual digital retouching for portraits<\/a>, where I have Shine Off on a layer, and Imagenomic Portraiture on a reduced opacity layer.
\n2. Then I ran a Photoshop filter to give it a vintage look. This was on a layer so I could reduce opacity.<\/p>\n

details for image at the top:
\n1\/50 @ f3.2 @ 1600 ISO
\nNikon D3S<\/a>\u00a0 (B&H); \u00a0Nikon 24-70mm f2.8 AF-S<\/a>\u00a0(B&H)<\/p>\n

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In one passageway, there were opposing mirrors, giving an infinity effect. The video light was ideal here in containing the light spill, and making these images possible. (It would’ve been a headache doing this quickly with flash.)<\/p>\n

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details for the two images above:
\n1\/30 @ f3.2 @ 1600 ISO
\nNikon D3S<\/a>\u00a0 (B&H); \u00a0Nikon 24-70mm f2.8 AF-S<\/a>\u00a0(B&H)<\/p>\n

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details for this image:
\n1\/160 @ f1.6 @ 1600 ISO
\nNikon 700<\/a>\u00a0 (B&H); \u00a0Nikon 85mm f\/1.4G<\/a>\u00a0(B&H)<\/p>\n

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details for this image:
\n1\/100 @ f1.6 @ 1600 ISO
\nNikon 700<\/a>\u00a0 (B&H); \u00a0Nikon 85mm f\/1.4G<\/a>\u00a0(B&H)<\/p>\n

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With both the next two images, we had to turn down the brightness of the video light, so that the detail in the background would be held. With a brighter light on the couple, Alli and Scott, I’d have to use a faster shutter speed \/ smaller aperture \/ lower ISO, and the background would go dark, or even black.<\/p>\n

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details for both images:
\n1\/60 @ f3.2 @ 1600 ISO
\nNikon D3S<\/a>\u00a0 (B&H); \u00a0Nikon 24-70mm f2.8 AF-S<\/a>\u00a0(B&H)<\/p>\n

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Finally, a fun image where I wanted to see if the spots on the doors leading to the kitchen would give a surreal quality.<\/p>\n

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camera settings & photo gear (or equivalents) used during this photo session<\/h2>\n

1\/60 @ f3.2 @ 1600 ISO
\nNikon D3S<\/a>\u00a0 (B&H); \u00a0Nikon 24-70mm f2.8 AF-S<\/a>\u00a0(B&H)<\/p>\n

A video light is an essential part of my lighting arsenal as a wedding photographer. With this set of images, I wanted to show the variety of images and settings that is possible. It is even possible to do the majority of images with just a single video light, if circumstance allows it. Then, there are those times when it is just the easiest lighting tool to use.<\/p>\n

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related articles<\/h2>\n