Archive for the ‘Lighting’ Category
Always on the lookout for faces, right? Even when there’s a lovely face provided for you.
I was on assignment for the Lastolite Group in the UK, and I did some shooting in an amazing place, with a wonderful subject, seen above. The grounds belonged to Richard Jobson, a film director, and in an earlier life, lead singer and guitarist of the formative Scottish punk rock band, The Skids. As soon as I saw Richard, I knew I wanted to make a portrait of that legendary face.
The fashion-y pic at the top of the blog is lit softly, as one might when approaching a soft, beautiful, youthful face. It is a combination of fair degree of the available light, mixed with an Ezy-Box Hot Shoe soft box, and a Tri-grip fill board. It’s all designed to be sort of a soft puff of light, just a touch. When you dance with available light like this, the parallels between lighting and cooking really ring true. A healthy dollop of available, and a dash of flash. Final combo, 1/800th @f1.4, ISO 100. Shot all the portraits featured here with the D800E, which has now given way to the D810.
Richard’s face is an entirely different story. There’s hard won lines in his face, and a wonderfully craggy, piercing look. It’s an amazing face, with a formidable quality. You don’t confront a face like this with a wuss of a light source. I still used the 2×2 Ezy-box, but I installed an egg crate over the face of it, to give it less spill, and more direction. And I placed it in a not so friendly angle, steeply overhead, to accompany and partner the already inherent drama of his visage. As I always mention when I teach lighting, there’s styles and approaches to light that will be dictated by your assignment. This lighting approach could be cool for an editorial portrait of a edgy film director, or rock star, or an author. Light the CEO of the Let’s Project a Friendly Image to Our Customers Corporation for the company brochure, and the resident art director will beat you to a pulp with a baseball bat. Friendly, it ain’t. It’s a flash with an attitude.
I started with Richard with an even more radical source. the Lastolite Uplite. It’s a convenient contraption that lays down on the floor and lets you project a light, with more or less softness, up into your subject’s face. Use it as the main, again, you’ve got some attitude. Use it as a fill, and it can calm down, or lighten up raging shadows. Below is the uplite as the only source.
Okay, not applicable to all situations, true enough. But Richard is one of those folks who can pull it off. This is 1/200th @f2.8, ISO 100. We were operating here in heavy open shade, so the flash had no trouble overcoming the available light, and making it recede to the background. His face is almost totally flash. Hence a bit of drama.
Now, put them together. The overhead soft box and the underneath uplite. Play with the ratios. Which is stronger? That’s to your taste. In the below frame, the uplite is filling only, not dominating the conversation.
Now, there’s a strong catchlight in his eyes from the lower light, and only the hint of the upper one in his right eye, perhaps leading you to think the under light is doing most of the work. Not the case. He has deep set eyes, and the steep position of the overhead combine with them to produce just a slight glimmer of its presence in the photo. But, it is doing the heavy lifting here.
There’s a whole video Lastolite created about this, which goes into more depth than I can here. Check it out at this link. In fact, there’s a whole page of various video selections you’ll find when you get there.
They were fun to do, especially seeing as I was directed by the mad genius himself, Drew Gardner, who has added video direction to his already considerable catalogue of visual skills. In the below pic, I have obviously screwed up again and Drew is correcting me.
Lastolite is continually coming out with interesting stuff for all manner of flash, particularly small flash. I’ve been happy to chip in with some ideas, and they’re located at this link.
Another bonus of the day? In addition to this wonderful location, group of subjects, and crew, I found, on a typically English, misty morning byway, one of my favorite pictures of my wife Annie…..
One of those good days in the field. More tk.
Firefighters. They share, along with cowboys, an innate ability to simply step in front of a camera and become a photograph. Henry, of the Soufriere Fire Department in St. Lucia, has a look, a presence, if you will, that speaks to the camera.
To do this portrait, I made some camera moves before I even put it to my eye. When doing what one might call a “formal” portrait, I’ve always enjoyed a more blocky type of aspect ratio. Don’t know exactly why. It might hark back to film days when I shot a lot of 6×7 and square medium format stuff. In the D4S there is a menu checkoff where you can alter your frame from the standard DSLR view to 5×4, which is what I did here. I also shifted into Monochrome. I still have color in the raw file, but when I shoot B&W, I like to see in B&W. It makes a difference. I rarely shoot in color and then convert it to monochrome later. I try my best to think and see in the palette I am shooting, at the moment of exposure.
One subject? One light, at least to start. (Best to keep it simple and move fast when working with firefighters, as they’re likely to disappear at any moment.)
Here’s where light placement, hence a C-stand, comes in, well, not just handy, but pretty damn essential. Depending on your taste, of course. You can light from the side, or elsewhere. You can light from anyplace you want to try. But, my instincts said, light from overhead, symmetrically, and for this, you gotta extend, or boom the light source.
Which is, in this particular equation, a 24” white interior Lastolite hotshoe soft box. Handy, simple, all purpose light source. It’s pretty soft and forgiving, but also directional, hence the shadows. It gives Henry a look, for sure. It’s moody, and has attitude. But, pitched from up above, that’s all it gives. You don’t see the eyes.
Want the eyes? That calls for another light, given the attitude of the first light, which I didn’t want to change. I washed a Group B TTL light off the silver reflective sleeve of a Lastolite trip-grip diffuser, placed on the floor, about 8’ in front of the subject. Voila! Eyes.
But, this is a wash of light, it flows upwards towards Henry, and lights not just his eyes, but it puts details into his overall frame and what he is sitting on, which happens to be some sort of air filter we found in the firehouse. It’s nice enough, but not really specific. If you want a light just dedicated to his eyes, best to use something like a gridded or snooted source, something that produces a small, concentrated splash of light that really locates the eyes and not much else.
For the above, there are a couple things you could use. Lastolite makes a gridded, magnetized snoot that is collapsible and cool. It travels well, and the whole kit, with the grids, frame and snoot give you lots of options. The big blow of light behind Henry is the same contraption I had just used to fill the front of him. It’s a speed light bounced into a silver tri-grip. Give a little, get a little, is the rule of location. Other rules abound. Solve one problem, create two more. Murphy’s law. The frequency of the bread falling butter side down is in direct relationship to how expensive the carpeting is. Etc. Location is problem solving, often times. Eliminating the frontal, general fill and going with a very specific source meant I lost a touch of detail in the background. So, I pulled the floor fill rig around to the back of Henry, to light up the rack of bunker gear hanging back there. True to the general pattern of TTL, the camera’s brain rightly perceived that area to be dark and pumped out too much light, as you can see above.
Plugged in minus 2 EV (also tried minus 3) and dialed up the background to a decent, moody level.
We ended up here, with three lights. Group A, overhead, boomed Lastolite 24″ hot shoe soft box. Group B, fill snoot for his face and eyes, running low power, about minus 3 ev. And the background, Group C, a bounce off of a silver reflective surface (the speed light is just laying on it) running in similar toned down fashion, minus 2 or 3.
Here’s the final camera specs. D4S, 1/20th, f5.6, 79-200mm f2.8 zoom, set at 170mm. I have minus three programmed into the camera, but the D4S ignores that command because it is set in manual mode. I did my scout in aperture priority, getting the rough exposure for the scene dialed in, and then flipped the camera into manual to proceed through the making of the shot. I could say I did this because I was showing the class the various modes of the camera and how they interrelate. Or I could just say I made a mistake and forgot to drain out that exposure command. You choose.
Very happy to report I’ll be going back to an amazing city, Shanghai, this fall, and working once again with peerless wedding shooter Louis Pang. The two of us have always taught well together, taking different paths to a picture, and using skill sets that complement each other well. Louis of course is the master of the wedding, orchestrating and posing people in wonderful fashion. Me? Well, I’ll be engaging once again in a bit of hopefully creative mayhem with speed lights.
I’ve always loved shooting in Shanghai, which is one of the most vibrant places on earth. Louis and I will be teaching there from November 19th through the 23rd. Here’s the schedule and links to the workshops and seminars offered..
Here’s just a few shots I’ve done in Shanghai over the years, and I’m excited to head back to teach!
As I usually mention when teaching flash lighting, the most important light to observe and work with is not represented by that carton of flashes in the trunk of your car. It’s the ambient light level you encounter on location. Even if you go into a coal mine, and there is no light, that lack of ambient illumination becomes the driver for your flash solution. Likewise, outside, on a sunny day, that nuclear blast of photons up in the sky pushes you to light…or not. So, ironically, when you go on location as a “flash photographer.” no matter how many watt seconds you are packing. the ambient light is the key light to observe and react to. Read the rest of this entry »
It’s been a busy year, so much so, I didn’t get around to doing a KelbyOne live seminar until late June. They are fun to do, and it looks like I’ll do a few more as the year progresses. The Kelby folks actually changed the name of the tour in the middle of things (thanks guys:-) so it is now called “The Power of One Flash.” Good example below. A very patient lady helped me out by coming out of the audience in San Jose for this one flash snap.
It’s a one flash deal, but the flash is ping ponged off a white foam core board. It faces away from the subject, hits that board, enlarges and softens dramatically, and then hits a 3×3 Lastolite Skylite Rapid Diffuser, which is very, very close to her face. When the already bounced light translates through that, it gets really glowy and soft. It’s basically a home made soft box I make on stage.
At the top of the blog, the pic is three flashes, but I don’t get to three until the fourth hour, and only use the that many for about 10 minutes. The rest of the day is pretty much one flash treatments, which I regard as a serious act of restraint on my part.
The gentleman in the hat is lit with two rim lights, off to the sides and behind him. I shot in tungsten white balance, so the white light SB-910 units go blue. With a little underexposure, they get dramatically blue. The front light is a little beauty dish that used to be made by Flashpoint. Sadly, they don’t make it anymore, but I loved the controlled snap of the light, especially when used, as it is here, with a honeycomb grid. It’s tight, and really pops the subject, but let’s the other lights do their thing, as it’s overall field of coverage is really defined and narrow.
Also experimenting with a new style of umbrella. It’s big. (Called a 4 in 1 by the Lastolite folks, it is 51″ so the coverage is excellent.) Used in reflected fashion, it easily drapes Brad and Jan here in rounded, soft light. (This big source gets trotted out in the last hour, where I show some Profoto large flash units, and contrast that approach with multiple speed lights into one shaper.)
Then, with the addition of a tri-grip silver reflector, and some banter, we ended up here. These lovely folks have been together a long time, over 20 years, as I remember. Many thanks to them for coming onstage.
But turn the umbrella into a shoot through, firing only through the center port, you can make it a character driven light, such as the treatment here of Chet, also a wonderful volunteer from the audience.
The above pix are shot with the exact same light source, the 4 in 1, but configured in a different way, which yields decidedly different results.
Next one of these stops is Cleveland! Having fun doing these, and many, many thanks for all the gracious folks who come up onstage and help me out during the day. Most people don’t imagine at the beginning of the day that they will end up with a photo session in front of 300 plus people, but for a few, it works out that way. Hey, I get a great subject to work with, and they get a new Facebook profile picture. All good……more tk…..