Archive for the ‘Lighting’ Category
We continue to push ahead and have some fun up here at the Vancouver Photo Workshops, doing a whole week of experimenting with speed lights.
One speedlight, outside the window. Tri-grip diffuser held up against the glass. TTL signal from camera pulsed out the window to the flash in the street. Couple frames, soft light for Mary June, who is a lovely model. Tomorrow is a big group here at The Ironworks in Vancouver for an all day lighting demo. Then, for me, a red eye to Washington DC (if it every stops snowing). Back to Vancouver later next week.
The beauty dish is a fave of fashion photogs everywhere. I call it a “cheekbone light.” It is short, sharp and it clearly, definitively crisps out human facial architecture, especially architecture that’s been facialized, powdered, defined, beautified, and otherwise made to look all sorts of crackling super human…in other words, a thoroughly worked over fashion model’s face. Read the rest of this entry »
I have always enjoyed the company of photographers, and last week, in a couple teaching stints, I was definitely in the mix with hundreds of funny, gregarious, passionate shooters. Some of whom, as you see below, helped me out by becoming extroverted, unabashed subjects for my camera.
These impromptu modeling sessions have become a staple when I teach, and my search of the audience for faces alternately produces groans, rueful smiles, outright enthusiasm, and sheer unadulterated dread. As a people photog, though, I enjoy the very haphazard search for faces. It has been a search I’ve conducted, literally, my whole career.
The lighting above is dead bang simple. The basic light shaper is a piece of xerox paper, taped to the computer screen. Done deal. You can control the sideways spill of it, if you wish, with a few strips of gaffer tape.
Background is a light on the floor, and the red hair light is a third SB unit, suspended overhead. You can send them signals to behave as TTL lights, or manual lights, and maneuver the exposure at camera to achieve a decently saturated look and feel. One of these days, I’ll take the time to craft a fancy spot light for the front of the computer, but when moving through demos, I don’t take that extra time. This is just a fun few minutes with gels, colors, simple light techniques, and some folks who obviously have some pretty good acting skills.
Have a few more teaching stints this year, mostly for the Kelby group down in Tampa. Here’s link for places and dates. Also head to Mexico twice. First up, San Miguel, with the Santa Fe Workshops. Then, in December, I return to Mexico for the PhotoXperience, in beautiful Guanajuato.
Head to the UK today. Some vacation, and then, GPP PopUP. All the best, to everyone! More tk….
So how do you shoot a medical marvel that is an absolute tech wonder, producing and providing highly detailed maps of the interior of the human body, but, on the outside, sort of looks like a big refrigerator with a hole in it?
The only sexy thing about this machine, visually speaking, were the blessedly intense, focused red beams that created the cross hairs used by the technicians to “aim” the scanner. The patient slides into the machine, and the device is aligned with assist of these beams. Turn the lights off in the room, which is one of the first things I often do when I walk into an environment, and you basically have the picture below.
Once again, up pops the irony of being a “flash photographer.” At any given moment, the most important light you deal with is the ambient light. What exists, is the first question you grapple with. Then, and only then, after you wrangle what exists and what role (dominant, background, fill) that light will play in the photo, can you mess with flash.
So in the darkness, with a D800E set at f5.6 at ISO 400, I sorted out a shutter speed of 4 seconds. Which was fine, as my “patient” wasn’t going anywhere. Of course, in this iteration, I’ve got a red light and no context, or information. Luckily, I had a wall behind me, flat and white. I turned the head of my SB 910 backwards into the wall, and shifted my color balance to incandescent. That flat wash of light off the wall, un-gelled, and plain white, defined the machine, and the tungsten WB gave it a bluish cast, which I felt would work better than dead bang white. One flash, on camera, re-directed, gave me color, tone, context and editorial content.
Still couldn’t turn on the overhead fluorescents to provide the background illumination, as their overall, blah quality of light, filling the room (which is what they are supposed to do) bleached out the intensity of the red aiming beams, and those red beams were the anchor for the picture. So, I kept the room dark, and flashed the background of the photograph with two SB units, each slightly warmed with a CTO (color temperature orange) gels. I believe the gels were fairly mild, maybe a quarter cut, or 25% of the truly warm tone a full conversion gel would have presented. They are placed, TTL, in Group C, which is always the group I use for the background lights in any photo. I switched my on camera flash to double duty, acting as a TTL main light, and the commander for the background fills. Done.
But, was I really done in the darkness? As is said in The Game of Thrones, the night is dark and full of terrors. I was moving fast, needing to clear the room of my gear so they could get back to scanning. I had a nice picture, one I knew the client would be happy with. So I plunged ahead.
Now, I love Manfrotto stacker stands. I just don’t love them when they’re actually in my picture. Doh! They had to be retouched out in the final TIFF sent in for the book. As I always say, whenever you are feeling lock solid and dialed in, think again, and check again.
In the darkened hallways of my mind, the ghost of Numnuts is cavorting about and laughing, and that laughter echoes, as it has for my entire career.
Out there in the rainy morning mist, my first instinct was to pop some light. I definitely needed a bit of contrast, but had to be careful because of the white nature of the gown. Between the attire and the background, I was dealing with a pretty monochromatic situation.
So I put up a beauty dish in what I’ve heard Greg Heisler refer to as “standard, regulation beauty dish position.” It was up and over the model, fairly steeply, to camera right. And it did its standard, regulation job. Nice light, mostly collecting around her head and shoulders and then fading down the length of her gown. Read the rest of this entry »