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AbouttheAuthor
NeilvanNiekerk,basedinNewJersey,specializesinportrait,wedding,andboudoirphotography.HealsomaintainsTangents(www.neilvn.com/tangents),anactivewebsiteforphotographers.Heteachesworkshopsandseminarsonphotography,andhaswrittenthreeotherpopularbooksonlightingforphotography,whichhavebeentranslatedintoPolish,Portuguese,andChinese.OriginallyfromSouthAfrica,Neilworkedasatelevisionbroadcastengineerthereuntil2000,whenheemigratedwithhisfamilytotheUnitedStates.Hehaspursuedphotographyasafull-timecareereversince.
ToseemoreofNeilvanNiekerk’swork,visit:www.neilvn.com/tangentswww.oneperfectmoment.comwww.facebook.com/neilvn.photography
Copyright©2015byNeilvanNiekerk.Allrightsreserved.Allphotographsbytheauthor.
Publishedby:AmherstMedia,Inc.P.O.Box586Buffalo,N.Y.14226Fax:716-874-4508www.AmherstMedia.com
Publisher:CraigAlesseSeniorEditor/ProductionManager:Michelle PerkinsEditors:BarbaraA.Lynch-Johnt,HarveyGoldstein,BethAlesseAssociatePublisher:KateNeaverthEditorialAssistancefrom:CareyA. Miller, Sally Jarzab, John S. Loder Business Manager: Adam Richards Warehouse and FulfillmentManager:RogerSingoISBN-13:978-1-60895-817-7LibraryofCongressControlNumber:201494459510 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means,electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from thepublisher.
Notice of Disclaimer: The information contained in this book is based on the authors’ experience andopinions.Theauthorsandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
CheckoutAmherstMedia’sblogsat:http://portrait-photographer.blogspot.com/http://weddingphotographer-amherstmedia.blogspot.com/
TABLEOFCONTENTS
Foreword,byJenRozenbaum
Introduction
GreatPortraitsin“Nowhere”Locations1.Simplify,Simplify,Simplify2.AvailableLightandComposition3.TheGame-Changing85mmLens4.FindingtheLight5.NaturalRimLight6.SelectiveComposition7.LensCompression8.Off-CameraFlashforExtraDrama
LightandLighting9.ElegantlySimpleOn-Location10.IntentionalUseofFlare11.AddRimLighting12.Backlighting13.ASun-DrenchedBackground14.LensFlareandPostproduction15.StriveforVariety,Part116.StriveforVariety,Part217.DramaticLight18.GelledFlashatSunset
IndoorLocations19.BounceFlashintheNightclub20.BounceFlashforKidsPortraits21.BounceFlashwithaGel
22.SpeedlightswithGrids23.FresnelLights24.WindowLightBabyPortraits25.AvailableLightEnvironmental26.VideoLightforLow-LightDrama27.WeddingswithVideoLight
Posing,Directing,andComposition28.PosingEngagementPortraits29.CompositionandFocalLength30.GestureandConnection31.DramaticStylewithLEDFresnels32.SeizetheOpportunity33.Finesse34.ABetterPerspective35.RulesofComposition
StudioPortraits36.The85mmf/1.4Lens37.AHome-StudioSetup38.StudioHeadshots39.Low-KeyVintagePortrait40.ContinuousLights
ImprovisingonIdeas
41.DeconstructingaPortrait42.UrbanBallerina43.RegalPortraitwithaFerret44.WorkingTowardtheFinalImage45.WorktheScene
46.FindtheOtherAngles47.PlayfulPortraits,Part148.PlayfulPortraits,Part249.FilmNoir50.PunchingUpPlainWhiteWalls51.ClassicStyling
On-LocationwithBigLights52.PromotionalPortraits53.AVintageMotorbike54.SpeedwayRacer55.BestOn-LocationLightModifier56.NewYorkCityRooftop
57.Decisions,Decisions,Decisions58.CosplayPortrait59.Steampunk/FuturistPortrait60.DepthofFieldControl
Index
FOREWORDbyJenRozenbaum
ImetNeilmanyyearsagoatadinnerfollowingalocalphotographyevent.Aswewaitedforourtabletobeready,wespentsometimeinacrampedbar.Althoughwewerebothhungry(andthewaitwaslong),westartedchattingaboutphotographyandaboutlife.IhadnoideathatNeilwasabrilliantphotographer—orthathisknowledgeaboutlightingwasfarbroaderthanmineormostothers.Wewerejusttwohungrypeoplelookingforabitetoeat.
WhenIgothome,mystomachachedfromallthelaughterwesharedthatnight—butIstartedGooglingNeil.That’swhentheimagesstartedpoppingup.Then,Ifoundhis“Tangents”blog.Instantly,IknewthathewassomeoneIneededtolearnfromifIwasgoingtobeasuccessfulphotographermyself.
IamthankfulthatNeilhastakentimetohelpmelearn.WhileIamfortunateenoughtolivecloseenoughtohimforface-to-faceeducation,thisbookwillbejoiningmycollectionofNeil’sotherworksforeasyreferencewheneverIneedit.
Asphotographers,weneedatoolbox—onethatisfullofbothtangibleitems(likecameras,lights,andlenses)aswellasmanyintangibleskills.Themostimportanttoolinthisboxisourbrain,whichenablesustomakegooddecisionsinallthedifferentscenariosweencounter.Ourbrainsalsoallowustoplan.Tobepreparedistobesuccessful—andNeilisalwaysprepared.Hemakesdecisionsthoughtfullyandwithcarefulcalculation.
Whatagiftitistogetaglimpseintohowhisbrainworksandhowhehascreatedhissuccess.Withoutquestion,itwillleadtoyoursuccess,too.Congratulations,Neil,onanotherbeautifuljobwelldone.Thankyouforsharingyourself—andyourbeautifulart—withusall.
INTRODUCTION
Don’tBeIntimidatedWhenIfirstimmersedmyselfinphotography,ittookmeawhiletorealizethattheincrediblephotosIsawinbooksandmagazinesweren’tnecessarilythefirstimage—orthewholestory.Mostoften,Iwasseeingtheonephotographthatstoodoutinaseries,orwheretheelementswereperfectlycontrolledbythephotographer.
Withthatrealization,Ifeltlessintimidatedbygreatphotos;theybecamemoreaccessible—andmoreattainabletomeasanewphotographer.Photographswithimpactorappealcouldhappenbecauseofserendipityorforesightandcarefulplanningbythephotographer.Quiteoften,theyresultfromrecognizingthepotentialofasceneandworkingwithittofinessethecomposition,lighting,orpose.
AboutMyWorkandThisBookAphotographeroncetoldmemyphotographyseemedtobeallovertheplace—thatitwasunfocusedandthatitwasn’tclearpreciselywhatIofferclients.Ishouldconcentrateonjustonethingandmakethatspecificthingmyown.
Well,thatdoesmakesense.Whilemostofmyworkisrelatedtopeople,thereisacertaineclecticapproach.PerhapsthatisbestexplainedbywhereIcomefrominmyphotography.Attheheartofitall,Istillhavemyamateurinterestinallofphotography—allofit.Istillgetexcitedatnewdiscoveries,techniques,andgear.Iamstillthatguywithmynosepressedagainstthecamerastorewindow,dreamingofdoingthingsyouonlyreallyreadaboutinmagazines.Istillcraveitall.
Thatalsoexplainsthemotifofthisbook,whichcontainsexamplesofallkindsofideasandtechniquesaswellasthethoughtprocessesbehindthem.
Overtime,myportraitstylehasgravitatedtowardalookinwhicheverythingisquitesimplified—thelighting,thebackground,andtheframing.WhetherIusetheavailablelight,videolight,off-cameraflash,orevenon-camerabounceflash,there’sanuncomplicatedlook.I’dliketothinkofitaselegant,unfussy
simplicity.
Thechallengeistomixitupandimprovisetoreachforbetterimageseverytime.
Inthisbook,Iwillanalyzemyeclecticstyleandshowthatthere’susuallyaspecificunderlyingmethodandfamiliarrhythmthatgivesmea“can’tfail”baseline—apointwhere,ataminimum,theimageslookreallygood.Fromthere,thechallengeistomixitupandimprovisetoreachforbetterimageseverytime.
AboutthePeopleSomeshootswereproducedforthisbook.OthersweredonewithmodelsfromworkshopsorwhowereoriginallyphotographedfortheTangentsblog.Someareclients,somearefriends.
AbouttheGearForweddingphotography,Ineedfastlenses(f/1.4,f/2.8)andresponsivecameras.ImostlyusetheNikonD4currently,butthatwillchangeasIinevitablyupgrade.Thatsaid,themajorityofwhatisinthisbookisaccessibletoanyonewithaDSLR.
Anumberoftheimagesusestudiolighting.Still,Iwouldsaymostofwhatispresentedisaccessibletophotographerswithspeedlights.Youshouldbeabletousetheideasandtechniquesherewithabasichomesetup.
Whatisimportantisthattherearevarioustidbitsandideasineverychapterforeveryonetolearnfrom.
O
GreatPortraitsin“Nowhere”Locations
1.SIMPLIFY,SIMPLIFY,SIMPLIFY
neconsistentthemeyouwillnoticeinthisbookishowtopullamazingportraitsoutof“nowhere”scenarios.Thefinalphotographwilllook
stunning—butwhenthewiderpull-backshotisseen,itisamess.Withselectivecomposition,wecandecidenotonlywhatwewanttoincludeintheframebut,justasimportantly,whatweneedtoexcludefromtheframe.
Notethewordthere:exclude.Weneedtoexcludefromtheframeanythingthatdoesn’tenhancetheimage,butinsteadwilldetractfromthefinalphotograph.Soaneasymantraistosimplify,simplify,simplify.
LightingThetwomainimagesofElle(belowandfacingpagetop)weretakeninthelateafternoon,aboutanhourbeforethesunwentdown.Shootingtowardthesun,Ispottedthislovelyopenavailablelight.Therewasreallynoneedforadditionallightingatthispoint.
Ifyoucancreateagoodphotographoutofseemingly“nowhere,”thenyoucanbringavarietytoyourimagesthatisoutoftheleagueofphotographerswhofeeltheyhavetorelyonpicture-perfectscenery.
LensSelectionThechoiceoflensherewasimportant.The70–200mmlens(afasttelephotozoomwithstabilization)isanessentiallensforme.Itallowsmetoshootinlowlightwithrelativelylesschanceofcamerashake.Theshallowdepthoffieldalsoaddsitsowncharacteristictotheimage.
TECHSPECS:
1/200second,f/2.8,400ISO
NikonDfNikon70–200mmf/2.8VRII
Availablelight
Moreimportantlyhere,thelongerfocallengthallowedmetopickoutthespecificbackgroundthatIwanted.Withthislens,Icanchoosemybackground—andevenasidewaysmovementofafewinchescancompletelychangethebackgroundoftheportrait.
ThePull-BackShotAndhereisthepull-backshot(right)!Treesandacar-parkandaroad.Itreallydoesn’tlooklikemuch.Butbyusingthetightcompressionofa70–200mmlensatthe200mmfocallength,youcanbeveryselectiveaboutthebackground.
Inthiscase,Iwasabletoshiftmyownpositionslightlyandchangethelightingbylettingthesunjustbarelypeekpastmysubject,togiveabitofflarethatwarmsuptheimage.
So,really,Iwouldhighlyrecommendalensinthisrangeforanyportraitphotographerwhoregularlyshootsonlocation.
I
2.AVAILABLELIGHTANDCOMPOSITION
ntheintroduction,Imentionedthatveryoftenyoucandistillatechniqueintoafamiliarpattern—acustomarywayofworkingwhereyoucangetgreat
portraitsinaveryshorttimeandunderpressure.WiththisphotosessionwithChristy,crazypeak-timetrafficdelayedthestart
oftheshoot.Whenwefinallygotunderway,fallingbackintoafamiliarrhythmofshootingportraitsallowedmetogetimagesthatworked—veryquickly.
There’samethodthathelps,especiallywhenyou’reunderpressure.Thestartingpointisfindingthatintersectbetweengoodlightandagoodbackground.Andifyoudon’thavegreatavailablelight,thenyouneedtocreateitwithadditionallighting.Fromthere,itisamatterofposingthesubjectandcomposingtheframe.
Thefadinglightdidn’tproduceenoughrimlight,andthebackgroundwasn’tespeciallyinteresting.
Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.
TheStartingPointWiththesunsettingoverthehorizon,therewasagoldenglowtothelight.IaskedChristytoturnherbacktothat,hopingforsomeofthatrim-lighttoperhapsworkitsmagic.Unfortunately,itwasn’tstrongenoughfortheeffectIwanted—thelightwasalreadyfading(left).Also,shootinginthisdirectiondidn’tlooklikeitwouldleadtomuchintermsofaninterestingbackground.
ABetterOptionTurningaround,Isawthepatchofbrighterskybetweenthetrees;Iknewthiswouldmakeagreatnaturalframe.This,then,iswhereIshotthemainimage(facingpage,top).
WhatItLookedLikeThepull-backshot(facingpage,bottom)showsexactlywhereIphotographedChristy.It’sjustagrassystretchnexttothesideoftheroad—nothingmuchthere.Themainimagewasshotat180mm,whichagainistowardthelongerendofmy70–200mmf/2.8zoom.
Shootingfromalowerangle,IframedChristyagainstthebrighterbackgroundwiththatnaturalvignetteofout-of-focustrees.Noneofthisisrandom;itrequiresmakingspecificdecisions.Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.
TECHSPECS:
1/160second,f/2.8,1250ISONikonD4Nikon70–200mmf/2.8VRII
Availablelightonly
AnotherOptionThissamesceneandlightingworkedforfull-lengthimages.
Turingaround,IfoundabetterbackgroundandbetterlightingformyportraitsofChristy.
W
3.THEGAME-CHANGING85MMLENS
hilea70–200mmf/2.8lenscanbeevenmoreeffectiveincontrollingthebackground,theshorterfocallengthofan85mmlenscanmakethis
somewhateasier.Specifically,it’sasmallerlensandthereforelessintrusivewhenyouphotographportraits.It’sless“threatening”tothepersonyou’rephotographing—andit’seasiertocarryaround.Withafast85mmlens,youcanprettymuchshootanywhereandmakethebackgroundlookgood.
TECHSPECS:
1/400second,f/1.4,400ISO
NikonDfNikon85mmf/1.4G
Availablelight
StreetSceneJusthowwellcanyoublurthebackgroundwhenshootingwideopenwithan85mmprimelens?Comparethefirstphoto(below)withthepull-backshot(right)thatwastakenwithaniPhonejustforreference.Thisshouldtellyoutheentirestoryofjusthowthe85mmlensworksitsmagic!Ishotitfromthesamecamerapositionasthefinalimage.
Byshootingwideopenwiththe85mmlens,Iusedthetrafficlightsaslargesplashesofmutedcolorinthebackground.Yes,youreallycanshootprettymuchanywherewhenyouuseawideopenaperture,whetherf/1.8orf/1.4orf/1.2
Ijustusedavailablelighthere—noflash.Withtheslowlysettingsun,Ihad
lovelysoftlightfallingonElle.
OrangeSafetyNettingTheimageaboveisanotherexamplewherethewideapertureonthe85mmcreatedabackgroundthatdidn’tquiteseempossible.
TECHSPECS:
1/500second,f/1.4,400ISO
NikonDfNikon85mmf/1.4GAF-5
Availablelight
Thepull-backshot(right)revealsthebackgroundhere—thatorangesafetynetting.Withthesuper-shallowdepthoffield,thenettingmerelybecameaninterestingbackgroundandnotanugly,intrusiveeyesore.
P4.FINDINGTHELIGHT
hotographingAngelicainlowerManhattanonasemi-cloudydayintheshadowsofthetallbuildings,Iwantedlightthathadabitofpoptoit—not
justflatandtop-heavylighting.Forafewminutes,thesunpoppedout,andIsawasplashoflightonthe
sidewalk.Thiswaswhereweheadedfortheportraits.Ilookedforbackgroundsalongthesidewalksandstorefrontsthatwould
workwellwiththecolorsAngelicahadchosenforherhatandmakeup.Thebeautyofthe85mmlensisthatyoucanjustmeltyourbackgroundandhaveitbecomplementarytoyoursubject.
The85mmprimemightseemlikeanoverlaplensifyoualreadyhavea70–200mmzoom,andtoanextentitis—butthe85mmissomucheasiertoworkwith.Itislighterandsmaller.The85mmalsoallowsamoredirectwayofworkingwithyoursubject,withoutthemassivelensgettingbetweenyouandyoursubject.Youcanalsohavesuchshallowdepthoffieldthatjusteyelashesareinfocus.
TECHSPECS:
1/500second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-S
Availablelight
Recommended85mmLensesThefasterlensesareabitmoreexpensivethanthef/1.8optics,butthechangeindepthoffieldisincremental.You’dgetaverysimilareffectatf/1.8;therefore,ifyourbudgetislimited,thef/1.8opticsareexcellentchoices.Infact,I’dsaytheCanonEF85mmf/1.8USMisarguablytheirbestlensintermsofopticalperformancevs.price.Similarly,theNikonAF-S85mmf/1.8Glensisanopticalgematanaffordableprice.
Photographerswithcrop-sensorcameraswillofcoursewonderifa50mmf/1.4willgivesimilarresults.Sincethecropwillforceadifferentperspectiveforthesamecomposition,effectivelygivingthatlongerfocallength’sfieldofview,you’dgetasimilareffectwithshallowdepthoffield.WhileIthinkeveryphotographershouldhavea50mmlensintheirbagsomewhere,the85mmonacrop-sensorcamerawillbeevenmoreawesomeingivingthatshallowdepthoffield.
5.NATURALRIMLIGHT
SubjectPositionWiththisstraightforwardportrait(below)ofIrene,aphotographerfriendofmine,Iwanttoshowaneatlittletrickforhelpingyoursubjectunderstandwhereyouwantthemtostand.
Here,wehadrandomreflectionsofglassstructuresinManhattan,givingrandomspotlights(right).IwantedtouseoneofthesespotsoflightasnaturallyfoundlightforIrene,andanothersplashoflighttogiveahighlightbehindher,asIframedheragainstit.
Insteadofgivingyoursubjectincrementalinstructions(“alittletotheleft,alittletotheleft—no,comeback...”)thesimpletrickistopointoutthishighlighttoyoursubjectandhavethemmoveuntiltheyseetheirownshadowinthesplashoflight.Then,theyjustturnaroundandtheyareperfectlyplaced!
Positioningthesubjectaccordingtohershadow.
Atthesametime,takecareinlookingathowthelightfallsonyoursubject’sface.Aimtohaveclean,openlightwithnoshadowsundertheeyes.
RimLightThisexactsameideacanbeusedinanotherway.Forthenextimage(facingpage),Ihadasimilarspotofreflectedlightfrombehindmysubject,givingmeabitofnaturalrimlight.Irene,facingthecamera,nowjusthadtokeepaneyeonwheretheshadowofherheadfell.Aslongasthetopofherheadstayedwithinthespotofreflectedlight,shewasabletoseeherheadintheshadowontheground.Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly—withoutmegivingcontinual(andpossiblyconfusing)instructionsastoexactlywheresheshouldstand.
Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly...
Youcandothesamewithsomeonejuststeppingoutfromunderacanopyorveranda,withthesunfrombehind.Bywatchingtheirownshadow,theycanpositionthemselvessothatthesunfrombehindjustgivesalickofcolortotheirhair.Again,itisasimpletechniquethatmakesanon-locationphotosessioneasier.
F
6.SELECTIVECOMPOSITION
ramingveryselectivelyin-camera,youcanveryoftenpullquiteasurprisingimageoutof“nowhere.”
WithJuliaandLuis’swedding,Iroamedaroundthereceptionvenue,abed-and-breakfastontheJerseyshore,forinterestingspots.Therewereappealingnooksandcranniesthatwouldworkfortheromanticportraitsession,butIalsolikeaddingvariety—especiallyunexpectedvariety.
AGoodFindIwentthroughabackgate,andintoaparkinglotbehindthevenue.Thisgatewasatthedeliveryentranceforthevenue’skitchen—andtheparkinglotwas,well,justaparkinglot.But,Ilovedthetextureofthewoodenfenceandgate,andthelateafternoonsunreallybroughtoutthetexture.IhurriedbackinsideandaskedJuliaandLuistojoinme,saying,“IthinkImayhaveagreatidea!”
Youreallyhavetocomparethefinalimages(rightandfacingpage,top)withthepull-backshot(facingpage,bottom)toseewhatwas“rescued”froma“nowhere”location.Thetightcompositioneliminatedalltheclutter.Juliawasstandingonarampforthedeliveries.ThishelpedbringheruptoLuis’sheightandmadeiteasiertohavehersnuggleinclosebehindhim.
SubjectToneAninterestingobservationherewiththepositioningofthesubjects:ifJuliahadbeeninfrontofLuis,herdresswouldhavebeenverywhiteandhissuitwouldhaveblendedintotheshadowareasbehindhim.Bypositioningthemlikethis,thewhitedresswas“sandwiched”betweenthedarkersuitandtheshadows.Thisbalancedtheimagebetteranddrewmoreattentiontotheirfaces.
TECHSPECS:
1/250second,f/5.6,200ISONikonD4Nikon24–70mmf/2.8
T7.LENSCOMPRESSION
hesettingforphotographingWillandIanwasacarpark,butIknewthatthesunontheautumncolorswouldbeafantasticbackground.Thelight
fromthefrontontheboyswasjusttheopensky—softandeven.Therewasreallynoneedforadditionallight.
Imageshotat135mm.
Imageshotat200mm.
Thepull-back(above)showstheapproximatepositionIshotfrom.And,again,youcanseethisisa“nowhere”location.Asidefromthegloriouscolorsinthebackground,thereisn’tanythingelsetoworkwithhere.
PerspectiveandCompressionWhencompressingtheperspective,thetechniqueissimple.Usingthelongestfocallengthyoucan(ifyouhaveazoom,youzoomtothelongestlength)andthenstepbacktoframetheshotproperly.Don’tzoomin—stepbackuntilyouhaveyourframing.Thiswillgiveyouthemaximumamountofcompression.
Withtheinitialphotos(lefttopandbottom),Istartedat135mmandprogressedtothe200mmendofmy70–200mmlens.ButIfelttherewasstilltoomuchoftheparkinglot’srailingsinthephoto.Ineededtighterframing.SoIaddeda1.4xteleconverter.Withthis,the200mmfocallengthsettingbecameaneffective280mmlength(facingpage)!
Comparingtheimageshotat280mmtotheoneshotat200mm,youcanseetheboysareaboutthesamesizeintheframingofthephoto.BysteppingbackuntilIgottheframingIwantedofthetwoboys,thebackgroundbecame“enlarged”withthelongerfocallength.
TECHSPECS:
1/400second,f/4,800ISONikonD4Nikon70–200mmf/2.8VRII,1.4xteleconverter
Availablelight
PackaTeleconverterWithallthisinmind,Idokeepa1.4xteleconverterinmycamerabag.Itissosmallthatitbarelytakesupanyspace.ButwhenIneedthatextrabitofreachwithmylongestlens,itisjusttheticket.
Byusingthistighterframing,Iwasabletoeliminatemoreclutterfromthebackgroundandhavejustthetwoboysagainstthisgoldensplashofcolor.
Withthistighterframing,Iwasabletoeliminateevenmoreclutterfromthebackground...
Imageshotat280mmbyaddinga1.4xteleconverter.
I
8.OFF-CAMERAFLASHFOREXTRADRAMA
likedthewaythedotsinthisbackgroundwererepeatedinOlena’sdress,butinreverse—whitedotsonblack,insteadofblackdotsonsilver.Ialsoasked
OlenatoreallyexaggeratethecurveofherbodytocreateanS-shapethatcontrastedboldlywiththerigidpatternofthebackground.
AmbientExposureThefirststepwasdeterminingtheambient-onlyexposure,whichwas secondandf/4at200ISO.Theavailablelightwasprettysweet—softandflattering(below)—butitlackedpunchandlookedjustabittoobland.Itneededalittledrama.
Off-CameraLightingtotheRescue!Toallowtheflashtohaveimpact,Ichosetounderexposetheambientlight.Therefore,Ipulledthisexposuredown2stops(to secondandf/7.1at200ISO)fortheTTLflashexposure.Icouldhavepulleddowntheambientexposureby1stop,or2stops,or3stops—oranywhereinbetween.ThemoreIunderexposetheambientlight,themorecontrastythefinalimagewillappear—and,hence,themoredramatic.
Withnoaddedlighting.
Closer=MorePowerWehadtoholdthesoftboxfairlyclosetohertostillgetcorrectflashexposureaswechangedtheaperturetopulldowntheambientlightbyupto3stops.Themoredominantflashallowedhershadowtobecomeasubtleelementofthecomposition.
Thereissometimesakindofsnobberywherephotographersinsistthat
availablelightisbetter.Thisclearlyshowsthat,withadditionallighting,Ihavemuchmorecontroloverthefinalimage.
ThefinalimagewithTTLflashandtheambientlightunderexposedby2stops.
F
LightandLighting
9.ELEGANTLYSIMPLEON-LOCATION
ormostofmyon-locationportraits,Iliketotravel(fairly)light,andmylightingofchoiceisaspeedlightwithwirelesstransmittersandasoftbox.
Thesoftboxiseitherheldupbyalightstand(whichIweighdownwithmycamerabag)orbyanassistant(holdingthesoftboxonamonopod).
Withnoaddedlighting.
Apull-backshotoftheoverallscene.
AmbientLightPlusFlashLet’slookattheprogression.Thefirstimage(topleft)isthephotowithouttheadditionallight.Mybasicexposurewaschosensothatthebackgroundwouldn’tblowoutinoverexposure.
Then,flashwasadded(facingpage).IlikeTTLflash—itoftengetsustherefasterthanmanualflash.Butforconsistency,especiallywhenphotographingsomeoneinastaticpositionrelativetothelight,manualflashistheonlywaytogo.Atthisdistanceandaperture,andusingthesoftbox(whichcutsdownontheflash’slight),Iwasclosetofullmanualoutputontheflash.ButthisiswhereIdecidedIwantedtobeintermsofbalancingtheflashexposurewiththebackground.
Iliketotravel(fairly)light,andmylightingofchoiceisaspeedlightwithwirelesstransmittersandasoftbox.
Thissimplelightingsetupworksforsomanyon-locationportraits,andismostoftenmystartingpoint.Itjustworks.
ConceptandPosingBeforewegotunderway,ItalkedwithAllisonandScottabouttheideaandfeelforthisphotosession:glamorous—a“nightonthetown”kindofglamorous.ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldn’thavemademuchsense.Toomuchwouldhavebeen“lost”againstthedrabbrickwallasthebackground.
Theposewasacompromisebetweensomethingsexy/glamorousandthepracticalneedtohaveAllisonnotfeelunsteadyonthe(wide)ledgethere.ScotthadhisarmaroundherandIalsoaskedAllisontodrapeanarmoverScott’sshoulder.Inthisway,theposedevelopedoutoftheenvironmentandbackground.
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon70–200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox
ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldn’thavemademuchsense.Too
muchwouldhavebeen“lost”againstthedrabbrickwall.
F10.INTENTIONALUSEOFFLARE
orthesepromotionalphotosofaspiringmodeltwins,CarinaandCarolina,wewenttoapark.TherearecertainthingsIlookforwhenworkingon-
locationthatIknowwillimmediatelygivemeabetterchanceatsuccessfulportraits.Themethodhereshouldbequiteobviousbynow.
1. Alonglens(a70–200mmusedclosertothelongerend)tocompressthe
perspective.
2. Shootingwiththebackgroundfurtheraway,todefocusitasmuchaspossible.
3. Havingthesubject(s)withtheirback(s)tothesunorstronglight,whichalsocreatesrimlighting.Thishelpswiththeseparationofthesubject(s)fromthebackground.
4. Theuseofoff-cameraflash(withasoftbox)togiveflatteringlightasthemainlight.Thislightissettoenhancetheavailablelight,ortobalancetheexposureforthesubjectwiththatofthebackground.
It’sarecipethateasilygivesyousolidresultsinmostcases.
LensFlareShootingtowardthesettingsun,thelensstartedflaring.Icouldhaveminimizedthisbyblockingthelightwithmyhand(oragobo),orIcouldhavemovedthesetupsothatIhadtreesblockingthedirect,stronglighthittingthefrontofmylens.
TECHSPECS:1/250second,f/4.0,640ISO
NikonD4Nikon70–200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox
BeingThemselvesLetyoursubjectsbethemselves—especiallyiftheyareasnaturallyphotogenicandspiritedasthesetwogirls.Thisisanimportantpartofbeingsuccessfulwithportraits:allowingyoursubjectstobethemselvesandthenguidingthemtoshowsomeaspectoftheirpersonalities.Or,itmightjustbeyourjobasthephotographertopresentthemattheirbest.
WithCarinaandCarolina,Ispentafairamountoftimejustphotographingthemdancingandlaughing.Thiswasverymuchpartoftheprocesstoeffortlesslygetimagesthattheylike.Aftershootingafewsequenceslikethis,Ishowedthemtheimagesandtheylovedthem.Havingtheirconfidence,itwaseasiertoguidetheirnaturalposesabitintothefinalimages,whichwereultimatelywhatwewereafterallalong.
Inthiscase(facingpage),however,Ilikedthelookoftheflare—Ifeltitaddedwarmth.Bymovingmyownpositionaround,Icouldcontroltheflaresothatitgaveanaturalvignettetothebottompartoftheimage,neatlymirroringthewarmer,brightertoppartofthephoto.
O11.ADDRIMLIGHTING
nceyou’recomfortableusingasingleoff-cameralightsource,suchasasoftbox(orundiffusedflash),there’saneasynextsteptogivealittlebit
ofzingtotheimage:addrimlighting!
AddaSecondLightSourceImostoftenworkwithjustasinglesoftboxwhenphotographingportraitsonlocation.Asshowninsection10,havingthesunbehindyoursubjectcreatesnaturalrimlighting.Thishelpsseparateyoursubjectfromthebackground.It’snotjusttheshallowdepthoffieldthathelpscreatethatnearlythree-dimensionaleffectwhereyoursubjectsjustpopoutfromthebackground—rimlightingfrombehindalsohelpsbringmoreattentiontoyoursubjects.
Addingabitofrimlightwasessentialandgavejustenoughofahighlighttodefinetheiroutlines.
Usingadditionallighting,suchasasecondflash,isthewaytocreatethesameeffectwhenthereisnonaturalrimlighting.Thebestpartisthatitisreallysimpletosetupanduse.
TECHSPECS:
1/125second,f/8,800ISOCanonEOS6-DCanon24–70mmf/2.8LIITwomanualflashes,oneina1x3-footgridded
softbox
Whenworkinginadarkerenvironment,likethisurbanscene(StapleStreetinNewYorkCity),twinsCarinaandCarolina’sdarktopsanddarkhairwouldjusthaveblendedinwiththebackground.Addingabitofrimlight(createdbyasecondlightsourcebehindthem)wasessentialandgavejustenoughofahighlighttodefinetheiroutlines.
Thedelightfultwinsarealwaysenergeticandfuntoshoot—butonthiscolddayitwasimperativetosetupfastandshootquickly.Forthefirstimage(facingpage),IusedabareProfotoB1portablestudiounitbehindthemforrimlight.Themainlightonthemwasa1x3-footgriddedstripbox.
ASecondSetupThenextsetup(right),wasverysimilar.Ialsowantedsomerimlightbehindthem,soIplacedaB1flashontheground,proppedupbyalenscasetoanglethelightupwards.
Thistechniqueofusingasofterlightsourceasthemainlightonmysubject(s)withaflashfrombehindthemforrimlightingisastandardsetupthatalwaysgivesmereallygoodresultswhenIneedtoseparatemysubject(s)fromadarkerbackground.
T12.BACKLIGHTING
wospeedlightswereusedhereforthelighting.Onewasinadouble-baffledsoftboxasamainlightfromthefront.Thesecondlightwasabare
speedlightplacedbehindthemodeltoproducetherimlightingandhelpcreatesomeseparation.BothlightsweresettomanualoutputandcontrolledwirelesslybyPocketWizardTT5triggers.
ExposureMeteringforManualFlashUsingadouble-baffledsoftboxmeansthatwecan’tjustusetheguidenumberoftheflash.Wehavetousesomeothermethodtodeterminetheexposure.Whileusingalightmeteristhemostaccuratewaytogettocorrectexposureforflash,itbecomesrelativelyeasy(withexperience)toaccurately“guess”theexposure.Butreally,thereisn’tthatmuchguessinginvolved.
Withmanualflashexposure,fourfactorsareinvolved:distance,power,aperture,andISO.Thebafflesinthesoftboxobviouslyaffectthepoweroftheflash.
Therefore,it’shelpfultobecomefamiliarwithhowmuchlightyourspecificoff-cameraflashsetupdelivers.Again,thiscomeswithexperience.Let’ssaythatyouknowthatforXdistance,youcangetf/5.6at400ISOwhenyousetyourflashtoYpower.Then,youknowifyoumeterfortheambientlight,youcanadjustyourpowersetting,and/ortheaperture,and/ortheISO.
Themodelphotographedwithoutaddedbacklighting.Comparethistothefinalimageonthefacingpage.
Thepull-backshotgivesasenseofplacementofthelights.
TECHSPECS:
1/200second,f/4,100ISONikonD4Nikon70–200mmf/2.8VRIITwoflashes,oneinasoftbox
Let’sworkthroughthisspecificexample.Forthefinalimage(right),Ihadmycamerasetto secondatf/4and100ISO.Thosesettingswerechosensothatmyambientexposureforthemodel,Anelisa,wasunderby1stoporso—justenoughsothatwiththeflashI’dbeabletocontrolthequalityofthelight.
Thatwasmystartingpoint:Iwantedf/4at100ISO.Formyspecificsetup,IknowfromexperiencethatIwillgetcorrectexposureatXdistancewhenIsetmycameratof/5.6at400ISO,foraspeedlightinthissoftbox,whenIsetitto⅛fullpower.
Thebacklightdoesn’taddtotheactualexposure,soIconcentratedmostlyon
adjustingtheoutputofmymainflash.Icancountthe⅓stopindentsinpowerasIchangemyapertureandISOaccordingly—and,inthatway,set(closeto)thecorrectexposuresimplybyfrequentexperienceinworkingwithonespecificsetup.
I
13.ASUN-DRENCHEDBACKGROUND
nmanyofthepreviousportraits(seesection10,forexample),wereliedonthesuntogiveusbacklighting.Thisalsomakesiteasytogetthatwarm,
slightlysun-drenchedlook.Butwhenshootingon-location,itissometimesuptoyoutocreatetheillusionofsunlight—justtosparkuptheimageabit.Ifyouareworkinginanareawheretherearetreesandleavesthatwillcatchthelightfromyourbackgroundlight,itisrelativelyeasy.
SettingCaraLeeisaphotographerinupstateNewYork.MeetingupataPoughkeepsiecampus,itwasabitofastruggleonthislateafternoontofindsettingswherethelighthadsomesnaptoit.Oneofthespotsthatweshotinwasthispathway.Ithadpotentialasasetting.Thesunwasalreadygettingclosertothehorizon,butthetreesinthislocationwereblockingmostofthesunlightatthistimeofday.Itlookedatouchtoodrab.Off-cameraflashtotherescue!
LightingThesequenceoftestshotsbelowshowhowIbuiltupthefinallook(facingpage)withtwospeedlights.Theavailable-lightonlyshot(belowleft)showswhattheportraitwouldhavelookedlikewithoutanyadditionallighting.
Forthesecondimage(belowright),Iaddedaspeedlightpointedupintothetreesintheimmediatebackground.Thiscreatedtheimpressionofsunshiningthroughtheleaves.Thefinalstepwasaddingaspeedlightinasoftboxfortheflatteringmainlightonmysubject(right).Thewidershot(below)showstherelativeplacementofthetwolights.Myownpositionforthefinalimagewasclosertothemainlight.
Thesceneandsubjectwithavailablelightonly.
Backlightaddedtocreatethelookofsunthroughthetrees.
TECHSPECS:
1/200second,f/4,800ISONikonD4
Nikon24–70mmf/2.8Twoflashes,oneinasoftbox
Theflashesweresettomanualandadjustedtoanapproximateoutputbasedonexperience.(Thethoughtprocessherewasexplainedinsection12.)Withthat,wehaveasimpleconfigurationthatwillhelpinmanysimilarsituations—abacklighttogivesomerimlight(andevensimulatesunshiningdown)plusamainlighttogivegreatportraitlighting.It’ssimplebuteffective.
Thefinalimage.
Thetwolightsinplace.
S
14.LENSFLAREANDPOSTPRODUCTION
hootingtowardandevenintothesunforstronglybacklitimagescangiveuslensflare.Somephotographersembracethis;othersinsistthatthisis
somethingthatmodernlenstechnologytriestoavoid.Personally,Ilikeit—itcanaddvarietytoyourimages.
Themainimage(above)hadthesunbehindEricandPeiwen.Exposingforthecouple,theimage(straightoutofthecamera)lookeddesaturated,butthiswaseasilycorrectedbyadjustingtheRAW(orJPG)fileforacinematiclookthatappearssun-drenchedandnatural.
AnExtremeCaseLet’slookathowtocorrectforanextremeversionwherethebacklighting
completelydesaturatedthecapture.Withafeweasyadjustments,thebasicfilewilllookprettygood!
Withthefirstimage(facingpage,topleft),thelensflarewasreallyoutofcontrol—tothepointthatthephotoonthecamera’sLCDshowedmostlyaswhite,asiftherewerenoimage.(Ishootinmanualexposuremode,sowhenthesunreallyhitsthefrontelementfromaspecificangle,theimagewashesoutlikethat.)
Inthiscapture,thelensflareisoutofcontrol.
However,lookingattheblinkinghighlightsonthecameraorinPhotoshop(above),youcanseethatnotmuchofthesceneisactuallygrosslyoverexposedtothepointwherethereisnodetail.Sothereisdetailthatwecanpullback!
LookingattheRAWfile’shistogram(topright),youwillseethatthetonesarereallycompressed.WecanstartreturningthisimagetosomethingmoreaestheticallypleasingbypullingdowntheBlackPointslider,spreadingthetonalrangebetweenblackandwhite.Thenwecanadjusttheothersliders—Exposure,Contrast,etc.—totaste(right).
Inthiswaywefinallyhaveanimagethatisinterestinglysun-drenchedandhasacertainflavor(bottom).Note:Thedarkerareaatthebottomisthevideographer’shair.Ipurposelyheldmycameralowerforafewshotstoincludesomethingasanout-of-focusborder.Thishelpedanchortheradiantflareinthetopoftheimage.
Thehistogramshowsdetailthatcanbepulledback.
AdjustingtheslidersinCameraRaw.
Thefinalimage.
T15.STRIVEFORVARIETY,PART1
atianaDaubekisaBaroqueviolinistandaMasterofMusicinHistoricalPerformancefromtheJulliardSchool.ThephotosessionwithTatianawas
oneofthoseinstanceswhere,oncethelightingandsubjectpositionwereworkedout,Iletmymodelbeherselfwithlittledirection.
LightingLookingatthetestshot(topleft),youwillseetherewasalotofavailablelightstreaminginfromcameraright,buttherewasalsosomelightreflectedoffthewall.Thiscanbeseenmoreclearlyinthecomparisonphoto(bottomleft).WhilethetestshothasunevenlightonTatiana’sface,posingTatianatowardtheclifffaceletmeuseitasamassivereflectorforbeautiful,softlight.Fromthere,itwasjustamatterofpositioninghersothattherewerenohot-spotsfromthedappledlightstreaminginfromcameraright.Minuteadjustmentsintheposehelpedmegetthisright(facingpage,topright).
Thetestshotshowstheavailablelight.
Pullingback,youcanseethelightbouncingoffthewall.
CarefuladjustmentstoTatiana’spositionallowedmetogetnicelightingonherface.
DiverseApproachesInthisandthenextsection,Iwanttoemphasizethediverseapproachesonecantakeduringasinglesession,adaptingtowhatisavailableinthelocationandlighting—smalladjustmentsthathelpgivevarietytothefinalselectionofimages.
Especiallywhendoingasessiononlocation,theidealistogetasmuchvarietyaspossibleintermsofposing,angles,andcomposition.Shootdetails.Shootverticalandhorizontals;shootwideandtight.Don’tstayfixedinonespot.Evenaslightshiftinyourpositioncandramaticallychangethebackgroundandthebalanceofelementsintheframe(aboveandnextpage).
TECHSPECS(FACINGPAGE):
1/100second,f/4,500ISONikonD4Nikon24–70mmf/2.8
Availablelight
TECHSPECS(ABOVE):
1/200second,f/3.2,400ISONikonD4Nikon70–200mmf/2.8VRII
Availablelight
LocationSelectionIntermsofthelocation,Iwantedabackgroundthatseemedfitting—noturban,butalsosomethingthatwouldnotbeatoddswithaBaroquelook.FortTryonParkhadsomestructuresandarchesthatIfeltwouldwork.Forthissequence,Ichosethesearchesasanaturalframe.Shootingwithalongerlens,asIoftendotocompresstheperspective,Ijustmadesuretoframeheragainsttherowofarchesrecedinginthebackground.
16.STRIVEFORVARIETY,PART2
TheSameSetting—ButwithFlashIntheprevioussection,featuringthesamesessionwithTatianaDaubek(moreonheratwww.tatianadaubek.com),Iwasabletousejustavailablelightbycarefullypositioningher.WhenIstartedthephotosession,however,Iusedoff-cameraflash.
TECHSPECS:
1/200second,f/3.2,200ISONikonD4Nikon24–70mmf/2.8TTLflashmainlight;manualflashrimlight
Thiskindofflexibilityintheuseoflight,andintheuseofoff-cameraflash,isnecessaryifwewanttousethefullrangeofourlightingabilities—fromtheverysubtleuseoflighttoblastingasmuchlightasthesun.
TheFirstLookWhenyouaddflash,itismucheasiertogetperfectlightinginrelationtoaninterestingbackground.Thefirstimage(bottomleft)istypicaloftheinitialsequencesweshot.
MixItUpAsalways,itisimportanttogetdifferentanglesanddifferentcompositions—vertical/horizontalandwide/tight.Thisimagewascreatedwiththesame“kissoflight”setupseenonthefacingpage.
AKissofLightLateron,workinginthesameareawheretheavailablelightseries(insection15)wasshot,Iusedoff-cameraflashinamoresubtlewaytoenhancetheimage.
Thesecondimage(above)showsthatproverbialkissoflightfromanoff-cameraflashinasoftbox.Itwasusedjusttosweetenthelight.Italsoensuredthatnomatterhowshemovedaroundinthatspot,thattherewouldbecleanlightonher.Sincetheavailablelightwasprettygood,Iwasabletoaddatouchofflashsodelicatethat,hopefully,itisn’tobviousthatoff-cameralightingwasusedatall.
Thepull-backshot(below)showsthattherewasasecondflashtoaddabitofrimlightforseparation.
S17.DRAMATICLIGHT
arahandMarkwereinNewYork,dressedtothenines,toattendaRockettesshow.Whiletheyweredressedup,andwithsometimebefore
theshowtheywereattending,wedidaphotosession.TheNewYorkskylineatduskworkedasaperfectbackdropfortheirstylishattire.(IaskedMarkifhefeltlikeJamesBond,allsuiteduplikethatinhistux.)
LightingThelightingsetupforthisphotosessionwasquitestraightforward.ThemainlightwasaspeedlightintheLastoliteHotShoeEZYBOXSoftboxKit(24x24inches).Therimlightwasanotherspeedlightbehindthem,withtheplasticdiffusercupon.
YoucanseefromthephotobelowthatIangledthesoftboxupward,forcingthelighttofallofftowardthebottomoftheframe.Ididn’twanttolightuptheground.Ialsodidn’treallyneedtheirlegsandlowerbodiestobelitupaswellastheirfaces.Anglingthemainlighthelpedmetoaccentuatetheirupperbodiesandfaces.
Experiencehasgivenmeagoodideaofwhatthespeedlight’soutputwillbewhenusedinthatspecificsoftbox.
Thespeedlightswerecontrolledmanually.TTLflashwouldjusthavebeenhardworkhere.Iwouldhaveconstantlyneededtocontroltheflashexposurecompensationforeachshotbecauseofthelargeareasofdarktones.Somanualflashithadtobe.
TECHSPECS:
1/60second,f/5.6,800ISO(above)1/50second,f/5.6,800ISO(right)NikonD4Nikon24–70mmf/2.8Manualflashinsoftbox(mainlight)andwithdiffusercup(rimlight)
Ididn’tmeterfortheflash.Asexplainedinsection12,experiencehasgivenmeagoodideaofwhatthespeedlight’soutputwillbewhenusedinthatspecificsoftbox.Therimlightwasalsoadjustedbyeye.
Imanuallycontrolledthespeedlights’outputfrommycamerausingaPocketWizardAC3ZoneControllerontopofaPocketWizardFlexTT5transceiver.EachspeedlighthaditsownPocketWizardFlexTT5transceiver.
Aswewereshooting,theambientlightwasfading.Therefore,IadjustedmyshutterspeedalittlebitasIcontinuedshootingthesequence,butstillwiththeintentofkeepingtheNewYorkskylineasubduedbackground.
L18.GELLEDFLASHATSUNSET
aurenandChriswereposedatabreathtakingvantagepointoverlookingManhattan.Thesettingsunpouredgorgeouswarmtonesonthescene.
Sincethecouplewasinashadedspot,Ihadtoaddlighting—butIwantedtomakeitappearasiftheywerebathedinthesamewarmlightasthescene.
ColorTemperatureThelightfromspeedlightshasarelativelycoldcolortemperature(bluish),soitcancreateanunpleasantcolorcastwhenpairedwithwarmambientlight.Atypicalproblemsituationwouldbeintheincandescentenvironmentwhereweoftenfindourselvesworkingatnight.Butthereareothertimes,suchasthis,whenthewhitebalancefromourspeedlights(around5400K)isalsotoocold(blue)comparedtotheexistinglight.Then,gellingtheflashistheanswer.
GellingtheFlashIfrequentlyusegelstoturnthewhitebalanceofmyflashwarmer,usuallytobalanceitwithincandescentlight.Icutoutapieceofgelandtapeittothetopofmyspeedlight’shead.Oneinexpensivesheetwillgiveyouahugesupplyofthesegels.Inormallykeepa½CTSgeltapedtomylenshoodforreadyaccess.
TECHSPECS:
1/250second,f/3.5,100ISONikonD4Nikon24–70mmf/2.8Off-cameraTTLflash
Inthiscase,mygoalwastohavethesamewarmlightonthecoupleastherewasonthecity.The½CTS,measuredfor3700K,wouldhavebeentoowarmforthis.Soinsteadofcoveringtheentirefaceoftheflashwiththegel,Ionlypartiallycoveredit,lettingsomeoftheflashnotbegelled.Thiswasjustenough.
AfullCTSwillbringyourflashwhitebalancedowntoaround2900K,moreorlessneutralizingthelookoftungstenlight.A½CTSwillbringyourflashwhitebalancetoaround3800K,whichwillleaveyourbackgroundswithatouchofthewarmthoftungstenlighting.
K
IndoorLocations
19.BOUNCEFLASHINTHENIGHTCLUB
evinisajazztrumpetplayer,andhewasphotographedduringasessioninaclub.Iwasinvitedbythebandtophotographthemastheyplayed
oneafternoon.
ALightingChallengeSincethelightingintheclubwaschallenging,Iresortedtoon-camerabounceflash.It’saperfectexampleofhowIuseon-camerabounceflashsothatitlooksnothinglikeon-cameraflash.Thelightinthisimageisnearlyallfrommyflash.Theredhueinthebackground,andspillingontopartofthetrumpetandhisskin,
wasfromthestrongredlightsinthenightclub.Tominimizethis,Iunderexposedtheambientlight,lettingtheflashbecomethemainsourceoflight.Doingthisallowedmetocontrolthequalityoflight.
TECHSPECS:1/250second,f/4.0,800ISO
CanonEOS-1DMarkIINCanon70–200mmf/2.8ISOn-cameraTTLflashat+1FEC
Justtoshowwhattheavailablelightlevelswerelike,hereisanout-of-cameraimageshotat secondandf/1.8at1600ISO.Asyoucansee,theimageisunderexposedevenatthosesettings.
HowtoBounceFlashHerearethekeypointsthatrevealhowIachievequalitylightwithon-camerabounceflash.
1. IbouncetheflashintothedirectionIwantedmylighttocomefrom—nottowardmysubject.Thisisacrucialelement.
2. Idon’tbouncemyflashoffaspecificsurfacebut,rather,inaspecificdirection—thedirectionIwantmylighttocomefrom.Eventhoughthelightlevelswerelowhere,Iwasbouncingflashofftheceilingandbrickwork(infact,offanythingtomyrightandbehindme).
3. Topreventanydirectlightfromtheflashspillingonmysubject,Iuseapiece
ofblackfoamtoflagthelightfrommyflash.Sincethereisnolightcomingfromthecamera’sviewpoint,theresultinglightonthesubjectisdirectional.
Thisisn’tanefficientwayofusingflash,butthelightthatreturnsissweetindeed.Yousimplycannotgetthiskindoflightfromyouron-cameraflashifyouuseaplasticdiffusercuporothersuchdevice.Thisisbecauseitwillthrowlightforwardontoyoursubject,andyouwilllosethatdirectionalquality.
WhatIf...?Ofcourse,theinevitablequestionisthis:whatifthereisnothingtobounceyourflashoff?Well,thenyouadaptanddosomethingelse.Butwhentherearesurfacestobounceflashoff,thistechniqueisrepeatableandcangiveremarkablygoodresults—resultsthatlooknothinglikeon-cameraflash.
Theblackfoamiethingusedtoflagaflash.
N
20.BOUNCEFLASHFORKIDSPORTRAITS
ext,letmeshowyoumyfavoritelightingsetuptophotographkidsindoors—withbounceflash!
AtHomeMeetJack.He’soneyearold.WhenAmyandNickaskedmetodoaportraitsessionwithhim,westartedoffattheirhouse.IwantedtograbafewcandidphotosofJackhappilyplayingbeforewesetofftoanearbypark.Sincekidsscootaroundallovertheplace,itmadethemostsensejusttouseon-camerabounceflash.Itrequiresveryminimalgear—onlythespeedlightonmycamera.
TECHSPECS:
1/250second,f/4.0,800ISONikonD470–200mmf/2.8VRIIOn-cameraTTLbounceflash
OneofthefinalimagesfromJack’ssession.
ShootinginTTLmodemeanttheflashexposurewasprettymuchspotoneverytime,regardlessofwhereJackzippedaround.Ihadmyblackfoamiething(seeprevioussection)handyincaseIneededtoflagmyflash.
Forme,thiswayoflightingisthemosteffectiveandsimpleapproachtouseinthisenvironment.Bestofall,thistechniqueisaccessibletoanyphotographerworkingwithatop-of-the-rangespeedlight.
Theambient-onlyexposure,forcomparison.
TheBackgroundIwantedthebackgroundtoblowout,givingalight,airyfeeltothephotos.Andofcourse,sinceIwasusing(bounce)flashagainstamuchbrighter(availablelight)background,shootingatthemaximumflashsyncspeedmadethemostsense.
IfIhadchangedmyexposuresettingssothatmoreofthebackgroundshowed(asshownintheimagetotheleft,whichwasshotatf/11),thebackgroundwouldhavebeenbetterexposed.Withthechangeinaperture,theincreaseddepthoffieldwouldalsohavemadeitmorevisible.However,sinceIdidn’twantthebackgroundtoshow,awide-ishaperturemadesense.Theout-of-focus,overexposedhazeisexactlywhatIwanted.
Stoppingdowndidn’tproducethebackgroundlookIwanted.
W21.BOUNCEFLASHWITHAGEL
henphotographinglocationportraits,achallengethatIhavewithmyselfistolookforoptionswherethereappeartobenone—towork
withwhatappeartobelimitedlocationsandthenpulloutsomethingthatis,hopefully,surprising.
Theexistinglightatthesameexposure.Youcanseehowmuchdifferencethebounceflashmade.
Thelobbybeforewe“decluttered”it.
TECHSPECS:
1/250second,f/1.4,800ISONikonD485mmf/1.4GAF-SOn-cameraTTLbounceflash
LocationandLensSelectionBeforeIwentuptomeetthefamily,IscoutedthelobbyoftheapartmentbuildingwherePenelope,averycutetwo-year-old,liveswithherparents.Ilikedtheretro-cooldecorofthehugelobbyandthoughtitmightmakeaninterestingbackdrop.Mostpeoplewalkingpastwouldn’thaveglancedtwice—butwithalittletidyingupandtherightchoicesoflens,aperture,andlighting,Ifelttherewasgreatpotential.
LensSelectionWithasuper-fast(short)telephoto,likethe85mmf/1.4,Iknewthedistractingbackgroundelementswouldmeltaway.Transformingthebackgroundintoacomplementarymushofcolorsandshapesmakesitpossibletoshootinsurprisingplaces.
LightingTocleanupthelightonPenelope,Iusedon-camerabounceflash(seesection19).Sincethelighttherewasawarmcolorbecauseofthefluorescentlighting,similarinlooktoincandescentlighting,Ifittedmyflashwitha½CTSgel.Thisbroughtmyflash’scolorbalanceinlinewiththatexistingambientlight(seesection18).
F22.SPEEDLIGHTSWITHGRIDS
lashdiffusedwithanumbrella,orflashwhenbounced,spreadsoutandtendstolighttheentirescenewithafloodoflight.Evenwithasoftbox,the
lightisn’tcontrolledinhowitspills.DuringthisphotosessionwithAustin,Iwantedtogetaspotlighteffect,similartothatofavideolight.
ADramaticLookFordramaticlighting,Ireallylikethelookofavideolight,whichproduceswell-definedshadowsandnicefalloffasthelightspreadsawayfromthesubject.
Gridsarelightmodifiersthatalsocontrolthespreadofalight’sbeam;often,however,thiseffectistoohardandconcentrated.OneofthespeedlightmodifiersIuse,theSpinlight360,hastwogrids—whiteandblack.Insteadofavideolight,Itriedthewhitegridtoseeifitwouldsufficientlyscatterthelightto“defocus”thelightbeamfromthespeedlight,whilethegriditselfcontainedthelight.Andhere’stheresult(facingpage)—alooksimilartothatofvideolight,butwithmorepower.
MoreinfoabouttheSpinlight360at:neilvn.com/tangents/about/spinlight-360
Thepull-backshotshowshowtheflashwaspositioned.Withoutanassistantthere,Isimplyfastenedthemonopodtotherailwithgafferstape.
Theambientlightlevelswithoutflash.
UsingthePocketWizardTT5wirelessflashtriggeronmycamera,Icouldcontroltheoutput.Forthisphotograph,Ialsogelledtheflashwitha½CTSgeltobringtheflash’scolorbalanceclosertothatoftheambientlight.
Theresultlooksdramaticbecauseofthatcentralhotspot,butitwasstill
flatteringenoughbecauseofthepositionofthelightandhowhisfacewasturnedtowardthelight.
TECHSPECS:
1/60second,f/4,800ISONikonD4Nikon24–70mmf/2.8Manualoff-cameraflash
F23.FRESNELLIGHTS
ormyportraitsofboudoirphotographersJenniferRozenbaum,Iwantedtoshowherinthestudiowheresheworks—the“office,”asitwere,ofthe
boudoirphotographer.WhileIdidn’twanttophotographJenniferinaboudoirstyle,Iwantedtheimagestobesexy(evenalittleferal)butalsosweet—andverymuchher.
TheLocationOurfirstimage(topleft)showsthedaylightstudiowhereJenniferphotographs
herclients.Itisfloodedwithlight.Whilethisflatteringlysoft,low-contrastlightisgreatforboudoirimages,itjustdidn’thaveenoughdramaformytaste.
LightingIdecidedtousecontinuouslights—inthiscase,theSola4LEDFresnellightsbyLitepanels.TheseFresnellightsallowyoutogetthesamekindofdramaticlightastheoldHollywoodmasters(suchasGeorgeHurrell,C.S.Bull,andLaszloWillinger)withspecificuseoflightandshade.
IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebeenadarkerbackground.
Abenefitofshootingwithvideolights,andothercontinuouslightsources,isthattheyareWYSIWYG(whatyouseeiswhatyouget).Thismeansyoucanseetheeffectofthelightonyoursubjectasyouadjustitspositionandyourmodel’spose.Youcancloselyobserveexactlyhowthelightfallsacrossyourmodel’sfeaturesandmakefineadjustments.Thenit’samatterofadjustingthelightlevels,thefocusofthelightbeams,andthepositionofyourmodeltogettheexacteffectyouwant.
Fortheportraitsonthefacingpage,thetwoFresnellightsweresetupasshowninthepull-backshot(facingpage,bottomleft).IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebecomeadarkerbackground.ThissplashoflightinthebackgroundalsoimpliesaspotlightonJennifer.
ThemainlightwasthenfocusedonJennifer,tolightherfacemore.
PosingWeshotextendedsequences,includingimageswhereJenniferflippedherhair.Thisledtoalotoflaughterbutfewusableimages.
Theportraitaboveismyfavorite.Ithasadynamiccomposition;theanglesofherarmsandlegsformapyramidwithJennifer’sspotlitfaceattheapex.I
alsolikedherslightlyhaughtyexpressionintheimagetotheright,butthecompositionwasn’tquiteasdynamic.
TECHSPECS:
1/200second,f/3.5,800ISONikonD424–70mmf/2.8
TwoFresnelLEDlights
A
24.WINDOWLIGHTBABYPORTRAITS
nyparentwilltellyouthateachkiddohasadistinctpersonalityfromthemomentitisborn.Forthephotographer,then,theidealistocapturesome
ofthispersonalityinthechild’sportraits.Inthiscase,Liam’sindomitablespiritashetriedtositupmadeforhilariousexpressions.
ASimplifiedLookMyowntakeonphotographingbabiesisthatIforgoallthepropsandaccoutrementsyouoftenseeassociatedwithbabyphotography—thehatsandsuch.Whileusingtoysaspropsisoftennecessarytokeepthechild’sattention,Istillprefertophotographjustthebaby.
TECHSPECS:
1/500second,f/1.6,1250ISONikonD485mmf/1.4GAF-S
Availablelight
DirectingtheGazeLiam’sparentswerecloseby,gettinghisattention.Ifanyoneisgoingtocalltothechild,Ipreferthattheydoitfromrightovermyshoulder—nearlybreathingdownmyneck.(Snappingfingersandpointingwherethechildshouldlookneverworks.)Iwantthebabytolookmoreorlesstowardsthecamera,sothe“attentiongetting”personneedstobehoveringrightbehindme.Ofcourse,ababy’sattentionspanisstillveryshort,soyoualsohavetoworkquicklyandmakethemostofthebaby’speakattentiveness.
LightingandPerspectiveThepull-backshot(topright)showswhereweworked—inLiam’sparents’bedroom,whichhasahugewindow.Theseimageswereshotwithonlytheavailablelight.Imadesurethatthechild’sfacewasturnedtowardthelightforclean,openlightingwithouthardshadows.
Ialsochosetoshootfromalowerviewpoint,kneelingattheedgeofthebed.Thiswasanimportantfactorinmakingthistinybabydominantintheframe.
AnotherwayIkepttheviewer’sattentionfocusedonjustthechildwasbyworkingwithan85mmf/1.4lens.Anf/1.8aperturewouldgiveyouaverysimilarlook.Thisshallowdepthoffieldmakesitchallengingtogetthefocusexactlyright.Ideally,theeyeclosertothecameraneedstobepinsharp.(But,ofcourse,theemotionalcontentoverridesspecifictechnicalperfectionsometimes.)
T
25.AVAILABLELIGHTENVIRONMENTAL
hesubjectofthisportrait,John,collectsvintage...oh,everything.Hisentirehouseisfilledwithcollectibles—itislikesteppingoutofatime-
machineintoadifferentera.Ijokedwithhimthattheonlytwothingsinhishousefromthe21stcenturywerehisfridgeandhisdog!
InHisWorkshopMostimpressive,inaway,isJohn’sworkshopwherehemaintainshistwovintagemotorbikesandaModelAFord.Thetoolsinhisworkshopareallauthentictotheera—andtheywork.ThewayJohndescribesit,itactuallymakessenseinthewayhemaintainseverythingwithhandtoolsandlathesandsuch.
Iwantedtoportrayhimamidstalltheitems.Ialsowantedtostaytruetothespiritofwhatwaspresented,soIjustusedtheavailablelight.Sweepingthegaragedoorsopenproducedafloodofsoft,directionallight—perfect.
TECHSPECS:
1/160second,f/2.0,800ISONikonD435mmf/1.4GAF-S
Availablelight
Shootingatanangletotheopengaragedoorproducedadynamicinterplaybetweenlightandshade.Justwonderful.
DeeperIntotheWorkshop
Ialsowantedtoshootdeeperintotheworkshop(above).Here’saninterestingtrick—orobservation,ifyouwill.
Checkoutthetwophotostotheright.Theyarequitesimilar,exceptthatinthefirstone(topright),Johnwasfurtherbackintotheworkshop.Thereforeaboutthesameamountoflightreachedhimasthatwhichfellonthetoolsandworkbenchesbehindhim.
Forthesecondimage(bottomright),hesteppedforwardtohelpmedemonstrateapoint.Hewasnowmuchclosertotheopengaragedoor.Gettingacorrectexposureforhimnow(morebrightlylitbytheavailablelight)meantthebackgroundwascomparativelymuchdarker.Iwouldhaveneededtoaddedlightingonittopickthatareauptotheproperexposurelevelagain.
Whileaddingalightbehindhimasbacklightingwouldhaveworked,Iwantedtokeepitnatural.Sowiththisinmind,Ichosespecificplacestoshootandspecificshootingtechniques—alwaysawareofthelightfallingonmysubjectandthescene.
Asanaside,notethatJohnalsoaffecteda“strongman”pose,whichwasperfectlyreminiscentofapreviousera.
Ichosespecificplacestoshootandspecificshootingtechniques—alwaysawareofthelightfallingonmysubjectandthescene.
W
26.VIDEOLIGHTFORLOW-LIGHTDRAMA
henworkingatalow-lightlocationwheretheatmosphereoftheplaceisimportant,Ioftenusevideolighting.Unlessyou’reworkingwitha
smallgriddedsoftbox,flashtendstoopenupthebackgroundtoomuch.WhenphotographingmodelMeganDanielataSt.LouisphotographyconventionheldintheUnionStationHotel,Iwantedtokeepthatlate-night,cavernousfeel.
LightingVideolighttendstohaverapidlightfalloffbecausethelightismorecontainedandalsobecauseyoutendtoworkclosertoyoursubjectwiththelight.ThatdramaticqualityofvideolightiswhatIusetoenhancethelookofportraitsinlow-lightenvironments.
WithsomeLEDvideolightsyou’reabletocontinuouslychangethecolorbalancefromincandescenttodaylight.Thisisareallynicefeaturebecauseyoucannowmorecloselymatchtheadditionallighttotheexistingambientlight.
TECHSPECS:
1/30second,f/4,1600ISONikonD424–120mmf/4GVR
LEDvideolight
Thelightinghereinthishotellobbywasincandescent—orcloseenough.Byusingmyvideolightatawhitebalancetomatchthis,Iwasabletomakeallthecolorsappear“normal,”soIdidn’thavetodealwithskintonesthatweretooblueortooyellow.
Thepull-backshot(above)showsthepositionofthevideolight,helduponamonopodbyanassistant.Iusedavibration-reduction(imagestabilization)lensforthisshot,whichhelpedoffsettheslowshutterspeed.
T27.WEDDINGSWITHVIDEOLIGHT
heimagebelowisoneofmyfavoritephotosofJuliaandLuis’swedding.Whycan’tweddingportraitsofthebrideandgroombealittlebitsexy?
VideoLightsVideolightis,forme,anessentialpartofmylightingarsenalwhenIphotographweddings.Theharderlightanditsrapidfallofflendacertaindramaticqualitytomyimages.
AvideolightliketheLowelID-Light,whichwasusedhere,isbalancedfortheincandescentlightingfoundinmostindoorlocations.Thecolorbalanceisusuallyeasilymatched.AnLEDvideolightsuchastheLitepanelsCromamakesiteveneasierbyallowingyoutochangethecolorbalancetoyourownintent.
TECHSPECS:
1/100second,f/4,1600ISONikonD4Nikon24–70mmf/2.8
LEDvideolight
Youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubject’sface.
PositioningtheLightAvideolightissoeasytouseinonesensebuttoughinanother.TheWYSIWYGnatureofvideolightmeansyoucaneasilyadjustitspowerandposition.However,sinceitisasmalllightsource,youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubject’sface.Checkforweirdandunflatteringshadows.Inparticular,studyhowtheshadowofthenosefallsandiftheeyesareshroudedinshadow.Thepull-backshot(above)showstheplacementofthelightforthiscouple.
PostproductionForbothoftheseimages,IliftedtheshadowareasduringthepostproductionoftheRAWfile.IusedthelocalcorrectionsbrushinLightroomtobringupsomeadditionaldetailinthesepartsoftheportraits.
Posing,Directing,andComposition
28.POSINGENGAGEMENTPORTRAITS
Ilovedoingengagementphotosessionsbecausetheyallowmetheopportunitytoconnectwithmyclientsbeforetheirbigday.Evenmoreso,Ilovethat
there’smuchlesspressureandhasteduringthisphotosessionthanduringtheweddingday.
TheEssenceofTheirRelationshipAlthoughIoftenposeanddirectthecoupleduringtheirengagementphotosession,itisstillimperativetocapturetheirrealrelationship.Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthat—thespark,thewaytheyinteract.
KeepItLooseMostoften,Istarttheposingvery“loosely.”Idon’ttrytoforceanythingthatwouldmakeanyonephysicallyuncomfortable.Myadviceisthis:ifitfeelsuncomfortable,itusuallylooksuncomfortable.Imightgetthecoupleintoabasicpose,thenaskthemtotalktoeachother,givegentlekisses(nopouty-lipkisses!),orexchangegentlenuzzling.Talkingtoeachotherisagoodplacetostart.They’llusuallytakeitfromthere,andthenyoujusthavetoguidethemalittlebit(“Don’ttiltyourheadtoomuch,”etc.).
Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthat—thespark,thewaytheyinteract.
StartwithOnePersonWhiletheposeshowninthemainphoto(below)neededMelissaandDennistogetintopositionsimultaneously,mygeneraladviceforposingtwopeopleistostartbyposingjustoneperson.Havethatpersonanchorthepose,thenaddthesecondperson.
Thisisasimplearrangement,butitworks—andtheposecanalwaysbeadjustedintermsofhowtheirhandsareplacedoneachother’sarms.Letthemenjoyeachother’scompanyasyouphotographtheirrelationship.
KeeptheEnergyUpChatwithyourclients.Don’tbetooinvolvedwiththecameragearandlighting.Itisimperativethatyoukeeptheenergygoingandkeeptheirinterest.Themostobviouspointofconnection?Talkabouttheirweddingday.Askhowtheirplansarecomingalong.Askaboutthedetails.Keepitchatty.Bepersonable.Theirexperienceofthephotosessionwithyouwillbeasimportantastheactualphotos.Keepitfun.
TECHSPECS:
1/100second,f/5.6,800ISONikonD3Nikon24–70mmf/2.8Late-afternoonavailablelightunderatree
H
29.COMPOSITIONANDFOCALLENGTH
ere’satechniquethatIstronglyrecommend:whenshootingportraitswithazoomlens,stepbackinsteadofjustzoomingwider.Theperspective
distortionthatawide-anglelenswillcauseisnotallthatflatteringtoyoursubject.
ACloseViewForthisstraight-forwardportraitofAnelisa(below),Iwasshootingwiththe24–70mmlens(onafull-framecamera)zoomedto70mm.Iwasn’tsupertightinmycomposition,soIwasshootingatadistancewherethereisnoperspectivedistortionintroducedonherface.(Forexample,a50mmlensusedasacloseportraitlensonafull-framecamerawillbringunfortunatedistortiontoyoursubject’sface.)
AcloseviewofAnelisaphotographedat70mmshowsnodistortion.
GoingtoFullLengthIfIwantedtoshootafull-lengthportraitnow,Ihavetwooptions:
1. Icanzoomwider(withoutchangingmycameraposition)togetallofAnelisainmyframe,or
2. Icankeepmylensat70mmandstepbackuntilIhaveherfull-lengthfigureinmyframe.
Zoomingwiderandtiltingthelensslightlydownproducesthekindofbobble-headdistortionseeninourfirstfull-lengthimage(facingpage,bottomleft),whereherheadismuchlargerandherlegsaremuchshorter.Thisisdefinitelynotaflatteringlook.Steppingback(facingpage,bottomright)forcesamorepleasantperspective.
Sowhenphotographingsomeone,Ifighttheimmediateurgetobelazyand
justzoom.Instead,Ikeeptothelongestfocallength(asmuchasIcan)andstepbackuntilIgettheframingIwant.Invariably,thislongerfocallengthgivesthemoreflatteringperspective.
OnlywhenIcan’tsafelyorcomfortablystepbackanymorewillIzoomwider.ButmyfocallengththenwillstillbemoreappropriatethanifIhadimmediatelyrackedmyzoomaswideasIcouldfromthestart.Togiveyouanideaoftherelativedistances,seetheimagesbelow.
Simplyzoomingwider(top)togotoafull-lengthviewresultsinunflatteringdistortion(bottom).
Steppingbackforthesamecompositionatalongerfocallength(top)yieldsbetterresults(bottom).
AreThereExceptions?Obviouslytherewillbetimeswhenyouwantamoredynamiccomposition,oryoumaywanttogoforthecrazywide-angleshot.Butforarepresentativeportrait,itisalwaysthebetterdecisiontostepbackratherthanbeinglazyandjustzoomingwider.
W30.GESTUREANDCONNECTION
ithportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.This
connectioncouldbethroughgestureandtouch.Thegesturemightevenbesubtle.Ifacouplesnugglesin,theydon’thavetolookateachother;it’sentirelypossibletogivethatsenseofconnectednesswithevenadownwardglance.Aslongaitlooksliketheyareconcentratingoneachotherorrespondingtoeachother,itworks.
Withportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.
OlenaandAustinaredirectlylookingateachother,handsintertwinedandlegstouching.Theconnectionisclearlythere.Here,thecouplewasphotographedusingwindowlightonly.
TECHSPECS:
1/160second,f/4,800ISONikonD4Nikon24–70mmf/2.8
Windowlight
ForthethreeimageswithOlenaleaningintoAustin,Iaddedaspeedlightinagriddedsoftbox.
“DropYourGaze”Comparethethreeimagestotheright.There’sadefinitesexinessthatexudesfromthecouple,butonlyinthetopimage(whereAustin’schintouchesOlena’shead)doestheconnectionbetweenthemreallykickin.Hedoesn’tneedtolookdirectlyatherforhimtoappearattentive—butwhenhisgazebecomestotallydistant,asinthemiddleimage,theconnectionislost.Itjustlookslikehewantstobeelsewhere.Inthebottomimage,theconnectionwassomewhatregained.Ihadaskedhimtodrophisgazesohedidn’tappeartobelookingaway.
Thisinstruction(“Justdropyourgaze.”)isonethatIfrequentlyuse.Itissomehowmorecleartopeoplethantellingthemto“lookaway”or“lookdown.”Theinstructiontolooksomewhereistoospecific,buttellingthemtochangethedirectionoftheirgazeseemstobeeasilyunderstood.
A
31.DRAMATICSTYLEWITHLEDFRESNELS
vivaandBrianbroughtsomespy-moviestyletothisphotosession.Thelocationwasahotellobbywithhugedisplaysthatareconstantly
changingcolors.Thechallengewastoretainthiscertain“noir”moodandaddatouchofsexiness.
LightingIusedLEDFresnellights,amodernversionofthehotlightsusedforclassicHollywoodglamorlighting.ThespecificmakewastheLitepanelsSola4.The4-inchdiameterFresnelgivesafairlyconcentratedbeamthatcanbefocused,dimmed,andofcourseflagged.IaddedonelightonAvivaandanotheronBrian,butmoreassidelight/backlight.Bothwereflaggedtocontrolthespreadofthelight.Thepull-backshot(above)showsthesetup.
Whenlightingacouple,Itendtofavorflatteringlightonthewoman.Thisisanimportantconsiderationwhenposing—andwhenadjustingthelightastheposeschange.
BackgroundSelectionWhendecidingonthisparticularbackground,Isatdownineachspottofeeliftheposemadesenseandtofigureoutthelights.Ididallofthisbefore
positioningthecouple.Then,whenitseemedtheideawouldworkandthelightsweresetup,Iaddedthecoupleandfinessedtheposeandthelighting.
WhileIgenerallytendtolooselyposepeople(asmentionedinsection28),inthiscaseIhadtobemoremeticulouswithwatchinghowAvivaplacedherhands.Brian’shandonherlegalsohadtobepurposefullypositioned;Ididn’twantittolooklikeacasualafterthought.
Thereasonforthisextraposingprecisionwas,inpart,thelighting.WithsmallerlightsourcesliketheseFresnellights,thelighttendstobeharderandmorecontrasty.Slightchangesinhowsomeoneholdstheirheadcanmakeorbreaktheimage.Thenose’sshadowdescendingdownoverthetoplip,ortheeyesdeeplyshroudedinshade,caneasilymakeanimagefail.
Ihadtobequitespecificwitheverygestureofposingmysubjects.Whenpositioningsomeone’shead,Imostoftenuselarge,slowgestureswithmyhandstoindicatewhatIwant.IalsousemyownbodytomirrorwhatIwantthemtodo.
TECHSPECS:
1/100second,f/4,1000ISONikonD4Nikon24–70mmf/2.8
TwoLEDFresnellights
W32.SEIZETHEOPPORTUNITY
henwediscoveralocationthatisintriguingandlookslikeitmightoffermoreopportunities,itmakessensetorevisititandseewhatother
inspirationmightstrike.Thechallengeisnotjustre-creatingourpastwaysofshootingtherebutfindingsomethingnewandfresh.
ThislargesundialinJerseyCityjustdrawsyouclosertohavealook—andevenclamberoverit.I’vebeenherebefore(andIusedthisimageinmybookonoff-cameraflash),butthiswasadifferentday,withadifferentmodel,differentequipment,anddifferentlighting.Soitcametogetherinadifferentway.
LightingandExposureThelightonNicoleisfromthemetallicsundialbelowher,reflectinglightupward.Withthecurveofthesundial,thelighthitsherfromeverydirection.Thisphotographwasshotatf/1.4inverybrightlight.Theshutterspeedhadtobe second(at100ISO)toallowsuchshallowdepthoffield.IreallywantedattentionfocusedonNicole.
Adifferentimageconceptcreatedduringanothersessionatthesamesite.
DifferentSensorSize,DifferentLookInterestinglyenough,thisimagewasshotwiththeFujiX100s,whichhasanequivalentfocallengthof35mm.Withthesmallersensorandamaximumapertureoff/2,thedepthoffieldlooksquitedifferentfromthatintheimage(shotwiththeNikonD4)onthefacingpage.
CompositionThestrongdiagonalsarewhatmakethecompositionofthisimagesostriking.Withthesundial’sedgesandtheneedleattheseangles,IaskedNicoletohangfromtheneedlewithheronearm.(Theneedleiswhatcaststheshadowbywhichtimeisindicatedonthesundial.)Ithendirectedherposesothatherarmswereparalleltotheneedle,alltoaccentuatethelines.Agustofwindcaughtherhairandcompletedtheseriesoftriangleshere.
TECHSPECS:
1/8000second,f/1.4,100ISONikonD4Nikon35mmf/1.4
Availablelight
33.FINESSE
It’swonderfulkeepingintouchwithpreviousweddingclientslikeReneeandDavid.Overtheyears,it’sgreatseeingthemforphotosessions—thistime
withtheirdaughters,OliviaandJulia.
FlashPlusAmbientLookingattheimagestotheleftandthesetupshotbelow,thetechniqueshouldbeeasytodecipher.Iusedoff-cameraflashinasoftboxandshotwithalongerlenstocompresstheperspective.Iposedthefamily(andthetwokids,inthelowerimage)withthesunbehindthemtogivesomerimlighting.Theflashwassettomanualexposuremode,sincemysubjectsweregoingtoremainataspecificdistancefromthelight.
TECHSPECS:
1/250second,f/3.2,200ISONikonD4Nikon70–200mmf/2.8VRIIOnemanualflashinasoftbox
AmbientOnlyTheimagestotherightwereshotasIwasstillsettingup.IhadDavidgetinpositionwithOliviasoIcoulddeterminemycameraandflashsettings.Atthispoint,Iwasstillgettingmyambientexposureandhadn’tenabledtheflashyet.Buttherewasthismagicalmomentbetweenadadanddaughter,soIkeptshooting.IntheimageofOliviaalone,Ilovethetouchoflensflarethatcreatesavignetteofcoloraroundher.
LensSelectionAnotherwonderfulthingaboutusingalonglensisthatyou’reatadistance,whichmakesitmucheasiertogetthesenaturalmoments.Worktooclosetothekidsandyoucaneasilybecomeadistraction.Ofcourse,dependingonhowyouworkwithkids,andyourownpersonality,itmightbetoyouradvantagetointeractwiththem.Personally,Iprefertobefurtherback—abigguywithabiglensisn’teasytoignorecloseup!
TECHSPECS:
1/500second,f/3.2,800ISONikonD4Nikon70–200mmf/2.8VRII
Availablelight
I34.ABETTERPERSPECTIVE
t’sabitofacliché,perhaps,seeingaphotographerlyingonhissideorsprawledontheground.However,whatmightlooklikeastrangeformof
attention-seekingisactuallyaverysolidwayofimprovingyourcompositionwithfull-lengthportraits.
AvoidDistortionThelazytemptationistojuststandthere,cameratotheeye,andtakethephoto.Whathappensthen(usually)isthatthephotographerisshootingdownonthesubject.Thebestadvice,generally,istostepbackforfull-lengthcompositions(asdescribedinsection29).Whenyoushootdownonsomeone,especiallywithawideranglelens,theperspectivedistortioncausesthefeettoappearmuchsmallerandyoursubject’sheadtoappeardisproportionatelylarge.
Cameraatstandingheight.
ABetterViewoftheBackgroundWithalongerfocallength,suchaswasusedinthisoutdoorportraitofElle,perspectivedistortionislessofaconcern.Thelenswaszoomedtoaround135mmsoherheadandfeetwereequidistanttothecamera—meaningnodistortion.However,ifyoutakethephotojuststandingatyourfullheight,thenyouarestillshootingdownandyou’regettingfartoomuchofthegroundintheimage.ThepathherebehindElleisn’tawful,anddoesn’tdistract.Butit’sthecolorsbehindherthathelpmakethisimagepop,complementingthecolorsofherclothing.
Cameraatkneelingheight.
Belowisaseriesofthreeimages,shotwhileIwasstandingup,kneelingdown,andfinally,lyingflatontheground.Noticehowthebackgroundchangesasmyperspectivechanges.Eliminatingmuchofthegroundgavethisstraight-forwardportraitofEllemoreimpact.
ThisissomethingIalwayscheckforwhenphotographingsomeone—
whetherIcantightenthecompositionbyshootingfromalowerangle.Evenaslightlylowerangleeliminatedmostofthepathwayhere.
LightingToaugmentthelight,Iaddedjustatouchoffillflashwithaspeedlightinasoftboxtogiveflatteringlightonher.Noticethatshadedareaonthegroundnearherfeet?Ispecificallyposedhertheresothattherewouldbenodappledlightonher.Decisionsliketheseareverymuchpartofthelightingtechniqueinvolvedinlocationphotosessions.Youhavetopickyourbattles!
Cameraatlying-downheight.
Anotherposeshotfromalowangle.
TECHSPECS:
1/250second,f/3.5,200ISONikonD4Nikon70–200mmf/2.8Manualoff-camerafillflash
I35.RULESOFCOMPOSITION
faphotographisintendedforanaudience,notjustmyownrecordsandmemories,Ithinkitssuccesshingesonimpact.Doesthephotomakeyou
stopforatleastafewsecondstotakeitin?Ifitdoes,you’reatleastpartlysuccessfulalready.Withportraits,somanyelementskickintogiveaphotographimpact—themoment,theexpression,thegesture,themovement,theposeandposition,thelighting,andmore.
AnInstinctiveApproachIntermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.Lookatthesubjectandsceneandrespondwithoutthemechanicaldecision-makingthatalltherulesofcomposition(theRuleofThirds,diagonals,mathematicalformulae,theGoldenMean,etc.)bringintoplay.
Theambientlightwasabout2stopsunderexposed.
“Therearenorulesforgoodphotographs,thereareonlygoodphotographs.”
—AnselAdams
Instead,takeyourtimetolookatwhatisactuallypresentedintheviewfinder.Scanthewholeframe;lookatthesidesandcorners.Iseverythingthatyouseeeverythingthatyouwant?Isthisthebestwaythatthesubjectcanberepresented?Doyouneedtore-frameormovetoanotherposition?
Intermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.
LookingatThisImageThecompositionofthisphotographofAnelisa(facingpage)canbeanalyzedin
termsoftheusualguidelines:
Thenegativespaceaboveher,Thediagonallineimpliedbyherarms,ThesenseofbalanceproducedbytheS-curveinherpose,andTheverticallinecreatedbyherbodybeingoff-centerintheframe.
Thepull-backshot,showingtheProfotoD1Air500Wsmonolight.TheProfotobeautydishwasthemainlightonAnelisa.
Thefinalimage.
TECHSPECS:
1/250second,f/5.6,200ISONikonD4Nikon24–70mmf/2.8Off-cameraflashwithabeautydish
Thereisalsothestrongvisualdynamiccreatedbyherfacebeingmoreorlesscentraltotheframe—aswellasthecurveofthisindustrialchimneystructure,whichpullsyoureyetowardthecenter.
Allthesethingsdoappearwhenyoubeginanalyzingtheimageafterthefact.Butduringthetimeoftakingasequenceofimageshere,thedecisionwasn’tstep-by-steplikethat.Itwasmuchmorethatinstinctiverecognitionthat,“Hey—thislooksgood!”
StudioPortraits
36.THE85MMF/1.4LENS
TooMuchLightThesuper-wideapertureofthe85mmf/1.4lenspresentsafewchallenges—theobviousonebeingthattheshallowdepthoffieldisn’tforgivingofeventheslightestmovement.Workingwithstudiolights,though,anotherchallengeisthatsometimesthere’sjusttoomuchlight.Inthenextexample(section37)whereIshotwithasimilarlyshallowdepthoffieldina(home)studiosetup,itwaswithspeedlights.Thatmadeiteasiertogettothef/1.4aperture.
LightingSetupFortheseimages,themainlightwasaProfoto5OctaSoftbox.Thishugelightsourcemakesiteasytogetflatteringlight.Bymovingitinasemi-arcaroundyoursubjectyoucancontrolthecontrastandhowmuchlightfallsontheshadowsideofyoursubject’sface.Thismakesitquiteflexibleforasinglelightsource.
TherimlightwasaProfoto1x3-footsoftboxwithasoftgridtocontrolthelight.Thisrimlighthelpedcreatesomeseparationfromthebackground.
Thelightonthewallusedasthebackgroundwasgriddedtogiveaslighthotspotbehindher.Ididn’twantanevenlylitbackground.
ReducingtheLightWiththe500Wsmonolights,therewasjusttoomuchlight—butIwantedtousethathugeProfoto5.0OctaSoftboxbecauseofhoweasyitistocontrol.SoIhadtousea3stopneutraldensityfiltertobringthelightdown.Thisproducedanotherproblem:thecamerajustdidn’twanttograbfocusinsuchlowlightwhilea3-stopNDfilterwasonthelens.
TheissueofeyeglassreflectionwashandledsimplybyadjustingOktavia’spose,asshownintheseimages.
TECHSPECS:
1/160second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-SB+W77mm0.9(3stop)NDMRC110Mfilter
Iendeduphavingthemakeupartistholdavideolightclosertothemodelsothecamerahadenoughlighttofocus.ThenI’dtakeasequenceofphotoswhilethevideolightwaspulledaway.It’snotanidealwayofworking.Thislookisactuallymucheasiertopulloffwithspeedlightsorsmallerflashes,aswe’llseeinsection37.
37.AHOME-STUDIOSETUP
ShallowDepthofFieldInastudio,weusuallyworkwithaperturesintherangeoff/8orf/11forgreatdepthoffieldandsuperbimagesharpness.However,shootingportraitswithfastlensesforthatdistinctiveshallowdepth-of-fieldlookalsoworksinthestudio—infact,itworksexceptionallywell.Thatsuper-fast-apertureportraitlensreallyfocusestheattentionexactlywhereyouwantit.Withportraits,that’salmostalwaysyoursubject’seyethatisclosertothecamera.
StudioLightsvs.SpeedlightsUnfortunately,aswesawinsection36,higher-poweredstudiolightscanproducetoomuchlight.Thisiswhereworkingwithlower-poweredspeedlightsisanadvantage.Withspeedlights,thatsuper-thindepthoffieldismoreeasilyattained—withouthavingtodealwithneutraldensityfilters.
TECHSPECS:
1/200second,f/1.4,100ISONikonD700Nikon85mmf/1.4GAF-STwoQuantumT2units,oneNikonSB-800
InMyDiningRoomThephotosofKaylexwereshotwithafairlysimplelightingsetupinmydiningroomarea—amakeshifthomestudio.Thepull-back(facingpage,top)showsyoujusthowunglamorousandcrampeditactuallywas.Yetthefinalportraitslookedgreat.
Themainlighttocameraleftwasan18x42-inchstripbank.TheflashgunwasaQuantumT2,butaspeedlightwouldhaveworkedjustaswell.Inthissmallspace,youdon’tneedhugeamountsoflight.
IusedanotherQuantumT2tolightupthegrayseamlessbackground.Ihada12×12-inchsoftboxonthisoneandfeatheredittogivemeunevenlightingonthebackdrop.IalsohadasnootedNikonSB-800asahairlightinmostshots.
Fortheimageshotatf/1.4(facingpage,bottom),thepowerontheQ-flashwasturneddownto or ,forjustatouchoflight.
DifferentLens,DifferentLookFortheimagesonthispage,Iuseda70–200mmf/2.8lens(ontheCanon1DMarkII)atmoreusualaperturesrangingfromf/5.6tof/8withthesamelightingsetup.Asyoucansee,studiolightingcanbedone(oratleastapproximated)inahomestudio.
M38.STUDIOHEADSHOTS
ikeisanactor/musicianfriendofminewhoneededhisportfolioupdated.Westartedoffwithheadshotsinthestudio.BecauseMikeisa
characteractor,wetookmanyphotosinwhichtheexpressionswerequitegoofyandstrange.Here’sasmallselectionofhisheadshots,whichshowsomecharacterandexpression.
BackgroundThebackgroundwasthebackwallofmystudio,whichispaintedalightgray.Becauseoflightfalloff,thebackgroundappearsdarkgrayinthefinalimages.
LightingThelightingsetupfortheseimageswasfairlysimple.Iwantedclean,openlightonhimsoyoucouldclearlyseehisexpressions.Ialsowantedalargelightsourcesowehadsomefreedomwithhismovement.However,Istillwantedsomecontrasttotheshadowside—butnottoodark.
ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshots—butIdochangeitup...
IusedtwoProfotoD1Air500Wsmonolightsformylights,butthesamelightingcouldbeveryeasilyapproximatedwithspeedlightsandthenecessarylightmodifiers.
ThemainlightonhimwasdiffusedwithalargeProfoto5OctaSoftbox.Thismassiveoctaboxgivesbeautiful,softlight.Ihaditsettoanangle,soitwasfeatheredawayfromhimabit.There’sareasonforthat.Ifyoufeatheralargelightsource,youcanhaveyoursubjectstepforwardforamorecontrastylook.Ifyouhavethemstepback,thenyougetmoreofasoftwraparoundeffecttothelight.
TECHSPECS:
1/160second,f/11,200ISONikonD4Nikon70–200mmf/2.8VRIITwoProfotoD1Airmonolights,V-flat
ThefilllightwasviaawhiteV-flat,whichactedasareflector.TheV-flatconsistsoftwowhitefoam-coreboardsthataretapedtogetherwithgafferstapetoformaVsoitcanstandupright.Isetitupsothatitreflectedlightfromthefrontandsideofmysubject,andalittlebitfrombehind.JustenoughfilllightforwhatIwanted.There’snoexactsciencetoit.
ThehairlightwasviathesecondProfotoD1Air500Wsmonolight,supportedonaboom.Thelightbeamwasnarrowedbyagrid.
ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshots—butIdochangeitupattimes,alwaysexploring.
R39.LOW-KEYVINTAGEPORTRAIT
andyhasalookreminiscentofAvaGardner,soIwantedtocreateaportraitofherusingtheclassicHollywoodglamourstyleoflighting.
LightingForthissetup,IusedaProfotobeautydishasthesinglemainlightsource.Abeautydishisbestusedwithagridtocontainthelightspill,makingthelightquitedirectional.Thismeansthatyouhavetoposeyoursubjectprecisely.Whenusingabeautydishasthesinglemainlight,there’snoneofthefreemovementyouhavewhenusinglargelightsourcesandmultiplelightsinthestudio.Eventheslightestmovementofyoursubject’sfacemakesabigdifferenceinhowtheshadowsappear.
Withoutadditionallightfromothersourcestogivefilllight,abeautydishcanbefairlychallengingasasinglelightsource.
BackgroundIwantedalow-keylook,soIusedadarkgraybackdropandworkedwellawayfromitsothatthemainlighthadverylittleeffectonit.TheInverseSquareLawhelpsherewiththenon-linearlightfallofftothebackground.Inotherwords,thefurtherthebackgroundisfromyoursubjectandlight,thedarkeritwillappear.
SeparationTopreventRandy’sdarkhairfrommeltingawayintoablackbackground,Ineededahairlightofsomekind.IsetupagriddedProfoto1x3-footsoftboxbehindandaboveher.
Thepull-backshot(left)showswherethegriddedbeautydishwasplaced,aswellasthepositionofthegridded1x3-footsoftboxbehindRandy.KeepinmindthatIpulleduptheshadowdetailforthisphoto,sothatyoucouldactuallyseethelightinggearhere.
TECHSPECS:
1/200second,f/8,100ISONikonD4Nikon70–200mmf/2.8VRIIBeautydishwithgrid,softboxwithgrid
T40.CONTINUOUSLIGHTS
hisstrikingportraitofLauraineshowshersparklingmischievousness—and,onthetechieside,theselectivefocusofafastlenspairedwiththe
flexibilityofcontinuouslighting.Thedeliciousnessofthe85mmf/1.4lensreallybringshereyestoattention.
KeepItRelaxed
Duringpartofthephotosessioninthestudio,Idecidedtousecontinuouslighting.Lauraineisnewtomodelingforthecameraandworkinginthestudio,sothelackofflashespoppinghelpedkeeptheatmosphererelaxed.Theshortertelephotolengthofan85mmlensalsomeantIcouldworkcloseandgiveinstructiononposing.Slightadjustmentstoherhandorthetiltofherheadcouldbemoreeasilyrelayedatthisdistance.
Thecontinuouslightmakesitsoeasytoadjustthelightingandthepose—Ifinditeveneasierthanwiththemodelinglightsofstudiostrobes,sincewhatyouseeistrulywhatyouget.
BackgroundThebackgroundwasafour-panelroomdividerscreen.Spillingabitoflightonit,andanglingitproperly,addedahintofcolorandtextureinthebackground.Thismadethefinalsettingfortheportraitseriesalittlemorenuanced.
TECHSPECS:
1/500second,f/1.4,500ISONikonD4Nikon85mmf/1.4GAF-S
WestcottSpiderlites
LightingForLauraine’sportraits,IusedtwoWestcottSpiderlites:aTD6witha3x4-footsoftboxandaTD5witha1x3-footsoftbox.Thelargersoftboxwasthemainlight.Thesmallersoftboxfunctionedasahairlightandspilledalittlebitoflightonthebackground.Thepull-backshot(right)showstheplacementofthelights.
IntheTD6(mainlight),Iusedfivebulbsthatweredaylight-balanced,plusoneincandescentbulbsothatthelightwentalittlewarmer.TheTD5(backgroundlight)onlyhaddaylightbulbsinit,sointhefinalediting,wherethecolorbalanceoftheimageisadjusted,thehairlightandbackgroundlightwentatouchcolder.
ImprovisingonIdeas
41.DECONSTRUCTINGAPORTRAIT
SubjectandConceptChuckArlundisanexceptionalphotographerwhomIgreatlyadmire—sowhenheandhisson,Lachlann,visitedNewYork,Iwantedsomethingalittleoutoftheordinaryformyportraitofthetwoofthem.TheideaIhadinmindwasawideshot,withasweepingviewofastreetscene.Iwantedtoshowmovementallaroundthem,whiletheyremainedstill.Inthatsense,theywouldbeisolatedevenamongallthemovement.
TimesSquareimmediatelycametomindasaplacewherethere’dbeahordeofpeoplemillingaround—butalsoawideenoughplacetoshootthis.Still,thedirectionwecouldshootinwaslimitedbythepedestrianflow,barriers,aswellasapolicemanwhoaskedmetohurryup.Sothepressurewasontomaketheideaworkquickly.
LightingandShootingToaddenoughlightonthematf/22(allowingfora1secondshutterspeed),Ibroughtina600WsProfotoAcuteB2powerpackandaProfotobeautydish.Withthisinplace,itwasjustamatterofbalancingtheflashandthedaylight(ataslowshutterspeed).
Ihadtoshootatanangleheretogetaclearviewofthestreetwithoutbarricadesintheway.Itwasalsoabusyintersection,sopeopleweremorelikelytobemovingalong.Whathappenedthough,wasthatpeopleinthedistanceappearedsharper,becausetheirmovementswere“smaller”frommycamera’sperspective.
ACompositeBackgroundtoSimplifySomepeoplewouldlingerandappeartoosharp.Asaresult,thebackgroundintheoriginalversion(above)wastoocomplex.Tocreatethefinalimage(left)Ipulledfiveshotstogethertomakethebackgroundmoresimple.Thishelpedmekeeptheemphasisonthedadandhisson.
Intheend,Ithinktheportraitisevocativeandslightlymysterious,showingatender,emotionalbondthatremainspermanentamidstthecrazinessoftheworld.Ihopeitwilldrawtheviewerinforawhile,withthisstillnessjuxtaposedagainstmotion—although,inthebreakdownofthebehind-the-scenesdecisions,someofthemysteryisperhapsinevitablylost.
TECHSPECS:
1second,f/22,500ISO*
NikonD485mmf/1.4Beautydish,Profotoportablestudiolight
*Thistranslatestoamoreusualequivalentexposureof1/125second,f/2.8,100ISO.
42.URBANBALLERINA
Thereis,ofcourse,acertainincongruityinposingaballerinaagainstacityscape.Yet,thereisabeautyinthemomentarystillnessinViktoria’s
peakmovement,versusthebustlingstreetdownbelow.HerelegantmovementsomehowjustlooksreallygreatagainstthebackdropofManhattan’sskyscrapers.
TravelingLightForthelightinginthisphotosession,Idecidedtotravellight.TheCanon600EX-RT,withitsbuilt-inwirelesscontrol,offersthesweetestintersectionofpower,versatility,andcontrol.Theflash’soutput(andmode)areeasilycontrolledfromthecamera’sposition.
TheFirstLookTheimageandpull-backshottotheleftshowonewayIpositionedmyspeedlightrelativetothesceneandsubject.Youcanalsoseemyownposition,lowdownontheground,togetthedesiredperspective.
TheSecondLookWewereworkinginthelateafternooninNewYork,withthesunlightglintingofftheglassbuildings.Thislookeddramatic,butthesunlightthatwasreflectingoffthebuildingswasn’tconsistentanddidn’tnecessarilyfallinaplacewherewecoulduseit.Fortheimagetotheright,Icreatedmyownlightwithanoff-cameraspeedlight.ThiswasplacedjustoutoftheframesothatitintentionallyflaredbutalsogavebeautifulrimlightonViktoria.
TECHSPECS:
1/250second,f/4.0,100ISOCanon6D24–70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual
TECHSPECS:
1/250second,f/5.6,400ISOCanon6D24–70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual
CameraSettingsTheexactpointwhereViktoriasteppedwouldchangeeversoslightlybetweenshotsandhermovementswerequick,soIhadtopre-focus.Giventheslightchangesinherposition,asuper-wideaperturewouldjusthavemeantmoremissedshots.SoIsettledonanapertureoff/5.6fortheimagetotheright.
Atherpeakmovement,shewasquitestillforhalfasecond,soIdidn’tneedaction-stoppingshutterspeeds.Settingmycameraat secondworkedfine.EventhoughthisishigherthanthemaximumflashsyncoftheCanon6D,andtherewassomelossofflashpower,therewasenoughheadroombecausewewereworkingatfairlyclosedistanceswithbareflash.
L
43.REGALPORTRAITWITHAFERRET
ynnClarkisanaccomplishedboudoirphotographer—butIdidn’twanttogowiththeobviousideaofdoingaboudoirphotosessionwithher.
LocationSelectionLynn’sboudoirstudioishome-based,andIspentsometimelookingaroundfiguringoutanglesandlightingandbackgrounds.Ifiguredoutwherewecouldshootafewbasicportraitsaroundherstudio.Theywouldbegoodportraits,butnothingextremelyengaging—yet.
InspirationStrikesLynnandherfamilykeepsixferretsaspets.Theyalsorunaferretbed-and-breakfastinDenver,wheretheytakecareofferretswhoseownersareonvacation.Sothereareferretsaround—andtheyareadorable.InchattingwithLynn,shementionedLeonardoDaVinci’sportraitofawomanwithanermine—aswellasaportraitofQueenElizabethwithaferret.(Googletoseethesemasterworksforyourself.)That’sthemomentwhentheideaclicked!
ExecutingtheConceptThrowingthechandelierinherstudiooutoffocusandkeepingitinframe,we’dhaveaglowinghalooflightaboveLynn.Theregalreddrapesworked,too.Tofinishthelook,weneededacostume.Wedidn’thaveanythingnearlyasostentatiousasacrown,sowewentforatiaraandsome“bling”jewelry.Areddressstoodinforaredcloak.Finally,weaddedElliott,theenergeticallycuriousferretyouseeinthephoto.
TECHSPECS:
1/200second,f/4.0,1600ISO
NikonD4Nikon70–200mmf/2.8VRII
LitepanelsChromavideolight
ThefinalportraitofLynnisawhimsicalhomagetotheportraitofroyaltywithapetferret.There’sanabsurdityaboutit.Hopefully,theportraitisalsoquitecuteandamusing.IdothinkitshowsthatplayfulaspectofLynn—eventhoughsheinsistsshe’sactuallyaseriousperson.
LightingIlitthisportraitwiththeLitepanelsCromaLEDvideolight,whichishandyinthatyoucancontinuouslychangethecolortemperaturetomatchthatoftheavailablelight.IwantedabitofaspotlightonLynn,butwiththelightfeathereduptohighlightherfaceandtheferret.Thepull-backshotbelowshowsthesetup.
44.WORKINGTOWARDTHEFINALIMAGE
ThesephotographsofJessicaweretakenjustbeforeaphotoshoot.Wecreatedaseriesofimagesasweworkedtowardafewportraitsthatwould
work,improvingoneachcompositionandpose,stepbystep.
EvolutionThisprocessofrefiningeachaspectoftheshotrelatesdirectlytoanideapresentedintheforewordtothisbook—thatthefinalimagewearepresentedwithisusuallynotfullyformedasafirstimage.Itis,almostinvariably,thelaststepinaprogressionthatworkedtowardit.
Thefinalresultshownhere(facingpage)isalittlebitofeverything—awonderfulsubject,anopportunity,andthen(overthecourseofseveralphotographs)finessingtheimage.
Wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdon’tgiveuptooearly.
StepbyStepThefirstimage(1)showswherewestarted.Inthedressingareaofthestudio,therewasamirrorwithlightbulbsaroundit.IaskedJessicatoturntohersidesoIcouldseeherprofile.
Itwasastart,butthejacketwastoobulkyandtoonoticeable.Iwantedtheportraittobeabouther,soIaskedhertoremoveit—whichgaveusoursecondimage(2).Iliketheresult,butIcanseeherbrightlylitarm(andmyself)reflectedinthemirror.
Movingtomyleftwouldhavesolvedthereflectionissue—buttherewassomethingelsemissing.Thephotolackedasenseofmystery.Forthethirdimage(3),IaskedJessicatoturnaroundandlooktoherleft.Ihadherbringherhandintotheframe,toaddmoreofthatsensualitytotheimage.However,herreflectioninthemirrorwastoodistracting.
Throughaseriesofimages,Itriedtohideherreflection,whichcreateddistractinghot-spotsinthemirror.IneededtomovesubtlytothesideandhaveJessicarotateeversoslightlytowardthecamera—we’renearlythere(4)!
Thephotostillhadthatslightlydistractingreflectionofherhandinthemirror.However,aslightchangeinherposehidthatandgotustothefinalimage,shownabove.
TECHSPECS:
1/200second,f/1.8,1600ISONikonD485mmf/1.4GAF-S
Availablelight(lightbulbsaroundmirror)
Oftenenough,wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdon’tgiveuptooearly.
A45.WORKTHESCENE
spartofmydestinationweddingphotographycoverage,Iofferanextendedphotosessionaroundtheexoticlocaleafter(orbefore)the
weddingdate.Whilewe’rethere,wemayaswellmakethemostoftheopportunity.
ThedayafterDeshaandKyle’sweddinginAruba,wedrovearoundthearidareasoftheisland—awayfromthetouristyparts.Therewasashortrainstormwhileweweredriving,andthelandscapelookedreallycrisp.Offsettingthecoupleagainstthisstarklandscapejustseemedlikeagreatidea.
DesertSceneForourfirstlook(below),Iposedthecoupleintothelight.Workingwithawide-anglelenstogivemeasweepingview,Iexperimentedwithvariouscompositionsofthisscene,butlikedtheoff-centerversionthemost.
TECHSPECS(FACINGPAGE):1/250second,f/9.0,100ISO
Canon1DMarkIInCanon16–35mmf/2.8L
Availablelight
TECHSPECS(RIGHT):
1/1000second,f/5.6,100ISOCanon1DMarkIInCanon70–200mmf/2.8LIS
Availablelight
Foranygivenportraitsetup,Ialwaysshootwideandtight,verticalandhorizontal,andhighandlowviewpoints.ThiswayIgetavarietyofimages.Inthecullingprocesslateron,Icanthenpicktheonesthatworkbestformeandformyclients.
Ofcourse,there’susuallymorethanjustonephotograph...
IntheRoadIwasinspiredtocreateasecondlookforDeshaandKylewhenIsawtheroadsurfaceglisteningwiththerain(right).Istoodintheroadandaskedthecoupletoslowlymeanderdownthestreet.Itwasperfect.IinstantlylikedwhatIsawinmyviewfinder.Averticalcompositionlikethisjustmadethemostsenseforthescene.Ishotitwiththe70–200mmlensat175mmforacompressedperspective.
SmallChanges,BigDifferenceJustaminuteandahalfpassedbetweenthesetwoimages—andthecloudscameover,softeningthelightabit.Thatdidn’treallymatter,though;thesecondimagewouldhaveworkedwithsunlightaswell.
Thekeyideahereisthatchangingyourpositionandmovingaroundcanoftenproduceimagesthatlookhugelydifferent,because:1. You’rechangingyourbackground,and2. You’rechangingyourpositioninrelationtothelight.
W46.FINDTHEOTHERANGLES
orkingwithafilmnoirtheme,agroupofphotographersinmyareaarrangedashoot-out.Thesearetwoofmyimagesfromthatsession.
LightingandPosingJillSusie,oneofthemodelsattheshoot-out,hadahairstyleanddressthatwerestronglyreminiscentoftheflapperera.Thisreallysuitedasexyposeandstyling.
Keepingwiththetheme,thelightinginthephotosneededtobesubduedandmysterious.Withthat,Ididn’tuseflashatallbutdecidedtouseonlyavideolight.SinceIknewImightwantsomethingstrongerthanmyusualLEDvideolight,IdecidedonthemoreflexibleandpowerfulLowelID-Light.
Forbothimageshere,theLowelID-Lightwasheldaloftbysomeoneelse.Thepositionofthelightshouldbediscerniblebyhowthelightfallsonherandhowtheshadowpatternappearsunderhernose.
TECHSPECS:
1/500second,f/1.4,1600ISONikonD3SNikon85mmf/1.4GAF-SLowellID-Light
WorkingtheAnglesTheimageaboveisthephotographthatwaseasiertoenvision.Thepatternofthetilesinthelobbyimmediatelydrewmyattentionasapossibleidea.Thewaythetilepatternrecedeshelpsdrawyoureyetoourmodel,asdoesthespotlighteffectofthevideolight.Istoodonashortledgeandshotdowntocreatethisimage.
TheimageonthefacingpageshowsadifferentanglethatmyfriendPeterSalofound.TheironyhereisthatthefirsttimePeterandImetwasatanotherphotoshoot-out—andIwasinsistenthefindadifferentangle,ratherthanjustshootingfromeye-height.Ievenpushedhimdownonthegroundtoconvincehim.Andhereweare,afewyearslater,withhimfindingthealternateanglethatIdidn’timmediatelysee.Usingthe85mmf/1.4lenswideopengavethatshallowdepthoffield.
TECHSPECS:
1/80second,f/5,1600ISONikonD3SNikon24–70mmf/2.8AF-SLowellID-Light
Thepositionofthelightshouldbediscerniblebyhowthelightfallsonherandhowtheshadowpatternappearsunderhernose.
47.PLAYFULPORTRAITS,PART1
IImagesfromprevioussessionswiththeModernGypsies—infullcostumesandmakeup.
reneFongandMichaelSaabareatthecoreoftheBrooklyn-basedperformancegroupcalledtheModernGypsies.Overthepastfewyears,I
havephotographedtheModernGypsiesseveraltimesfortheirownpromotion.
ConceptSincetheyarealwaysinoutlandishcostumes,Ialsowantedtophotographthemasthemselves—sanscostumesandstagemakeup.However,totallystraight-forwardportraitswouldn’thavebeentruetowhotheyare.Istillwantedtogivetheportraitssomeoftheircrazyinventiveness.
TheideaIcameupwithwastohaveIrene’sportraitbeslightlysurreal.Alongwithhertrademarksee-throughviolin,IwantedtoincludeMichael,butasasecondarysubject.Someofhisactshavehimbouncingaroundonstiltswhileincostume,sothat’showIdecidedtoshowhiminthebackground.Byusinga
wideaperture(f/2),IwasabletothrowhimoutoffocusandkeepthisportraitaboutIrene.
High-SpeedFlashSyncIusedtwolightshere—aspeedlightinasoftboxonIreneandadirect,unmodifiedspeedlightonMichael.Shootingoutdoors,thef/2apertureimpliedafastshutterspeed,puttingmeinhigh-speedflashsyncterritory.Withtheavailablelightasthedominantlightsource,theflashwouldn’tbeabletofreezetheactiononitsown,soIneededa secondshutterspeed.
Twofinallooksfromthesession.
Thepositioningofthetwolights,withMichaelshownstandingwhereIrenewouldbeinthefinalsequenceofimages.
F48.PLAYFULPORTRAITS,PART2
ormyportraitofMichael(oftheModernGypsies),Iwantedsomethingthatshowedsomeofhisfreespiritandcreativity.ShootinginBrooklyn,we
stoppedatoneofthenumerousgraffitimuralsthatspeckletheurbanlandscapeofthisboroughofNewYorkCity.
APreliminaryLookWestartedoffwithabasicportraitwithhimagainstthecolorfulgraffiti(below)—butIwantedmorethanjustsomeoneposinginfrontofamural.Iwantedtoshowmoreofhisenergyandplayfulness.
AMoreEnergeticLookAwonderfulthingaboutphotographingcreativepeopleandentertainersisthatthebestofthemcanjustturnitonprettymuchanytime.SoMichaeleasilystartedtogoofaroundwithhisbowlerhat,whirlingitaround.
Shootingnatural-lightportraitsofMichaelagainstagraffiti-coveredwall.
Ishotalongsequenceofimages,buttheoneIlikedthemostwaswhenheattemptedtobalancethehatontheedgeofhisnose(above).Withoutmirroringthegraffitimuralinpose,thereisstillakindofsymmetryintermsofthegesture;thewingsspreadandMichael’shandsextendoutashebalancesthehat.
ThissimpleportraitofMichaelagainstacolorfulbackgroundwasnice—butitdidn’tquitecapturethecreativityandenergyIwantedtoshow.
It’sanincongruousimageperhaps,someonerandomlybalancinghishatonhisnose.But,forme,itcapturespartoftheessenceofsomeonewhoisconstantlyinventiveandplayful.
Lighting
Thetechnicaldetailsaresimplicityitself.Thelightingwasallnatural;theovercastweathermadeforsoftlight.Ialsousedawideaperturetocreateseparationbetweenmysubjectandthebackground.
TECHSPECS:
1/500second,f/2,200ISONikonD435mmf/1.4
Availablelight
W49.FILMNOIR
orkingonimagesforcharacteractorMikeLarose’sportfolio,wedecidedonafilmnoirthemethatwoulddepicthimasacharacterfrom
aHitchcockmovie,butincolor.Hedressedthepart.ShootingaroundNewYork’sCityHall,theimposingarchitecturesuitedthisthemewell.
CameraandCompositionItraveledlightonthisday,usingtheFujiX100scamera,whichissmallerthanmyusualDSLRs.TheFujiX100shasafixed35mm-equivalentlens,sothereisaspecificfieldofviewthatyouhavetoworkwith.Anycompositionshavetoworkwiththislens—orelseyouhavetocropinpostproduction.Idon’tlikeheavycroppingbecauseyouloserealestate;themoreyoucrop,themoreresolutionanddetailyoulose.
Oneofmyinitialtestshots.Ilikedthependulousshadowofoneofthelightsthere.
Scene-SettersTakingascene-setterimagelikethisgivesmeabettersenseofwhetherthereissomethingtoworkwithinalocation.Veryoften,eventhoughwecanvisualizewhatwewantinanimage,itsomehowcomestogetherbetterwhenweseeitintheconfinesoftheframe—evenifjustonthebackofthecamera.
SoIreallypreferworkingwithintheconfinesofthespecificlenstofindthecompositionthatworkswell.Inthiscase,however,lookingattheoriginalout-of-cameraimage(below),theblueskyontheleft-handsideseemedsuperfluous.SoIcroppedittothisfinalimage(left)forsimplicity.Thisleftuswithonlythecharacter,thelinesofthepillar,andhisshadow.
Themoodisnowmoreominousperhaps.Withhimlookingathiswatch,there’salsoasenseofurgency.Thatsimplegestureaddedatouchofextradramatotheimage.
W
50.PUNCHINGUPPLAINWHITEWALLS
hilephotographerslikeIrvingPennhavemadebeautifuluseofplainwhitewallsasportraitbackgrounds,sometimesweneedsomething
moretotelloursubject’sstory.Thatwasmychallengeforthisportraitsession.
SubjectandConceptMichaelDowney,aNewJerseyphotographer,shouldbewellknowntovisitorsatUniquePhoto.He’sasuperniceguy,butIdidn’tthinkwildandcrazyposingwouldsuithim.Instead,thisfairlysimplelightingsetupletmeaddsomeflavortotheportrait.Withthistechnique,astraightforwardportraitagainstawhitewallbecameakaleidoscopicadventureincolor.
MoreThanaShadowOneofthecommonapproachestopunchingupplainwhitewallsistousetheperson’sshadowagainstthewallaspartoftheoveralldesignoftheimage.Here,Itookitastepfartherbyaddingthreegelledflashes(red,green,andblue)tocausethreeshadowsindifferentcolors.
Thethreebarespeedlights,eachwithagelovertheflash.
Notethatthosethreecolorsaretheprimaryadditivecolors,sowhereallthreelightsoverlappedtherewaswhitelight—givingmenaturalskintones.(ShootinginRAWhelpswithcorrectinganyshiftincolorifthegelsareofunequalstrength.)Whereonlytwolightsoverlapped,you’llseetheshadowshiftedincoloraccordingly.Forexample,wheretheredandblueoverlapbutgreenisblocked,yougetamagentacolor.
TECHSPECS:
1/160second,f/8,200ISONikonD4Nikon70–200mmf/2.8VRII
threebarespeedlightswithgels
H51.CLASSICSTYLING
avingsomekindofideawhatyouwanttodoatthestartofaphotosessionisalwayshelpful,buttheultimatesuccessofanyphotographis
mostoftentheresultofavarietyofchoicesallcomingtogether—posing,composition,lighting,andmore.
SettingandClothingTheimposingpillarsandleadinglinesofthecourthouseinDenver,Colorado,madeforastrong,unclutteredbackground.Themodel,ElizabethHaynes,hadthissimplebutelegantblackdressaspartofherwardrobe;itwasaperfectcomplementtothesetting.
LightingIntheimageonthefacingpage,hershadowhelpedpulltheshottogether.Itlooksliketherewasabitofsunshinesneakingthroughathinlayerofclouds—andtheimagepops!
Togetthatdramaticlightonher,Iusedundiffusedoff-cameraflash.Sincethisisasmallsource,youhavetobeveryspecificinposingyoursubjecttoensurethelightingremainsflattering.Posing“intothelight”usuallyworksbest.Thewaytheshadowfellbehindherwasanaccidentallittlebonus.I’lltakeitwhenitcomes.
Theimagephotographedwithavailablelightonly.(1/250second,f/4,100ISO)
Theimagewiththeadditionofoff-cameraTTLflash.(1/250second,f/4,100ISO)
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon24–70mmf/2.8Undiffusedoff-cameraflashinTTLmode
AnApertureChangeWhileshooting,Idecidedtochangefromf/4(belowright)tof/5.6(facingpage)topulltheambientlightlowerandmakethelightfromtheoff-cameraflashmoredramatic.ThisdecisionhingedonhowdarkIwantedtheambientlightto
appear.Thiswasanartisticdecision.Ihadothergoodchoices,butIfindthemoredramaticeffectisusuallythemoreinterestingone.
CameraHeightIshotslightlyupwardtoaccentuateherlegs.Shootingdownwouldhavecreatedastrangeforeshorteningeffect.Whenphotographingpeoplewithawidelens(here,about38mm),itisbesttoshootfrombelly-buttonheight—exactlywhereanoldtwin-lensreflexcamerawouldhavebeenheld.Thiswayyou’renotshootingdownorup,soanyspatialdistortionisminimized.
M
OnLocationwithBigLights
52.PROMOTIONALPORTRAITS
yfriendMikeLaroseisaNewYorkactorandmusician.Youmightrememberseeinghimelsewhereinthisbookincompletelydifferent
guises(sections38and49).
ASolidStartFortheseportraits,weworkedoutsidealongapathwayinawoodedarea.IknewIwantedtoshoottightwitha70–200mmlensatthelongerendofthezoom.ThiswouldcompresstheperspectiveandisolateexactlywhatIwantedasabackground.Thischoicegoeshand-in-handwithcarefullypositioningmyselfandmysubjectinrelationtothebackground.It’snotaccidental.
IframedMikeagainstthehighlightsinthebackgroundtocreateanaturalvignette.ThisiscommonlyhowIworkwhendoingportraitsonlocation(seesection2foranotherexample).It’saspecificwayofshootingthatgivesconsistentresultsasabaseline—inotherwords,theminimumherealreadylooksverygood.
TECHSPECS:
1/200second,f/4,400ISONikonD4Nikon70–200mmf/2.8VRIITwooff-cameraflashes;mainlightingriddedstripbox,rimlightinreflectorwith10degreegrid
MakingItBetterTocontrolthelight,IaddedstudiolightingwiththeProfotoB1,abattery-poweredflashunitthatdelivers500Ws.(Ofcourse,thiscouldalsohavebeenshotwithspeedlightsandsimilarlightmodifiers.)AgriddedstripboxonMikelithimselectively,whilea10degreegridonareflectorfrombehindgavetherimlight.
TwoCompositionsTheverticalversionwasshotat200mm,whilethetighterhorizontalportraitwasshotat190mm—therewasnobigchangeinthefocallength.Ikeptmyzoomrackedtothemax(orclose)andthenmovedaroundtokeepthatcompression.
Asnotedinsection29,Iresistedthetemptationtojustzoomwider.Usingaconsistentapproachlikethishelpsguaranteereallygoodphotographs.Itprovidesasolidfoundation.Fromthere,wecanimprovise,lookingforwaystorefinetheapproachandcreateimagesthattrulystandout.
B53.AVINTAGEMOTORBIKE
ackinsection25,wesawJohninhisworkshop.Johnalsohastwovintagemotorbikes;oneisfromtheWWIeraandtheotheristhis1928German-
builtTriumph.ThesidecarwasmadebyHindenburgMetalworks—yup,thezeppelinguys.John’sfriend,Barbara,frequentlyaccompanieshimtoshowsandrallies,soshealsocamealongforthisphotoshoot.Afterall,thereisasidecar!
ImageConceptsUsingdifferentsetups,IphotographedafewsequencesofJohnandBarbarawiththemotorbikeonlocation.Ilikedthisdramaticseriesthemost,withthelightfrombehindcastingashadowinfrontofthem.Iwantedthelighttoetchtheframeofthemotorbikeandsidecar,withoutrevealingtoomuchdetail—afterall,thiswastobeaportraitofJohnandBarbara.However,Ialsotookanumberofotherimageswherethemotorbikewasbetterlit,justtohavethevariety.
LightingIworkedwithtwoProfotomonolights.ThelightfrombehindwasfromaProfoto50degreeMagnumReflector,becauseIneededabiglightbehindthem.Thelightstandneededtobeoutsidetheframebutstillcastenoughlightonthemtocreatethatshadowinthefront.TheProfotoMagnumReflectorconcentratedthebeam.
TECHSPECS:
1/250second,f/14,200ISONikonD4Nikon24–70mmf/2.8Twooff-cameraflashes;mainlightinsoftbox,backlightinProfotoMagnumReflector
Apull-backshotshowingthelightingsetup.
ThelightinthefrontofthemwasaProfotoD1Air500Wsmonolight,usedwithaProfoto3x4-footsoftbox.Thiscreatedlarge,softlightingonJohnandBarbara.Themainlightwasplacedtocameraright—noton-axiswiththecamera.Thishelpedmaintainthedramaticqualityofthelight,soitdidn’tflattenoutthesubjects.
ALittleFlareForafewimages,Iallowedthelenstoflare.Becausethelightinthebackgroundwassostrong,Ihadtousemyhandontheedgeofthelenstocontroltheamountofflare.Ishotandcheckedanumberoftimes,untilIhadafewimageswheretheflarewasn’ttoooverpowering.
P54.SPEEDWAYRACER
hotographingspeedwayracer,CourtneyLefcourtattheBethelMotorSpeedwaywasatwo-parttechnicalchallenge.
ChallengesWhileCourtneyisundoubtedlyphotogenic—andspeedwayracingisexcitingtowatch—theracetrackitselfwasn’texactlyavisualfeast.Itwasabarrenovalstripoftarmacatanangle.Thatwasthefirstchallenge.Tomakethesceneworkasabackground,IhadtoaccentuateCourtneymoreandtheracetrackless—whilestillkeepingitrelevantasanenvironmentalportrait.Thesecondpartofthechallengewasthattheoverheadsunwasverybright.
SolutionsForthetighterportraits,Icouldeliminatethedistractingbackground—thecrashbarrierandtrees—byshootingfromanelevatedviewpoint(below,facingpagetop).Standingonasmallstepladder,Icouldexcludeanyoftheedgesoftheracetrack.Thatway,Iachievedvisualsimplicitybyeliminatingclutter.
Whileahigherviewpointhelpedaccentuateher,workingunderthebrightsunmeantshootingatsmallapertureswhenIwouldhavepreferredawidersetting.Addinga3-stopneutraldensityfilterbroughtmyaperturetof/4.5,givingmejustenoughdepthoffield.
Thelightingsetup,withaProfotoAcuteB2600WspowerpackandaProfotobeautydishwithasock.
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon70–200mmf/2.8Undiffusedoff-cameraflashinTTLmodeB+W77mm0.9(3stop)NDfilter
Tocreateevenmoreseparation,Isetupaspeedlightbehindheratfullmanualoutput.ItgavethatbitofrimlightthatmakesCourtneyreallypopoutfromthatneutral,out-of-focusbackground.
ThelastpieceofthepuzzlewastheadditionofaProfotolightwithabeautifydish;likethespeedlightbehindher,thiswassetatfullpower.Thespeedlightjusthadtoaddthatbitofrimlightfrombehind.TheProfotohadtodotheheavyliftingbymorethanjustmatchingthebrightsunlight,therebyopeninguptheshadowsandgivingflatteringlightonCourtney.
Bykeepingtoaspecificthoughtprocessinaddingoff-cameralighttostrong
sunlight,thephotosessionwasmadeeasier—andthechancesforsuccessweresignificantlybetter.
Thewidershotsweredonewithoutaneutraldensityfilter,sinceIdidn’tsospecificallyneedashallowerdepthoffield.
F
55.BESTON-LOCATIONLIGHTMODIFIER
orthissession,ImetupwithmyfriendMikeAllebach,aweddingphotographerbasedinPhiladelphia(www.mikeallebach.com).Weselected
anintriguingvenue,TattooedMom’s,whichwasidealforportraitswithamoregrittylook.
SceneandCompositionOfthevarioussetupsweshot,Imostlikedtheoneabove.Thesemicircularpatterntothegraffitiartworkandthesymmetryofthefurnituredrovemetoward
keepingthisaverycentralcomposition.EverythingintheframepullsyouintowardMike’sintenseexpression.
ControlledFalloffThelightlevelsinsidewerelowandIwantedtoretaintheatmosphereoftheplace.Icouldn’tuseanumbrella,sincethatwouldjustblastlightallaround.Instead,Ioptedfora1x3-footgriddedsoftbox—myfavoritelightmodifierforlocationshootslikethisone.Shootingat secondandf/4at400ISOretainedenoughoftheambianceoftheplace,butitalsoallowedmetospotlightMike.Thepull-back(above)showshowwellthegriddednarrowsoftboxcontainedthelight.Thecontrolledfallofffromthislightwasinstrumentalintheseportraits.
ThecompactProfotoRFi1x3-footsoftbox(alongwiththe50degree1x3-footsoftgrid)iseasytocarryaround,soIkeepitpermanentlysetupasaportablelightmodifierwhenworkingwiththestudio-typeProfotolights.
TTLExposureShootinginside,Ididn’tneedfull-blast,matching-the-sunkindofpowerbutamoredelicatetouchoflight.IstartedoffshootinginTTLmodeontheProfotoB1portablestudioflash.TheTTLmodeoftheseunitsissurprisinglyaccurateforsuchpowerfullights.
TECHSPECS:
1/50second,f/4,400ISOCanonEOS5DMarkIII24–70mmf/2.8IIUSM
Profotoflashwith1x3-footgriddedsoftbox
However,withever-changingcompositions,shootingwideandtight,theTTLexposuredidvary.Toensureconsistentresults,Ipickedoneoftheexposuresthatlookedcorrectonthebackofmycamera,thensimplysettheAirRemoteTTLcontrollertomanualmode.Thatlockedthedesiredexposure.
F56.NEWYORKCITYROOFTOP
orthisphotosessionwithHeather(www.heatherberman.com),aNewYorkactoranddancer—andformerRockette—wehadaccesstotherooftopof
herNewYorkCityapartment.
ConceptIwantedtousethedramaticsunandskytoshowcaseHeather’svividdressandelegantmoves.Therewasnoneedtoposesomeonewhoworksasaprofessionaldancer.Shehadit!SoitwasjustuptometofigureoutwhereexactlyIwantedtoposeherandhowtolighther.
LightingandExposureTocreatetheseimages,Ishotinmanualmode,atfullpower.ThelightonHeatherwassoftened(andcontrolled)withagriddedProfoto1x3-footsoftbox.Inthiscase,theuseofthegriddedsoftboxwaslessbasedontheneedtocontrolthespilloflight(asinsection55).Instead,theappealwasthatit’safairlycompactsoftboxthatiseasytocarryaroundinNewYork—andeasytomaneuverthroughwindows,ontofireescapes,anduptotherooftop.Oftentimes,thechoiceofequipmentislessexactlybasedonwhatisidealintermsoflighting,butratheronwhatisphysicallypracticalandonhand.
TECHSPECS:
1/160second,f/14,100ISOCanon6DCanon24–70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox
DepthofFieldIneededtomatchtheexposureforthebrightsky.Unfortunately,Ihadforgottenmyneutraldensityfilter,soIhadtoshootatf/14—butthelackofcontroloverthedepthoffielddoesn’tbothermehere,sinceitreallyisaboutHeather,herdressandthebluesky.Theneutraldensityfilterwouldhavebroughttheexposuredownby3stops,turningthef/14intoanf/5forthesameambientandflashexposure.(Checksections54and36forotherexamplesoftheuseofaneutraldensityfilter.)
57.DECISIONS,DECISIONS,DECISIONS
ASpiritedSubjectJaleelKingisacolorfulcharacter.Whatmakeshimunusualishisspiritandmotivation.Ashotgunblastbyanangryneighborlefthimparaplegicsincetheageofeight.Heismostlyconfinedtoawheelchair,buthisdesiretobeaphotographermadehimadapt—andhiswheelsarenowarollingstudio,completewithabeautydishonamovableboomarm.ThebatteryforthisAlienBeesflashismountedonthebackofhiswheelchair.Thiskindofdeterminationandirrepressiblespiritjusthastoearnrespect.Visitwww.jaleelking.comtolearnmore.
CapturingTheirCharacterWhenphotographingsomeone,youhavetoconsiderthetreatmentonnumerouslevels.Composition—wild,crazyanglesormorestraightforward?Howareyougoingtoframethem?Lighting—dramaticormoretraditional?Whatwillthebackgroundandsettingbe?Allofthesethingsneedtobebalanced.Sometimes,thedecisionsaremadebeforehand;othertimes,therightchoicesflowoutoftheselectedlocation.
TECHSPECS:
1/160second,f/5.6,400ISOCanon6DCanon24–70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox
LocationSelection
WhenIcontactedJaleelaboutphotographinghimandhiswheels,hesuggestedtheincrediblysurrealMagicGardensinPhiladelphia.Thecrazycolorsandpatternsinthislocationsareabitofavisualoverload,soIdecidedtoplayitquitestraightwiththeseportraits.Amidsttheshiftingpatternsthatdon’tallowyoureyesaplacetorest,yourattentionnaturallygoestooursubject.Repetitivepatternsusuallycreatesimplicityinacomposition;here,wehadavisualmess,andyetthatiswhathelpsdrawyourattentiontoJaleel.
LensandLightingIchosealongerlenstocompresstheperspectiveandplacedJaleelinfrontofatallmuralthatprovidedenoughspacetoincludehisbeautydish(whichIfired,too)intheframe.
Thelightingwasfairlysimpleaswell.Iplacedagridded1x3-footsoftboxasthemainlightonJaleelandhiswheelchair-mountedlightingsetup.Iaddedasecondlightwitha10degreegridonareflectorforagentlespotlightonhim.
A58.COSPLAYPORTRAIT
rtistGerTyskcreatesfantasticoutfitsandhaspublishedabookoncosplay.Forthisportrait,GerdressedasSayakaMiki,amagicalgirlfrom
PuellaMagiMadokaMagicawhousesherswordtoprotectpeoplefromevil.
LocationTocomplementtheanime/comic-bookboldnessofhercharacteranddress,wewenttothe5Pointz,abuildingthatwascoveredwithgraffitiartfromendtoend.Shortlyafteroursession,thebuildingwaswhite-washedtosomeblandcolor,soIamgladwewereabletouseitasabackdrop.Evenifinasmallway,thesephotographsarearecordoftheplace.
LightingSinceanimehasaspecificflatlook,itwouldn’thavemadesensetolightthisportraitwiththemoodinessof,say,aMarvelcomic-bookcharacter.Itneededfairlyevenlighting.
Themainlightwasa3x4-footProfotosoftboxforsoftlightonGer.A1x3-footgriddedProfotosoftboxwasaddedbehindherasarim-lightandtoputalittlebitoflightonthewallinthebackground.Tocontrol(andevenminimize)theamountoflightfallingonthewall,Ifeatheredthemainlightawayfromthewall.
ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldn’tchangeastheposeorcompositionwasaltered.
TECHSPECS:
1/180second,f/5.6,100ISOCanon6D24–70mmf/2.8IIProfotoB1flasheswithsoftboxes
ThelightsweretwoProfotoB1unitssettomanual.InmadeaninitialexposureviaTTLmode;whenIcheckedandsawthetestexposurelookedgood,IflippedtomanualexposuremodeviatheAirRemoteTTLcontroller.ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldn’tchangeastheposeorcompositionwasaltered.
Ofalltheincrediblegraffitithatadornedthe5PointzBuilding,IfeltthatthissectionbestfitthestylingofGer’scharacter.Itisdynamicandhasnocartoonfacesorfiguresbehindhertodistractattention.
T
59.STEAMPUNK/FUTURISTPORTRAIT
erriClaire’sstoryisaboutempowerment;hertattoos,dress,andpersonalstyleareanaffirmationofherindependence.Terriisateacher,holdinga
degreefromColumbiaUniversity.Withnumeroustattoos,adaringstyleofdressthatborrowsfromcosplay,steampunk,andfuturistthemes,shehopesherworkasamodelwillhelptoerasenegativestereotypesaboutwomenwithtattoos.
LocationandCompositionWithallthatinmind,wehadtothinkofalocationthatwouldbecomplementary.Ididn’twanttheimagestobecometoomuchaboutthelocationitself.IjustwantedthescenetoenhancemyportraitsofTerri.
Meetingupinacemetery,Ilookedforabackgroundthatwouldprovideasenseofwherewewere,butnotbeimmediatelyrecognizableasacemetery.Ididn’twanttohaveTerriposewithheadstonesoranythingsoblatantlyassociatedwiththelocation.
Roamingaround,Inoticedaseriesoftallmonuments—likearowofchessfigures.Fromacertainangle,theywerestaggeredinthebackground.IdecidedtohaveTerriposeinfrontofthem.Thisrepetitioninthebackgroundbroughtacertainsimplicitytothecomposition.
Ipositionedmyselfatananglethatletmeincludeatree(withsomelatefallcolors)intheframe.Fromthe“other”side,Iwouldhavehadjustablankskyinthebackground.Ilikedthewaytheout-of-focustreehelpedfilltheframe.Shootingwiththe70–200mmcompressedtheperspectiveandallowedmetobemoreselectiveaboutwhatIincludedinthefinalphotograph.
LightingandExposureThelightonTerriwasfromaProfoto600Rwitha1x3-footgriddedsoftbox.Theimagesonthefacingpagewereshotatf/2.8witha70–200mmlens.Fortheimageabove,Iwantedashallowerdepthoffield,soIswitchedtomy85mmf/1.4lensandshotwideopen.Iaddedaneutraldensityfiltertocuttheambientandflashlight,sotheshutterspeedandISOsettingremainedunchanged.
TECHSPECS(FACINGPAGE):
1/250second,f/2.8,50ISONikonD4Nikon70–200mmf/2.8VRIIProfoto600Rwithgridded1x3-footsoftboxTECHSPECS(ABOVE):
1/250second,f/1.4,50ISONikonD4Nikon85mmf/1.4GAF-SProfoto600Rwithgridded1x3-footsoftboxB+W77mm0.9(3stop)NDfilter
60.DEPTHOFFIELDCONTROL
FlashSyncSpeedandApertureWhenworkingwithlargerflashunitsandstudio-typeflashunitsoutonlocation,you’relimitedtoyourcamera’smaximumflashsyncspeed.Ifyougooverit,you’llgetthatblackbandacrosspartofyourframe.Thatceilinginshutterspeedchoicealsolimitsyourchoiceofaperturewhenshootinginbrightlight.
ForthisseriesofphotosofSeanNowell,aNewYork–basedsaxophonist,weshotontheBrooklynwaterfronttogettheNewYorkskylineinthebackground.At second(themaximumflashsyncspeedoftheNikonD4),theresultantaperturewasf/8forthelightoftheday.Iaddedlightfromasoftboxtobalancetheexposureformysubjectagainstthatofthecity.
Theimageshotatf/8(left)andf/2.8(below).
ABetterChoiceWhileshootingatf/8didn’tlooksobad(left),thebackgroundjustreallymeltedawayatf/2.8withalongfocallength(below).
TECHSPECS:
1/250second,f/2.8,100ISONikonD4Nikon70–200mmf/2.8Profoto6009RflashwithsoftboxB+W77mm0.9(3stop)NDfilter
Topulltheexposuredowntothepointwheref/2.8wasausefulandusableaperture,Iaddeda3-stopneutraldensityfilter.(YoucangetNDfiltersinanentirerangeofstrengths.)Addingthisfiltermeant3stopslessambientlightand3stopslessflash.However,thelossinflashexposuredidn’tconcernme,sincethebalancebetweentheflashandambientexposureremained.Whatmatteredwasthatf/2.8goodness!
Thescenewithjusttheavailablelight.
Apull-backshotshowingthesoftboxinposition.
PerspectiveMattersThisimagewasshotatf/14—butthemassiveamountofdepthoffielddidn’tdetractfromtheimage.Seanremaineddominantintheframeduetotheperspective.
LocationIreallylikedthisspotwiththewords“stand”and“beautiful”(partofaWaltWhitmanpoemaboutBrooklyn)visibleontherailing.Itjustseemedappropriateforamusician’sportrait—standbeautiful.
INDEX
A
AdobeCameraRaw,32–33,58–59AdobeLightroom,58–59AdobePhotoshop,32–33Aperture,10–11,28–29,45,46–47,52–53,68–69,78–79,96–97,98–99,100–
101,106–7,112–13,114–15,116–17,122–23,124–25.SeealsoDepthoffield
B
Backlighting,28–29,30–31,32–33,66–67,92–93,110–11.SeealsoRimlight
Backgroundselection,6–11,12–13,16–17,18–19,20–21,22–23,30–31,34–35,46–47,50–51,66–67,68–69,72–73,74–75,80–81,84–85,90–91,100–101,102–3,104–5,106–7,108–9,110–11,112–13,114–15,118–19,120–21,122–23,124–25
Beautydishes,74–75,82–83,86–87,112–13,118–19Blackfoamiething,42–43,44–45Booms,80–81Bounceflash.SeeFlash,bounceBruceDorn,78–79
C
Cameraangle,9,35,52–53,62–63,72–73,96–97,106–7,112–13,122–23Canon,12,26,42,79,88–89,95,115,116,118,121Children’sportraits,18–19,44–45,46–47,52–53,70–71
Clothingselection,11–12,22–23,90–91,102–3,106–7,110–11,122–23Colorgels,104–5Colortemperature,40–41,46–47,48–49,56–57,58–59Composition,6,8–9,12–13,16–17,34–35,36–37,50–51,62–63,68–69,74–75,
102–3,108–9,114–15,118–19,124–25Cropping,102–3CTSgels,40–41,46–47,48–49
D
Depthoffield,6,9,10–11,12–13,26–27,45,46–47,52–53,68–69,76–77,78–79,96–97,98–99,100–101,112–13,116–17,122–23,124–25
Diffusercup,flash,38–39,42–43Distortion,minimizing,62–63Distractions,minimizing,6,11,16–17,18–19,46–47,72–73,106–7,112–13
E
Edgelight.SeeRimlightEyeglasses,76–77
F
Featheringthelight,78–79,80–81,90–91Fileformat,32–33,58–59,104–5Filllight,72–73,80–81,82–83,112–13Finesse,92–93Flags,42–43,44–45Flash,20–21,22–23,24–25,26–27,28–29,30–31,36–37,38–39,40–41,42–43,
44–45,46–47,48–49,68–69,72–73,74–75,76–78,78–79,80–81,82–83,86–87,88–89,98–99,104–5,106–7,108–9,110–11,112–13,114–15,116–17,118–19,120–21,122–23,124–25
bounce,42–43,44–45,46–47colortemperature,40–41,46–47,48–49
distance,28–29,68–69,82–83exposurecompensation,38–39,42–43fill,72–73,112–13high-speedsync,98–99manual,22–23,30–31,36–37,38–39,72–73,88–89,114–15,120–21monolights,74–75,76–77,80–81,86–87,108–9,110–11,114–15,116–17,118–19,120–21,122–23
power,28–29,38–39,78–79,112–13syncspeed,45,98–99,124–25TTL,20–21,22–23,36–37,38–39,42–43,44–45,114–15,120–21
Flare.SeeLensflareFluorescentlighting,46–47,84–85Focallength.SeeLensselectionFocusing,52–53,76–77,84–85,88–89Fresnellights,50–51,66–67Fuji,102–3
G
Gels.SeeColorgels,CTSgels,orNDgelsGobos,24–25GoldenMean,74–75Grids,76–77,80–81,82–83,108–9,114–15,116–17,118–19,120–21,122–23Groupportraits,16–17,22–23,24–25,26–27,32–33,38–39,40–41,58–59,60–
61,64–65,66–67,68–69,94–95,110–11
H
Hairlights,78–79,82–83,84–85Histograms,32–33
I
Incandescentlight.
SeeTungstenlightInverseSquareLaw,82–83ISOsetting,28–29,114–15,122–23
L
LEDlights,50–51,56–57,58–59,66–67,90–91Lensflare,7,24–25,32–33,68–69,88–89,110–11Lensselection,6–7,8–9,10–11,12–13,18–19,24–25,35,46–47,52–53,56–57,
62–63,70–71,72–73,78–79,84–85,94–95,96–97,102–3,108–9,118–19,122–23,124–25
Lightmeters,28–29Litepanels,58–59,66–67,90–91Location.SeeBackgroundselectionLowel,58–59,96–97Low-lightportraits,26–27,38–39,42–43,48–49,56–57,58–59,66–67
M
Manualflash.SeeFlash,manualMonolights,74–75,76–77,86–87Monopod,48–49,56–57
N
NDgels,76–77,78–79,112–13,116–17,122–23,124–25Nightportraits.
SeeLow-lightportraitsNikon,5,7,9,10–11,12,17,19,23,24,29,31,35,36,39,41,44,46,48,51–
52,54,56,58,61,64,67,69,70,73,75,77,78–79,80,82,84,87,90–91,96–97,101,104,106,108,110,113,123,124
O
Overexposure,32–33,45
P
PocketWizard,38–39,48–49Posing,8,14–15,16–17,20–21,22–23,24–25,50–51,52–53,60–61,64–65,
66–67,68–69,74–75,80–81,84–85,88–89,92–93,96–97,100–101,102–3,118–19,122–23
Postproduction,32–33,58–59,84–85,86–87,102–3Profoto,80–81,82–83,86–87,108–9,110–11,112–13,114–15,116–17,120–
21,122–23Props,11–12,32,34–37,42–43,52–53,90–91,108–9,110–11,112–13
Q
Quantum,78–79
R
Reflectors,34–35Rimlight,8,14–15,24–25,26–27,28–29,30–31,36–37,38–39,88–89,92–93,
112–13,120–21.SeealsoBacklighting
RuleofThirds,74–75
S
Scene-setters,102–3Shutterspeed,38–39,45,56–57,86–87,88–89,98–99,114–15Sidelight,66–67Snoots,78–79Softboxes,20–21,22–23,24–25,28–29,30–31,38–39,48–49,68–69,76–77,
78–79,80–81,82–83,84–85,98–99,108–9,110–11,114–15,116–17,118–
19,120–21,122–23Spinlight360;48–49Spotlights,14,48–49Striplights,26–27,78–79,108–9Studioportraits,76–77,78–79,80–81,82–83,84–85Subjecttone,16–17
T
Teleconverters,18–19Timeofday,6,8–9,11,30–31,40–41,112–13TTLflash.SeeFlash,TTLTungstenlight,40–41,56–57,84–85,90–91,92–93
V
Variety,increasing,34–35,36–37,68–69,94–95,96–97V-flats,80–81Videolights,48–49,50–51,56–57,58–59,76–77,90–91,96–97Vignettes,9,68–69,108–9
W
Weddingportraits,16–17,32–33,58–59,94–95Westcott,84–85Windowlight,52–53,54–55,64–65
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