To capture those memorable moments at wedding parties and other events where lighting isn’t always optimal, many of us bring off-camera lights to help light up the scene. In the past, popular choices have been speedlights due to size, portability, and being able to run off batteries. The game has changed in the off-camera flash market with studio strobes and other flashes increasingly getting better across those three concerns.
I’ve been a Profoto user for quite a while now, loving my B1s and B2s for wedding photography, and my D1s for studio photography. I’m a huge fan of off-camera flash, especially when it can be easily manipulated into looking like natural light when I need it to. After all, that’s what 99 percent of my wedding clients want: natural light and a golden-hour glow regardless if it’s raining or we’re shooting in noon-day sun. What I’ve been missing, however, is the portability of a small flash, and being able to use it on camera.
After weeks of rumors, Profoto officially announced their latest A1 flash; a speedlight sized powerful flash, which can be used both on or off camera. The company calls their latest product “the smallest studio light” and considering its features, they seem to be right.
There are several debates over which type of lighting is better between natural light and off-camera flash lighting. Some photographers build their style on one over the other, while some find themselves using both. I believe that it comes down to your personal preference in which you like over the other.
Albert Watson. Legend. Period, end. With a career spanning five decades and multiple iconic images, his career in fashion and portraiture would be the aspiration of any budding photographer. Alongside Irving Penn and Richard Avedon, PDN recognized him as one of the twenty most influential photographers of all time. And in a new video by Profoto, the man whose subjects have ranged from Alfred Hitchcock to Kate Moss, discusses his approach to lighting, photography, and life.
Have you ever had that gut-wrenching feeling of being defeated after a wedding reception? Let’s be real, it happens. There comes a point where photographing wedding receptions get so frustrating that you either dive deep into off-camera lighting, or you get out of shooting weddings altogether. I can relate 100%. Despite the terrible lighting, there are a couple ways to pull this off without just turning all the lights on in the building and compromising the receptions atmosphere. These are a few of the ways I light a wedding reception.
Shooting underwater already comes with many obstacles in terms of visibility, posing, light, and clarity. Thankfully lighting can easily be taken off this list in many cases with a few sets up from the surface. Connecting your land strobes to underwater is not as difficult as one may think.
Announced earlier this year, the brand new Elinchrom ELB 1200 is finally about to be available on the market. The Swiss flash manufacturer has just published all the details regarding their premier adventure light for photographers, including its release date and the trade-in offer for Ranger RX owners.
Broncolor is often thought as one the most exclusive flash manufacturers. Its studio units are renowned to be built like tanks and to be remarkably consistent in terms of color and exposure. The Move L is no exception even though it’s meant to be used outdoors. Solid, well designed, and powerful, it will match any sport and action photographer’s needs, even more so now that it can sync up to 1/8,000s with compatible cameras, thanks to HS.
Strobist. Natural light shooter. These words are at two opposite ends of the spectrum of photographer that seem like they're always a hair's breadth away from starting a photographic civil war, both sides preaching their philosophy as if deviation is blasphemy. One side is derided as being "afraid of learning to use flash" and the other side is jeered at for creating "flashy," "fake," or "contrived" images. Both sides seem immovable in their adherence to their preferred light source. Despite this disagreement, a popular saying in photography is, "light is light." So which is it? Is one better and the other worse, are they just preferences or are both sides cutting themselves short?