One way to spice up your photography is to add gels to your lights so you can produce colorful and edgy looking imagery. Adding wild colors to your photos can offer a lot of creativity but gels can also be used in a much more subtle fashion to slightly alter the color of your background and sky. In today's video I want to share two simple techniques I use to help make my backgrounds on location look more interesting.
I can still remember the first time I saw the effects of bounce flash. The soft natural light looked unlike anything I had seen from my little point and shoot's direct flash, and the resulting image looked so natural. Soon afterward I was introduced to off camera flash and a variety of light modifiers. The results between all of these lighting techniques were not subtle and I became obsessed with finding my favorite tools to light people. In today's video, I explain how one single flash both on and off camera, and a few light modifiers can give you the perfect light quickly and easily.
At first, you could wonder how a hairstylist found inspiration in deep sea creatures and avatar to make a collection. But then, when you see the actual looks and how a talented photographer such as David Sheldrick can make the most out every element to create masterpieces out of it, you actually start to hate yourself for not thinking of it earlier! This is probably the most stunning project I’ve seen in months, and I’m blown away by how much talent there is in these frames.
Flash duration is one of those terms you hear in the world of flash photography but may not know exactly what it is, or why it matters. It’s really quite simple, and pretty much exactly what it sounds like. The measurement of time from when the flash begins to fire until it’s completely off is what’s known as flash duration. Like a light bulb filament slowly burning off when it’s turned off, a flash tube does the same thing, but much quicker.
While our brains are conveniently set to auto white balance and our eyes view a properly adjusted color temperature, our cameras, try as they may, are not quite as advanced and sometimes rely on us to provide assistance to them. For our image color and tone to be as accurate as possible, we have to command control of this setting ourselves.
Within a couple of years, Godox has grown from a small Chinese flash manufacturer no one cared about to a brand that most photographers know. Their products are affordable and offer what most of us need. They are far from being in the high-end market and able to rival the Europeans that are Profoto, Broncolor, or Elinchrom, but that may be changing. At least, the leaked page of the AD600 Pro seems to indicate that Godox is learning fast and improving its products.
Depending on your project or assignment, commercial photography can allow for some creativity to be added to the photo. Creating splashing in the background or even having the splashes hit the product or subject can be one way to add some interesting factors to the shot. How would you set up the shot?
No matter if you photograph headshots, weddings, portraits, or sports, one of the most important skills you can have as a photographer is picking out interesting yet non-distracting backgrounds. Many photographers prefer shooting with fast prime lenses but in today's short photography tutorial, I'm going to show you why I prefer the power and versatility of a telephoto lens.
Since TTL and other fancy features have been introduced to strobes, flash manufacturers have had to develop a different remote for each camera brand. Profoto and others have tried their best to offer as much choice as possible, but the Fujifilm compatibility was lagging behind. A few days ago, Broncolor announced their RFS 2.2 for Fuji would arrive before the end of the month, and today its Profoto turns to introduce its Air Remote TTL-F.
The only times my strobes see the light of day is when they are facing down onto the surface of the water from poolside for my underwater work. In the studio, the amount of natural light that fills the space has created a look and signature feel to my images. However, I started to wonder if I was just taking advantage of this light and not truly challenging myself to the work that can be created using a strobe light.
I'm pretty sure many of us out there have at some point or another tried our hand at capturing water drops or freezing the exact moment of a liquid splash. I know that when I first tried something similar way back when, I failed miserably. Here we have an excellent video that breaks down start to finish the process and setup to ensure that your attempt and your results are a total success.
Broncolor is recognized in the photography industry as one of the most high-end flash brands available on the market. They are best known for their very reliable power pack systems and their extensive range of light shapers. Amongst the latter, there is one in particular that makes any photographer's eyes light up, and it’s the Para. It’s such a gorgeous piece of gear that some people even use it to decorate TV shows. But don’t think for a second it means it can’t perform just because it’s beautifully designed. It’s quite the opposite as you’ll discover through this Broncolor Para 88 kit review.
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.