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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.
ToseemoreofNeilvanNiekerkโswork,visit:www.neilvn.com/tangentswww.oneperfectmoment.comwww.facebook.com/neilvn.photography
Copyrightยฉ2015byNeilvanNiekerk.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 authorsโ experience andopinions.Theauthorsandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
CheckoutAmherstMediaโsblogsat:http://portrait-photographer.blogspot.com/http://weddingphotographer-amherstmedia.blogspot.com/
TABLEOFCONTENTS
Foreword,byJenRozenbaum
Introduction
GreatPortraitsinโNowhereโLocations1.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.IhadnoideathatNeilwasabrilliantphotographerโorthathisknowledgeaboutlightingwasfarbroaderthanmineormostothers.Wewerejusttwohungrypeoplelookingforabitetoeat.
WhenIgothome,mystomachachedfromallthelaughterwesharedthatnightโbutIstartedGooglingNeil.Thatโswhentheimagesstartedpoppingup.Then,IfoundhisโTangentsโblog.Instantly,IknewthathewassomeoneIneededtolearnfromifIwasgoingtobeasuccessfulphotographermyself.
IamthankfulthatNeilhastakentimetohelpmelearn.WhileIamfortunateenoughtolivecloseenoughtohimforface-to-faceeducation,thisbookwillbejoiningmycollectionofNeilโsotherworksforeasyreferencewheneverIneedit.
Asphotographers,weneedatoolboxโonethatisfullofbothtangibleitems(likecameras,lights,andlenses)aswellasmanyintangibleskills.Themostimportanttoolinthisboxisourbrain,whichenablesustomakegooddecisionsinallthedifferentscenariosweencounter.Ourbrainsalsoallowustoplan.TobepreparedistobesuccessfulโandNeilisalwaysprepared.Hemakesdecisionsthoughtfullyandwithcarefulcalculation.
Whatagiftitistogetaglimpseintohowhisbrainworksandhowhehascreatedhissuccess.Withoutquestion,itwillleadtoyoursuccess,too.Congratulations,Neil,onanotherbeautifuljobwelldone.Thankyouforsharingyourselfโandyourbeautifulartโwithusall.
INTRODUCTION
DonโtBeIntimidatedWhenIfirstimmersedmyselfinphotography,ittookmeawhiletorealizethattheincrediblephotosIsawinbooksandmagazineswerenโtnecessarilythefirstimageโorthewholestory.Mostoften,Iwasseeingtheonephotographthatstoodoutinaseries,orwheretheelementswereperfectlycontrolledbythephotographer.
Withthatrealization,Ifeltlessintimidatedbygreatphotos;theybecamemoreaccessibleโandmoreattainabletomeasanewphotographer.Photographswithimpactorappealcouldhappenbecauseofserendipityorforesightandcarefulplanningbythephotographer.Quiteoften,theyresultfromrecognizingthepotentialofasceneandworkingwithittofinessethecomposition,lighting,orpose.
AboutMyWorkandThisBookAphotographeroncetoldmemyphotographyseemedtobeallovertheplaceโthatitwasunfocusedandthatitwasnโtclearpreciselywhatIofferclients.Ishouldconcentrateonjustonethingandmakethatspecificthingmyown.
Well,thatdoesmakesense.Whilemostofmyworkisrelatedtopeople,thereisacertaineclecticapproach.PerhapsthatisbestexplainedbywhereIcomefrominmyphotography.Attheheartofitall,Istillhavemyamateurinterestinallofphotographyโallofit.Istillgetexcitedatnewdiscoveries,techniques,andgear.Iamstillthatguywithmynosepressedagainstthecamerastorewindow,dreamingofdoingthingsyouonlyreallyreadaboutinmagazines.Istillcraveitall.
Thatalsoexplainsthemotifofthisbook,whichcontainsexamplesofallkindsofideasandtechniquesaswellasthethoughtprocessesbehindthem.
Overtime,myportraitstylehasgravitatedtowardalookinwhicheverythingisquitesimplifiedโthelighting,thebackground,andtheframing.WhetherIusetheavailablelight,videolight,off-cameraflash,orevenon-camerabounceflash,thereโsanuncomplicatedlook.Iโdliketothinkofitaselegant,unfussy
simplicity.
Thechallengeistomixitupandimprovisetoreachforbetterimageseverytime.
Inthisbook,Iwillanalyzemyeclecticstyleandshowthatthereโsusuallyaspecificunderlyingmethodandfamiliarrhythmthatgivesmeaโcanโtfailโbaselineโapointwhere,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
GreatPortraitsinโNowhereโLocations
1.SIMPLIFY,SIMPLIFY,SIMPLIFY
neconsistentthemeyouwillnoticeinthisbookishowtopullamazingportraitsoutofโnowhereโscenarios.Thefinalphotographwilllook
stunningโbutwhenthewiderpull-backshotisseen,itisamess.Withselectivecomposition,wecandecidenotonlywhatwewanttoincludeintheframebut,justasimportantly,whatweneedtoexcludefromtheframe.
Notethewordthere:exclude.Weneedtoexcludefromtheframeanythingthatdoesnโtenhancetheimage,butinsteadwilldetractfromthefinalphotograph.Soaneasymantraistosimplify,simplify,simplify.
LightingThetwomainimagesofElle(belowandfacingpagetop)weretakeninthelateafternoon,aboutanhourbeforethesunwentdown.Shootingtowardthesun,Ispottedthislovelyopenavailablelight.Therewasreallynoneedforadditionallightingatthispoint.
Ifyoucancreateagoodphotographoutofseeminglyโnowhere,โthenyoucanbringavarietytoyourimagesthatisoutoftheleagueofphotographerswhofeeltheyhavetorelyonpicture-perfectscenery.
LensSelectionThechoiceoflensherewasimportant.The70โ200mmlens(afasttelephotozoomwithstabilization)isanessentiallensforme.Itallowsmetoshootinlowlightwithrelativelylesschanceofcamerashake.Theshallowdepthoffieldalsoaddsitsowncharacteristictotheimage.
TECHSPECS:
1/200second,f/2.8,400ISO
NikonDfNikon70โ200mmf/2.8VRII
Availablelight
Moreimportantlyhere,thelongerfocallengthallowedmetopickoutthespecificbackgroundthatIwanted.Withthislens,Icanchoosemybackgroundโandevenasidewaysmovementofafewinchescancompletelychangethebackgroundoftheportrait.
ThePull-BackShotAndhereisthepull-backshot(right)!Treesandacar-parkandaroad.Itreallydoesnโtlooklikemuch.Butbyusingthetightcompressionofa70โ200mmlensatthe200mmfocallength,youcanbeveryselectiveaboutthebackground.
Inthiscase,Iwasabletoshiftmyownpositionslightlyandchangethelightingbylettingthesunjustbarelypeekpastmysubject,togiveabitofflarethatwarmsuptheimage.
So,really,Iwouldhighlyrecommendalensinthisrangeforanyportraitphotographerwhoregularlyshootsonlocation.
I
2.AVAILABLELIGHTANDCOMPOSITION
ntheintroduction,Imentionedthatveryoftenyoucandistillatechniqueintoafamiliarpatternโacustomarywayofworkingwhereyoucangetgreat
portraitsinaveryshorttimeandunderpressure.WiththisphotosessionwithChristy,crazypeak-timetrafficdelayedthestart
oftheshoot.Whenwefinallygotunderway,fallingbackintoafamiliarrhythmofshootingportraitsallowedmetogetimagesthatworkedโveryquickly.
Thereโsamethodthathelps,especiallywhenyouโreunderpressure.Thestartingpointisfindingthatintersectbetweengoodlightandagoodbackground.Andifyoudonโthavegreatavailablelight,thenyouneedtocreateitwithadditionallighting.Fromthere,itisamatterofposingthesubjectandcomposingtheframe.
Thefadinglightdidnโtproduceenoughrimlight,andthebackgroundwasnโtespeciallyinteresting.
Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.
TheStartingPointWiththesunsettingoverthehorizon,therewasagoldenglowtothelight.IaskedChristytoturnherbacktothat,hopingforsomeofthatrim-lighttoperhapsworkitsmagic.Unfortunately,itwasnโtstrongenoughfortheeffectIwantedโthelightwasalreadyfading(left).Also,shootinginthisdirectiondidnโtlooklikeitwouldleadtomuchintermsofaninterestingbackground.
ABetterOptionTurningaround,Isawthepatchofbrighterskybetweenthetrees;Iknewthiswouldmakeagreatnaturalframe.This,then,iswhereIshotthemainimage(facingpage,top).
WhatItLookedLikeThepull-backshot(facingpage,bottom)showsexactlywhereIphotographedChristy.Itโsjustagrassystretchnexttothesideoftheroadโnothingmuchthere.Themainimagewasshotat180mm,whichagainistowardthelongerendofmy70โ200mmf/2.8zoom.
Shootingfromalowerangle,IframedChristyagainstthebrighterbackgroundwiththatnaturalvignetteofout-of-focustrees.Noneofthisisrandom;itrequiresmakingspecificdecisions.Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.
TECHSPECS:
1/160second,f/2.8,1250ISONikonD4Nikon70โ200mmf/2.8VRII
Availablelightonly
AnotherOptionThissamesceneandlightingworkedforfull-lengthimages.
Turingaround,IfoundabetterbackgroundandbetterlightingformyportraitsofChristy.
W
3.THEGAME-CHANGING85MMLENS
hilea70โ200mmf/2.8lenscanbeevenmoreeffectiveincontrollingthebackground,theshorterfocallengthofan85mmlenscanmakethis
somewhateasier.Specifically,itโsasmallerlensandthereforelessintrusivewhenyouphotographportraits.Itโslessโthreateningโtothepersonyouโrephotographingโanditโseasiertocarryaround.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
Ijustusedavailablelighthereโnoflash.Withtheslowlysettingsun,Ihad
lovelysoftlightfallingonElle.
OrangeSafetyNettingTheimageaboveisanotherexamplewherethewideapertureonthe85mmcreatedabackgroundthatdidnโtquiteseempossible.
TECHSPECS:
1/500second,f/1.4,400ISO
NikonDfNikon85mmf/1.4GAF-5
Availablelight
Thepull-backshot(right)revealsthebackgroundhereโthatorangesafetynetting.Withthesuper-shallowdepthoffield,thenettingmerelybecameaninterestingbackgroundandnotanugly,intrusiveeyesore.
P4.FINDINGTHELIGHT
hotographingAngelicainlowerManhattanonasemi-cloudydayintheshadowsofthetallbuildings,Iwantedlightthathadabitofpoptoitโnot
justflatandtop-heavylighting.Forafewminutes,thesunpoppedout,andIsawasplashoflightonthe
sidewalk.Thiswaswhereweheadedfortheportraits.Ilookedforbackgroundsalongthesidewalksandstorefrontsthatwould
workwellwiththecolorsAngelicahadchosenforherhatandmakeup.Thebeautyofthe85mmlensisthatyoucanjustmeltyourbackgroundandhaveitbecomplementarytoyoursubject.
The85mmprimemightseemlikeanoverlaplensifyoualreadyhavea70โ200mmzoom,andtoanextentitisโbutthe85mmissomucheasiertoworkwith.Itislighterandsmaller.The85mmalsoallowsamoredirectwayofworkingwithyoursubject,withoutthemassivelensgettingbetweenyouandyoursubject.Youcanalsohavesuchshallowdepthoffieldthatjusteyelashesareinfocus.
TECHSPECS:
1/500second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-S
Availablelight
Recommended85mmLensesThefasterlensesareabitmoreexpensivethanthef/1.8optics,butthechangeindepthoffieldisincremental.Youโdgetaverysimilareffectatf/1.8;therefore,ifyourbudgetislimited,thef/1.8opticsareexcellentchoices.Infact,IโdsaytheCanonEF85mmf/1.8USMisarguablytheirbestlensintermsofopticalperformancevs.price.Similarly,theNikonAF-S85mmf/1.8Glensisanopticalgematanaffordableprice.
Photographerswithcrop-sensorcameraswillofcoursewonderifa50mmf/1.4willgivesimilarresults.Sincethecropwillforceadifferentperspectiveforthesamecomposition,effectivelygivingthatlongerfocallengthโsfieldofview,youโdgetasimilareffectwithshallowdepthoffield.WhileIthinkeveryphotographershouldhavea50mmlensintheirbagsomewhere,the85mmonacrop-sensorcamerawillbeevenmoreawesomeingivingthatshallowdepthoffield.
5.NATURALRIMLIGHT
SubjectPositionWiththisstraightforwardportrait(below)ofIrene,aphotographerfriendofmine,Iwanttoshowaneatlittletrickforhelpingyoursubjectunderstandwhereyouwantthemtostand.
Here,wehadrandomreflectionsofglassstructuresinManhattan,givingrandomspotlights(right).IwantedtouseoneofthesespotsoflightasnaturallyfoundlightforIrene,andanothersplashoflighttogiveahighlightbehindher,asIframedheragainstit.
Insteadofgivingyoursubjectincrementalinstructions(โalittletotheleft,alittletotheleftโno,comeback...โ)thesimpletrickistopointoutthishighlighttoyoursubjectandhavethemmoveuntiltheyseetheirownshadowinthesplashoflight.Then,theyjustturnaroundandtheyareperfectlyplaced!
Positioningthesubjectaccordingtohershadow.
Atthesametime,takecareinlookingathowthelightfallsonyoursubjectโsface.Aimtohaveclean,openlightwithnoshadowsundertheeyes.
RimLightThisexactsameideacanbeusedinanotherway.Forthenextimage(facingpage),Ihadasimilarspotofreflectedlightfrombehindmysubject,givingmeabitofnaturalrimlight.Irene,facingthecamera,nowjusthadtokeepaneyeonwheretheshadowofherheadfell.Aslongasthetopofherheadstayedwithinthespotofreflectedlight,shewasabletoseeherheadintheshadowontheground.Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectlyโwithoutmegivingcontinual(andpossiblyconfusing)instructionsastoexactlywheresheshouldstand.
Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly...
Youcandothesamewithsomeonejuststeppingoutfromunderacanopyorveranda,withthesunfrombehind.Bywatchingtheirownshadow,theycanpositionthemselvessothatthesunfrombehindjustgivesalickofcolortotheirhair.Again,itisasimpletechniquethatmakesanon-locationphotosessioneasier.
F
6.SELECTIVECOMPOSITION
ramingveryselectivelyin-camera,youcanveryoftenpullquiteasurprisingimageoutofโnowhere.โ
WithJuliaandLuisโswedding,Iroamedaroundthereceptionvenue,abed-and-breakfastontheJerseyshore,forinterestingspots.Therewereappealingnooksandcranniesthatwouldworkfortheromanticportraitsession,butIalsolikeaddingvarietyโespeciallyunexpectedvariety.
AGoodFindIwentthroughabackgate,andintoaparkinglotbehindthevenue.Thisgatewasatthedeliveryentranceforthevenueโskitchenโandtheparkinglotwas,well,justaparkinglot.But,Ilovedthetextureofthewoodenfenceandgate,andthelateafternoonsunreallybroughtoutthetexture.IhurriedbackinsideandaskedJuliaandLuistojoinme,saying,โIthinkImayhaveagreatidea!โ
Youreallyhavetocomparethefinalimages(rightandfacingpage,top)withthepull-backshot(facingpage,bottom)toseewhatwasโrescuedโfromaโnowhereโlocation.Thetightcompositioneliminatedalltheclutter.Juliawasstandingonarampforthedeliveries.ThishelpedbringheruptoLuisโsheightandmadeiteasiertohavehersnuggleinclosebehindhim.
SubjectToneAninterestingobservationherewiththepositioningofthesubjects:ifJuliahadbeeninfrontofLuis,herdresswouldhavebeenverywhiteandhissuitwouldhaveblendedintotheshadowareasbehindhim.Bypositioningthemlikethis,thewhitedresswasโsandwichedโbetweenthedarkersuitandtheshadows.Thisbalancedtheimagebetteranddrewmoreattentiontotheirfaces.
TECHSPECS:
1/250second,f/5.6,200ISONikonD4Nikon24โ70mmf/2.8
T7.LENSCOMPRESSION
hesettingforphotographingWillandIanwasacarpark,butIknewthatthesunontheautumncolorswouldbeafantasticbackground.Thelight
fromthefrontontheboyswasjusttheopenskyโsoftandeven.Therewasreallynoneedforadditionallight.
Imageshotat135mm.
Imageshotat200mm.
Thepull-back(above)showstheapproximatepositionIshotfrom.And,again,youcanseethisisaโnowhereโlocation.Asidefromthegloriouscolorsinthebackground,thereisnโtanythingelsetoworkwithhere.
PerspectiveandCompressionWhencompressingtheperspective,thetechniqueissimple.Usingthelongestfocallengthyoucan(ifyouhaveazoom,youzoomtothelongestlength)andthenstepbacktoframetheshotproperly.Donโtzoominโstepbackuntilyouhaveyourframing.Thiswillgiveyouthemaximumamountofcompression.
Withtheinitialphotos(lefttopandbottom),Istartedat135mmandprogressedtothe200mmendofmy70โ200mmlens.ButIfelttherewasstilltoomuchoftheparkinglotโsrailingsinthephoto.Ineededtighterframing.SoIaddeda1.4xteleconverter.Withthis,the200mmfocallengthsettingbecameaneffective280mmlength(facingpage)!
Comparingtheimageshotat280mmtotheoneshotat200mm,youcanseetheboysareaboutthesamesizeintheframingofthephoto.BysteppingbackuntilIgottheframingIwantedofthetwoboys,thebackgroundbecameโenlargedโwiththelongerfocallength.
TECHSPECS:
1/400second,f/4,800ISONikonD4Nikon70โ200mmf/2.8VRII,1.4xteleconverter
Availablelight
PackaTeleconverterWithallthisinmind,Idokeepa1.4xteleconverterinmycamerabag.Itissosmallthatitbarelytakesupanyspace.ButwhenIneedthatextrabitofreachwithmylongestlens,itisjusttheticket.
Byusingthistighterframing,Iwasabletoeliminatemoreclutterfromthebackgroundandhavejustthetwoboysagainstthisgoldensplashofcolor.
Withthistighterframing,Iwasabletoeliminateevenmoreclutterfromthebackground...
Imageshotat280mmbyaddinga1.4xteleconverter.
I
8.OFF-CAMERAFLASHFOREXTRADRAMA
likedthewaythedotsinthisbackgroundwererepeatedinOlenaโsdress,butinreverseโwhitedotsonblack,insteadofblackdotsonsilver.Ialsoasked
OlenatoreallyexaggeratethecurveofherbodytocreateanS-shapethatcontrastedboldlywiththerigidpatternofthebackground.
AmbientExposureThefirststepwasdeterminingtheambient-onlyexposure,whichwas secondandf/4at200ISO.Theavailablelightwasprettysweetโsoftandflattering(below)โbutitlackedpunchandlookedjustabittoobland.Itneededalittledrama.
Off-CameraLightingtotheRescue!Toallowtheflashtohaveimpact,Ichosetounderexposetheambientlight.Therefore,Ipulledthisexposuredown2stops(to secondandf/7.1at200ISO)fortheTTLflashexposure.Icouldhavepulleddowntheambientexposureby1stop,or2stops,or3stopsโoranywhereinbetween.ThemoreIunderexposetheambientlight,themorecontrastythefinalimagewillappearโand,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.
AmbientLightPlusFlashLetโslookattheprogression.Thefirstimage(topleft)isthephotowithouttheadditionallight.Mybasicexposurewaschosensothatthebackgroundwouldnโtblowoutinoverexposure.
Then,flashwasadded(facingpage).IlikeTTLflashโitoftengetsustherefasterthanmanualflash.Butforconsistency,especiallywhenphotographingsomeoneinastaticpositionrelativetothelight,manualflashistheonlywaytogo.Atthisdistanceandaperture,andusingthesoftbox(whichcutsdownontheflashโslight),Iwasclosetofullmanualoutputontheflash.ButthisiswhereIdecidedIwantedtobeintermsofbalancingtheflashexposurewiththebackground.
Iliketotravel(fairly)light,andmylightingofchoiceisaspeedlightwithwirelesstransmittersandasoftbox.
Thissimplelightingsetupworksforsomanyon-locationportraits,andismostoftenmystartingpoint.Itjustworks.
ConceptandPosingBeforewegotunderway,ItalkedwithAllisonandScottabouttheideaandfeelforthisphotosession:glamorousโaโnightonthetownโkindofglamorous.ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldnโthavemademuchsense.Toomuchwouldhavebeenโlostโagainstthedrabbrickwallasthebackground.
Theposewasacompromisebetweensomethingsexy/glamorousandthepracticalneedtohaveAllisonnotfeelunsteadyonthe(wide)ledgethere.ScotthadhisarmaroundherandIalsoaskedAllisontodrapeanarmoverScottโsshoulder.Inthisway,theposedevelopedoutoftheenvironmentandbackground.
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon70โ200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox
ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldnโthavemademuchsense.Too
muchwouldhavebeenโlostโagainstthedrabbrickwall.
F10.INTENTIONALUSEOFFLARE
orthesepromotionalphotosofaspiringmodeltwins,CarinaandCarolina,wewenttoapark.TherearecertainthingsIlookforwhenworkingon-
locationthatIknowwillimmediatelygivemeabetterchanceatsuccessfulportraits.Themethodhereshouldbequiteobviousbynow.
1. Alonglens(a70โ200mmusedclosertothelongerend)tocompressthe
perspective.
2. Shootingwiththebackgroundfurtheraway,todefocusitasmuchaspossible.
3. Havingthesubject(s)withtheirback(s)tothesunorstronglight,whichalsocreatesrimlighting.Thishelpswiththeseparationofthesubject(s)fromthebackground.
4. Theuseofoff-cameraflash(withasoftbox)togiveflatteringlightasthemainlight.Thislightissettoenhancetheavailablelight,ortobalancetheexposureforthesubjectwiththatofthebackground.
Itโsarecipethateasilygivesyousolidresultsinmostcases.
LensFlareShootingtowardthesettingsun,thelensstartedflaring.Icouldhaveminimizedthisbyblockingthelightwithmyhand(oragobo),orIcouldhavemovedthesetupsothatIhadtreesblockingthedirect,stronglighthittingthefrontofmylens.
TECHSPECS:1/250second,f/4.0,640ISO
NikonD4Nikon70โ200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox
BeingThemselvesLetyoursubjectsbethemselvesโespeciallyiftheyareasnaturallyphotogenicandspiritedasthesetwogirls.Thisisanimportantpartofbeingsuccessfulwithportraits:allowingyoursubjectstobethemselvesandthenguidingthemtoshowsomeaspectoftheirpersonalities.Or,itmightjustbeyourjobasthephotographertopresentthemattheirbest.
WithCarinaandCarolina,Ispentafairamountoftimejustphotographingthemdancingandlaughing.Thiswasverymuchpartoftheprocesstoeffortlesslygetimagesthattheylike.Aftershootingafewsequenceslikethis,Ishowedthemtheimagesandtheylovedthem.Havingtheirconfidence,itwaseasiertoguidetheirnaturalposesabitintothefinalimages,whichwereultimatelywhatwewereafterallalong.
Inthiscase(facingpage),however,IlikedthelookoftheflareโIfeltitaddedwarmth.Bymovingmyownpositionaround,Icouldcontroltheflaresothatitgaveanaturalvignettetothebottompartoftheimage,neatlymirroringthewarmer,brightertoppartofthephoto.
O11.ADDRIMLIGHTING
nceyouโrecomfortableusingasingleoff-cameralightsource,suchasasoftbox(orundiffusedflash),thereโsaneasynextsteptogivealittlebit
ofzingtotheimage:addrimlighting!
AddaSecondLightSourceImostoftenworkwithjustasinglesoftboxwhenphotographingportraitsonlocation.Asshowninsection10,havingthesunbehindyoursubjectcreatesnaturalrimlighting.Thishelpsseparateyoursubjectfromthebackground.Itโsnotjusttheshallowdepthoffieldthathelpscreatethatnearlythree-dimensionaleffectwhereyoursubjectsjustpopoutfromthebackgroundโrimlightingfrombehindalsohelpsbringmoreattentiontoyoursubjects.
Addingabitofrimlightwasessentialandgavejustenoughofahighlighttodefinetheiroutlines.
Usingadditionallighting,suchasasecondflash,isthewaytocreatethesameeffectwhenthereisnonaturalrimlighting.Thebestpartisthatitisreallysimpletosetupanduse.
TECHSPECS:
1/125second,f/8,800ISOCanonEOS6-DCanon24โ70mmf/2.8LIITwomanualflashes,oneina1x3-footgridded
softbox
Whenworkinginadarkerenvironment,likethisurbanscene(StapleStreetinNewYorkCity),twinsCarinaandCarolinaโsdarktopsanddarkhairwouldjusthaveblendedinwiththebackground.Addingabitofrimlight(createdbyasecondlightsourcebehindthem)wasessentialandgavejustenoughofahighlighttodefinetheiroutlines.
Thedelightfultwinsarealwaysenergeticandfuntoshootโbutonthiscolddayitwasimperativetosetupfastandshootquickly.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-baffledsoftboxmeansthatwecanโtjustusetheguidenumberoftheflash.Wehavetousesomeothermethodtodeterminetheexposure.Whileusingalightmeteristhemostaccuratewaytogettocorrectexposureforflash,itbecomesrelativelyeasy(withexperience)toaccuratelyโguessโtheexposure.Butreally,thereisnโtthatmuchguessinginvolved.
Withmanualflashexposure,fourfactorsareinvolved:distance,power,aperture,andISO.Thebafflesinthesoftboxobviouslyaffectthepoweroftheflash.
Therefore,itโshelpfultobecomefamiliarwithhowmuchlightyourspecificoff-cameraflashsetupdelivers.Again,thiscomeswithexperience.LetโssaythatyouknowthatforXdistance,youcangetf/5.6at400ISOwhenyousetyourflashtoYpower.Then,youknowifyoumeterfortheambientlight,youcanadjustyourpowersetting,and/ortheaperture,and/ortheISO.
Themodelphotographedwithoutaddedbacklighting.Comparethistothefinalimageonthefacingpage.
Thepull-backshotgivesasenseofplacementofthelights.
TECHSPECS:
1/200second,f/4,100ISONikonD4Nikon70โ200mmf/2.8VRIITwoflashes,oneinasoftbox
Letโsworkthroughthisspecificexample.Forthefinalimage(right),Ihadmycamerasetto secondatf/4and100ISO.Thosesettingswerechosensothatmyambientexposureforthemodel,Anelisa,wasunderby1stoporsoโjustenoughsothatwiththeflashIโdbeabletocontrolthequalityofthelight.
Thatwasmystartingpoint:Iwantedf/4at100ISO.Formyspecificsetup,IknowfromexperiencethatIwillgetcorrectexposureatXdistancewhenIsetmycameratof/5.6at400ISO,foraspeedlightinthissoftbox,whenIsetittoโ fullpower.
Thebacklightdoesnโtaddtotheactualexposure,soIconcentratedmostlyon
adjustingtheoutputofmymainflash.Icancounttheโ stopindentsinpowerasIchangemyapertureandISOaccordinglyโand,inthatway,set(closeto)thecorrectexposuresimplybyfrequentexperienceinworkingwithonespecificsetup.
I
13.ASUN-DRENCHEDBACKGROUND
nmanyofthepreviousportraits(seesection10,forexample),wereliedonthesuntogiveusbacklighting.Thisalsomakesiteasytogetthatwarm,
slightlysun-drenchedlook.Butwhenshootingon-location,itissometimesuptoyoutocreatetheillusionofsunlightโjusttosparkuptheimageabit.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
Nikon24โ70mmf/2.8Twoflashes,oneinasoftbox
Theflashesweresettomanualandadjustedtoanapproximateoutputbasedonexperience.(Thethoughtprocessherewasexplainedinsection12.)Withthat,wehaveasimpleconfigurationthatwillhelpinmanysimilarsituationsโabacklighttogivesomerimlight(andevensimulatesunshiningdown)plusamainlighttogivegreatportraitlighting.Itโssimplebuteffective.
Thefinalimage.
Thetwolightsinplace.
S
14.LENSFLAREANDPOSTPRODUCTION
hootingtowardandevenintothesunforstronglybacklitimagescangiveuslensflare.Somephotographersembracethis;othersinsistthatthisis
somethingthatmodernlenstechnologytriestoavoid.Personally,Ilikeitโitcanaddvarietytoyourimages.
Themainimage(above)hadthesunbehindEricandPeiwen.Exposingforthecouple,theimage(straightoutofthecamera)lookeddesaturated,butthiswaseasilycorrectedbyadjustingtheRAW(orJPG)fileforacinematiclookthatappearssun-drenchedandnatural.
AnExtremeCaseLetโslookathowtocorrectforanextremeversionwherethebacklighting
completelydesaturatedthecapture.Withafeweasyadjustments,thebasicfilewilllookprettygood!
Withthefirstimage(facingpage,topleft),thelensflarewasreallyoutofcontrolโtothepointthatthephotoonthecameraโsLCDshowedmostlyaswhite,asiftherewerenoimage.(Ishootinmanualexposuremode,sowhenthesunreallyhitsthefrontelementfromaspecificangle,theimagewashesoutlikethat.)
Inthiscapture,thelensflareisoutofcontrol.
However,lookingattheblinkinghighlightsonthecameraorinPhotoshop(above),youcanseethatnotmuchofthesceneisactuallygrosslyoverexposedtothepointwherethereisnodetail.Sothereisdetailthatwecanpullback!
LookingattheRAWfileโshistogram(topright),youwillseethatthetonesarereallycompressed.WecanstartreturningthisimagetosomethingmoreaestheticallypleasingbypullingdowntheBlackPointslider,spreadingthetonalrangebetweenblackandwhite.ThenwecanadjusttheotherslidersโExposure,Contrast,etc.โtotaste(right).
Inthiswaywefinallyhaveanimagethatisinterestinglysun-drenchedandhasacertainflavor(bottom).Note:Thedarkerareaatthebottomisthevideographerโshair.Ipurposelyheldmycameralowerforafewshotstoincludesomethingasanout-of-focusborder.Thishelpedanchortheradiantflareinthetopoftheimage.
Thehistogramshowsdetailthatcanbepulledback.
AdjustingtheslidersinCameraRaw.
Thefinalimage.
T15.STRIVEFORVARIETY,PART1
atianaDaubekisaBaroqueviolinistandaMasterofMusicinHistoricalPerformancefromtheJulliardSchool.ThephotosessionwithTatianawas
oneofthoseinstanceswhere,oncethelightingandsubjectpositionwereworkedout,Iletmymodelbeherselfwithlittledirection.
LightingLookingatthetestshot(topleft),youwillseetherewasalotofavailablelightstreaminginfromcameraright,buttherewasalsosomelightreflectedoffthewall.Thiscanbeseenmoreclearlyinthecomparisonphoto(bottomleft).WhilethetestshothasunevenlightonTatianaโsface,posingTatianatowardtheclifffaceletmeuseitasamassivereflectorforbeautiful,softlight.Fromthere,itwasjustamatterofpositioninghersothattherewerenohot-spotsfromthedappledlightstreaminginfromcameraright.Minuteadjustmentsintheposehelpedmegetthisright(facingpage,topright).
Thetestshotshowstheavailablelight.
Pullingback,youcanseethelightbouncingoffthewall.
CarefuladjustmentstoTatianaโspositionallowedmetogetnicelightingonherface.
DiverseApproachesInthisandthenextsection,Iwanttoemphasizethediverseapproachesonecantakeduringasinglesession,adaptingtowhatisavailableinthelocationandlightingโsmalladjustmentsthathelpgivevarietytothefinalselectionofimages.
Especiallywhendoingasessiononlocation,theidealistogetasmuchvarietyaspossibleintermsofposing,angles,andcomposition.Shootdetails.Shootverticalandhorizontals;shootwideandtight.Donโtstayfixedinonespot.Evenaslightshiftinyourpositioncandramaticallychangethebackgroundandthebalanceofelementsintheframe(aboveandnextpage).
TECHSPECS(FACINGPAGE):
1/100second,f/4,500ISONikonD4Nikon24โ70mmf/2.8
Availablelight
TECHSPECS(ABOVE):
1/200second,f/3.2,400ISONikonD4Nikon70โ200mmf/2.8VRII
Availablelight
LocationSelectionIntermsofthelocation,Iwantedabackgroundthatseemedfittingโnoturban,butalsosomethingthatwouldnotbeatoddswithaBaroquelook.FortTryonParkhadsomestructuresandarchesthatIfeltwouldwork.Forthissequence,Ichosethesearchesasanaturalframe.Shootingwithalongerlens,asIoftendotocompresstheperspective,Ijustmadesuretoframeheragainsttherowofarchesrecedinginthebackground.
16.STRIVEFORVARIETY,PART2
TheSameSettingโButwithFlashIntheprevioussection,featuringthesamesessionwithTatianaDaubek(moreonheratwww.tatianadaubek.com),Iwasabletousejustavailablelightbycarefullypositioningher.WhenIstartedthephotosession,however,Iusedoff-cameraflash.
TECHSPECS:
1/200second,f/3.2,200ISONikonD4Nikon24โ70mmf/2.8TTLflashmainlight;manualflashrimlight
Thiskindofflexibilityintheuseoflight,andintheuseofoff-cameraflash,isnecessaryifwewanttousethefullrangeofourlightingabilitiesโfromtheverysubtleuseoflighttoblastingasmuchlightasthesun.
TheFirstLookWhenyouaddflash,itismucheasiertogetperfectlightinginrelationtoaninterestingbackground.Thefirstimage(bottomleft)istypicaloftheinitialsequencesweshot.
MixItUpAsalways,itisimportanttogetdifferentanglesanddifferentcompositionsโvertical/horizontalandwide/tight.Thisimagewascreatedwiththesameโkissoflightโsetupseenonthefacingpage.
AKissofLightLateron,workinginthesameareawheretheavailablelightseries(insection15)wasshot,Iusedoff-cameraflashinamoresubtlewaytoenhancetheimage.
Thesecondimage(above)showsthatproverbialkissoflightfromanoff-cameraflashinasoftbox.Itwasusedjusttosweetenthelight.Italsoensuredthatnomatterhowshemovedaroundinthatspot,thattherewouldbecleanlightonher.Sincetheavailablelightwasprettygood,Iwasabletoaddatouchofflashsodelicatethat,hopefully,itisnโtobviousthatoff-cameralightingwasusedatall.
Thepull-backshot(below)showsthattherewasasecondflashtoaddabitofrimlightforseparation.
S17.DRAMATICLIGHT
arahandMarkwereinNewYork,dressedtothenines,toattendaRockettesshow.Whiletheyweredressedup,andwithsometimebefore
theshowtheywereattending,wedidaphotosession.TheNewYorkskylineatduskworkedasaperfectbackdropfortheirstylishattire.(IaskedMarkifhefeltlikeJamesBond,allsuiteduplikethatinhistux.)
LightingThelightingsetupforthisphotosessionwasquitestraightforward.ThemainlightwasaspeedlightintheLastoliteHotShoeEZYBOXSoftboxKit(24x24inches).Therimlightwasanotherspeedlightbehindthem,withtheplasticdiffusercupon.
YoucanseefromthephotobelowthatIangledthesoftboxupward,forcingthelighttofallofftowardthebottomoftheframe.Ididnโtwanttolightuptheground.Ialsodidnโtreallyneedtheirlegsandlowerbodiestobelitupaswellastheirfaces.Anglingthemainlighthelpedmetoaccentuatetheirupperbodiesandfaces.
Experiencehasgivenmeagoodideaofwhatthespeedlightโsoutputwillbewhenusedinthatspecificsoftbox.
Thespeedlightswerecontrolledmanually.TTLflashwouldjusthavebeenhardworkhere.Iwouldhaveconstantlyneededtocontroltheflashexposurecompensationforeachshotbecauseofthelargeareasofdarktones.Somanualflashithadtobe.
TECHSPECS:
1/60second,f/5.6,800ISO(above)1/50second,f/5.6,800ISO(right)NikonD4Nikon24โ70mmf/2.8Manualflashinsoftbox(mainlight)andwithdiffusercup(rimlight)
Ididnโtmeterfortheflash.Asexplainedinsection12,experiencehasgivenmeagoodideaofwhatthespeedlightโsoutputwillbewhenusedinthatspecificsoftbox.Therimlightwasalsoadjustedbyeye.
ImanuallycontrolledthespeedlightsโoutputfrommycamerausingaPocketWizardAC3ZoneControllerontopofaPocketWizardFlexTT5transceiver.EachspeedlighthaditsownPocketWizardFlexTT5transceiver.
Aswewereshooting,theambientlightwasfading.Therefore,IadjustedmyshutterspeedalittlebitasIcontinuedshootingthesequence,butstillwiththeintentofkeepingtheNewYorkskylineasubduedbackground.
L18.GELLEDFLASHATSUNSET
aurenandChriswereposedatabreathtakingvantagepointoverlookingManhattan.Thesettingsunpouredgorgeouswarmtonesonthescene.
Sincethecouplewasinashadedspot,IhadtoaddlightingโbutIwantedtomakeitappearasiftheywerebathedinthesamewarmlightasthescene.
ColorTemperatureThelightfromspeedlightshasarelativelycoldcolortemperature(bluish),soitcancreateanunpleasantcolorcastwhenpairedwithwarmambientlight.Atypicalproblemsituationwouldbeintheincandescentenvironmentwhereweoftenfindourselvesworkingatnight.Butthereareothertimes,suchasthis,whenthewhitebalancefromourspeedlights(around5400K)isalsotoocold(blue)comparedtotheexistinglight.Then,gellingtheflashistheanswer.
GellingtheFlashIfrequentlyusegelstoturnthewhitebalanceofmyflashwarmer,usuallytobalanceitwithincandescentlight.Icutoutapieceofgelandtapeittothetopofmyspeedlightโshead.Oneinexpensivesheetwillgiveyouahugesupplyofthesegels.InormallykeepaยฝCTSgeltapedtomylenshoodforreadyaccess.
TECHSPECS:
1/250second,f/3.5,100ISONikonD4Nikon24โ70mmf/2.8Off-cameraTTLflash
Inthiscase,mygoalwastohavethesamewarmlightonthecoupleastherewasonthecity.TheยฝCTS,measuredfor3700K,wouldhavebeentoowarmforthis.Soinsteadofcoveringtheentirefaceoftheflashwiththegel,Ionlypartiallycoveredit,lettingsomeoftheflashnotbegelled.Thiswasjustenough.
AfullCTSwillbringyourflashwhitebalancedowntoaround2900K,moreorlessneutralizingthelookoftungstenlight.AยฝCTSwillbringyourflashwhitebalancetoaround3800K,whichwillleaveyourbackgroundswithatouchofthewarmthoftungstenlighting.
K
IndoorLocations
19.BOUNCEFLASHINTHENIGHTCLUB
evinisajazztrumpetplayer,andhewasphotographedduringasessioninaclub.Iwasinvitedbythebandtophotographthemastheyplayed
oneafternoon.
ALightingChallengeSincethelightingintheclubwaschallenging,Iresortedtoon-camerabounceflash.ItโsaperfectexampleofhowIuseon-camerabounceflashsothatitlooksnothinglikeon-cameraflash.Thelightinthisimageisnearlyallfrommyflash.Theredhueinthebackground,andspillingontopartofthetrumpetandhisskin,
wasfromthestrongredlightsinthenightclub.Tominimizethis,Iunderexposedtheambientlight,lettingtheflashbecomethemainsourceoflight.Doingthisallowedmetocontrolthequalityoflight.
TECHSPECS:1/250second,f/4.0,800ISO
CanonEOS-1DMarkIINCanon70โ200mmf/2.8ISOn-cameraTTLflashat+1FEC
Justtoshowwhattheavailablelightlevelswerelike,hereisanout-of-cameraimageshotat secondandf/1.8at1600ISO.Asyoucansee,theimageisunderexposedevenatthosesettings.
HowtoBounceFlashHerearethekeypointsthatrevealhowIachievequalitylightwithon-camerabounceflash.
1. IbouncetheflashintothedirectionIwantedmylighttocomefromโnottowardmysubject.Thisisacrucialelement.
2. Idonโtbouncemyflashoffaspecificsurfacebut,rather,inaspecificdirectionโthedirectionIwantmylighttocomefrom.Eventhoughthelightlevelswerelowhere,Iwasbouncingflashofftheceilingandbrickwork(infact,offanythingtomyrightandbehindme).
3. Topreventanydirectlightfromtheflashspillingonmysubject,Iuseapiece
ofblackfoamtoflagthelightfrommyflash.Sincethereisnolightcomingfromthecameraโsviewpoint,theresultinglightonthesubjectisdirectional.
Thisisnโtanefficientwayofusingflash,butthelightthatreturnsissweetindeed.Yousimplycannotgetthiskindoflightfromyouron-cameraflashifyouuseaplasticdiffusercuporothersuchdevice.Thisisbecauseitwillthrowlightforwardontoyoursubject,andyouwilllosethatdirectionalquality.
WhatIf...?Ofcourse,theinevitablequestionisthis:whatifthereisnothingtobounceyourflashoff?Well,thenyouadaptanddosomethingelse.Butwhentherearesurfacestobounceflashoff,thistechniqueisrepeatableandcangiveremarkablygoodresultsโresultsthatlooknothinglikeon-cameraflash.
Theblackfoamiethingusedtoflagaflash.
N
20.BOUNCEFLASHFORKIDSPORTRAITS
ext,letmeshowyoumyfavoritelightingsetuptophotographkidsindoorsโwithbounceflash!
AtHomeMeetJack.Heโsoneyearold.WhenAmyandNickaskedmetodoaportraitsessionwithhim,westartedoffattheirhouse.IwantedtograbafewcandidphotosofJackhappilyplayingbeforewesetofftoanearbypark.Sincekidsscootaroundallovertheplace,itmadethemostsensejusttouseon-camerabounceflash.Itrequiresveryminimalgearโonlythespeedlightonmycamera.
TECHSPECS:
1/250second,f/4.0,800ISONikonD470โ200mmf/2.8VRIIOn-cameraTTLbounceflash
OneofthefinalimagesfromJackโssession.
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,sinceIdidnโtwantthebackgroundtoshow,awide-ishaperturemadesense.Theout-of-focus,overexposedhazeisexactlywhatIwanted.
StoppingdowndidnโtproducethebackgroundlookIwanted.
W21.BOUNCEFLASHWITHAGEL
henphotographinglocationportraits,achallengethatIhavewithmyselfistolookforoptionswherethereappeartobenoneโtowork
withwhatappeartobelimitedlocationsandthenpulloutsomethingthatis,hopefully,surprising.
Theexistinglightatthesameexposure.Youcanseehowmuchdifferencethebounceflashmade.
Thelobbybeforeweโdeclutteredโit.
TECHSPECS:
1/250second,f/1.4,800ISONikonD485mmf/1.4GAF-SOn-cameraTTLbounceflash
LocationandLensSelectionBeforeIwentuptomeetthefamily,IscoutedthelobbyoftheapartmentbuildingwherePenelope,averycutetwo-year-old,liveswithherparents.Ilikedtheretro-cooldecorofthehugelobbyandthoughtitmightmakeaninterestingbackdrop.Mostpeoplewalkingpastwouldnโthaveglancedtwiceโbutwithalittletidyingupandtherightchoicesoflens,aperture,andlighting,Ifelttherewasgreatpotential.
LensSelectionWithasuper-fast(short)telephoto,likethe85mmf/1.4,Iknewthedistractingbackgroundelementswouldmeltaway.Transformingthebackgroundintoacomplementarymushofcolorsandshapesmakesitpossibletoshootinsurprisingplaces.
LightingTocleanupthelightonPenelope,Iusedon-camerabounceflash(seesection19).Sincethelighttherewasawarmcolorbecauseofthefluorescentlighting,similarinlooktoincandescentlighting,IfittedmyflashwithaยฝCTSgel.Thisbroughtmyflashโscolorbalanceinlinewiththatexistingambientlight(seesection18).
F22.SPEEDLIGHTSWITHGRIDS
lashdiffusedwithanumbrella,orflashwhenbounced,spreadsoutandtendstolighttheentirescenewithafloodoflight.Evenwithasoftbox,the
lightisnโtcontrolledinhowitspills.DuringthisphotosessionwithAustin,Iwantedtogetaspotlighteffect,similartothatofavideolight.
ADramaticLookFordramaticlighting,Ireallylikethelookofavideolight,whichproduceswell-definedshadowsandnicefalloffasthelightspreadsawayfromthesubject.
Gridsarelightmodifiersthatalsocontrolthespreadofalightโsbeam;often,however,thiseffectistoohardandconcentrated.OneofthespeedlightmodifiersIuse,theSpinlight360,hastwogridsโwhiteandblack.Insteadofavideolight,Itriedthewhitegridtoseeifitwouldsufficientlyscatterthelighttoโdefocusโthelightbeamfromthespeedlight,whilethegriditselfcontainedthelight.Andhereโstheresult(facingpage)โalooksimilartothatofvideolight,butwithmorepower.
MoreinfoabouttheSpinlight360at:neilvn.com/tangents/about/spinlight-360
Thepull-backshotshowshowtheflashwaspositioned.Withoutanassistantthere,Isimplyfastenedthemonopodtotherailwithgafferstape.
Theambientlightlevelswithoutflash.
UsingthePocketWizardTT5wirelessflashtriggeronmycamera,Icouldcontroltheoutput.Forthisphotograph,IalsogelledtheflashwithaยฝCTSgeltobringtheflashโscolorbalanceclosertothatoftheambientlight.
Theresultlooksdramaticbecauseofthatcentralhotspot,butitwasstill
flatteringenoughbecauseofthepositionofthelightandhowhisfacewasturnedtowardthelight.
TECHSPECS:
1/60second,f/4,800ISONikonD4Nikon24โ70mmf/2.8Manualoff-cameraflash
F23.FRESNELLIGHTS
ormyportraitsofboudoirphotographersJenniferRozenbaum,Iwantedtoshowherinthestudiowheresheworksโtheโoffice,โasitwere,ofthe
boudoirphotographer.WhileIdidnโtwanttophotographJenniferinaboudoirstyle,Iwantedtheimagestobesexy(evenalittleferal)butalsosweetโandverymuchher.
TheLocationOurfirstimage(topleft)showsthedaylightstudiowhereJenniferphotographs
herclients.Itisfloodedwithlight.Whilethisflatteringlysoft,low-contrastlightisgreatforboudoirimages,itjustdidnโthaveenoughdramaformytaste.
LightingIdecidedtousecontinuouslightsโinthiscase,theSola4LEDFresnellightsbyLitepanels.TheseFresnellightsallowyoutogetthesamekindofdramaticlightastheoldHollywoodmasters(suchasGeorgeHurrell,C.S.Bull,andLaszloWillinger)withspecificuseoflightandshade.
IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebeenadarkerbackground.
Abenefitofshootingwithvideolights,andothercontinuouslightsources,isthattheyareWYSIWYG(whatyouseeiswhatyouget).Thismeansyoucanseetheeffectofthelightonyoursubjectasyouadjustitspositionandyourmodelโspose.Youcancloselyobserveexactlyhowthelightfallsacrossyourmodelโsfeaturesandmakefineadjustments.Thenitโsamatterofadjustingthelightlevels,thefocusofthelightbeams,andthepositionofyourmodeltogettheexacteffectyouwant.
Fortheportraitsonthefacingpage,thetwoFresnellightsweresetupasshowninthepull-backshot(facingpage,bottomleft).IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebecomeadarkerbackground.ThissplashoflightinthebackgroundalsoimpliesaspotlightonJennifer.
ThemainlightwasthenfocusedonJennifer,tolightherfacemore.
PosingWeshotextendedsequences,includingimageswhereJenniferflippedherhair.Thisledtoalotoflaughterbutfewusableimages.
Theportraitaboveismyfavorite.Ithasadynamiccomposition;theanglesofherarmsandlegsformapyramidwithJenniferโsspotlitfaceattheapex.I
alsolikedherslightlyhaughtyexpressionintheimagetotheright,butthecompositionwasnโtquiteasdynamic.
TECHSPECS:
1/200second,f/3.5,800ISONikonD424โ70mmf/2.8
TwoFresnelLEDlights
A
24.WINDOWLIGHTBABYPORTRAITS
nyparentwilltellyouthateachkiddohasadistinctpersonalityfromthemomentitisborn.Forthephotographer,then,theidealistocapturesome
ofthispersonalityinthechildโsportraits.Inthiscase,Liamโsindomitablespiritashetriedtositupmadeforhilariousexpressions.
ASimplifiedLookMyowntakeonphotographingbabiesisthatIforgoallthepropsandaccoutrementsyouoftenseeassociatedwithbabyphotographyโthehatsandsuch.Whileusingtoysaspropsisoftennecessarytokeepthechildโsattention,Istillprefertophotographjustthebaby.
TECHSPECS:
1/500second,f/1.6,1250ISONikonD485mmf/1.4GAF-S
Availablelight
DirectingtheGazeLiamโsparentswerecloseby,gettinghisattention.Ifanyoneisgoingtocalltothechild,Ipreferthattheydoitfromrightovermyshoulderโnearlybreathingdownmyneck.(Snappingfingersandpointingwherethechildshouldlookneverworks.)Iwantthebabytolookmoreorlesstowardsthecamera,sotheโattentiongettingโpersonneedstobehoveringrightbehindme.Ofcourse,ababyโsattentionspanisstillveryshort,soyoualsohavetoworkquicklyandmakethemostofthebabyโspeakattentiveness.
LightingandPerspectiveThepull-backshot(topright)showswhereweworkedโinLiamโsparentsโbedroom,whichhasahugewindow.Theseimageswereshotwithonlytheavailablelight.Imadesurethatthechildโsfacewasturnedtowardthelightforclean,openlightingwithouthardshadows.
Ialsochosetoshootfromalowerviewpoint,kneelingattheedgeofthebed.Thiswasanimportantfactorinmakingthistinybabydominantintheframe.
AnotherwayIkepttheviewerโsattentionfocusedonjustthechildwasbyworkingwithan85mmf/1.4lens.Anf/1.8aperturewouldgiveyouaverysimilarlook.Thisshallowdepthoffieldmakesitchallengingtogetthefocusexactlyright.Ideally,theeyeclosertothecameraneedstobepinsharp.(But,ofcourse,theemotionalcontentoverridesspecifictechnicalperfectionsometimes.)
T
25.AVAILABLELIGHTENVIRONMENTAL
hesubjectofthisportrait,John,collectsvintage...oh,everything.Hisentirehouseisfilledwithcollectiblesโitislikesteppingoutofatime-
machineintoadifferentera.Ijokedwithhimthattheonlytwothingsinhishousefromthe21stcenturywerehisfridgeandhisdog!
InHisWorkshopMostimpressive,inaway,isJohnโsworkshopwherehemaintainshistwovintagemotorbikesandaModelAFord.Thetoolsinhisworkshopareallauthentictotheeraโandtheywork.ThewayJohndescribesit,itactuallymakessenseinthewayhemaintainseverythingwithhandtoolsandlathesandsuch.
Iwantedtoportrayhimamidstalltheitems.Ialsowantedtostaytruetothespiritofwhatwaspresented,soIjustusedtheavailablelight.Sweepingthegaragedoorsopenproducedafloodofsoft,directionallightโperfect.
TECHSPECS:
1/160second,f/2.0,800ISONikonD435mmf/1.4GAF-S
Availablelight
Shootingatanangletotheopengaragedoorproducedadynamicinterplaybetweenlightandshade.Justwonderful.
DeeperIntotheWorkshop
Ialsowantedtoshootdeeperintotheworkshop(above).Hereโsaninterestingtrickโorobservation,ifyouwill.
Checkoutthetwophotostotheright.Theyarequitesimilar,exceptthatinthefirstone(topright),Johnwasfurtherbackintotheworkshop.Thereforeaboutthesameamountoflightreachedhimasthatwhichfellonthetoolsandworkbenchesbehindhim.
Forthesecondimage(bottomright),hesteppedforwardtohelpmedemonstrateapoint.Hewasnowmuchclosertotheopengaragedoor.Gettingacorrectexposureforhimnow(morebrightlylitbytheavailablelight)meantthebackgroundwascomparativelymuchdarker.Iwouldhaveneededtoaddedlightingonittopickthatareauptotheproperexposurelevelagain.
Whileaddingalightbehindhimasbacklightingwouldhaveworked,Iwantedtokeepitnatural.Sowiththisinmind,Ichosespecificplacestoshootandspecificshootingtechniquesโalwaysawareofthelightfallingonmysubjectandthescene.
Asanaside,notethatJohnalsoaffectedaโstrongmanโpose,whichwasperfectlyreminiscentofapreviousera.
Ichosespecificplacestoshootandspecificshootingtechniquesโalwaysawareofthelightfallingonmysubjectandthescene.
W
26.VIDEOLIGHTFORLOW-LIGHTDRAMA
henworkingatalow-lightlocationwheretheatmosphereoftheplaceisimportant,Ioftenusevideolighting.Unlessyouโreworkingwitha
smallgriddedsoftbox,flashtendstoopenupthebackgroundtoomuch.WhenphotographingmodelMeganDanielataSt.LouisphotographyconventionheldintheUnionStationHotel,Iwantedtokeepthatlate-night,cavernousfeel.
LightingVideolighttendstohaverapidlightfalloffbecausethelightismorecontainedandalsobecauseyoutendtoworkclosertoyoursubjectwiththelight.ThatdramaticqualityofvideolightiswhatIusetoenhancethelookofportraitsinlow-lightenvironments.
WithsomeLEDvideolightsyouโreabletocontinuouslychangethecolorbalancefromincandescenttodaylight.Thisisareallynicefeaturebecauseyoucannowmorecloselymatchtheadditionallighttotheexistingambientlight.
TECHSPECS:
1/30second,f/4,1600ISONikonD424โ120mmf/4GVR
LEDvideolight
Thelightinghereinthishotellobbywasincandescentโorcloseenough.Byusingmyvideolightatawhitebalancetomatchthis,Iwasabletomakeallthecolorsappearโnormal,โsoIdidnโthavetodealwithskintonesthatweretooblueortooyellow.
Thepull-backshot(above)showsthepositionofthevideolight,helduponamonopodbyanassistant.Iusedavibration-reduction(imagestabilization)lensforthisshot,whichhelpedoffsettheslowshutterspeed.
T27.WEDDINGSWITHVIDEOLIGHT
heimagebelowisoneofmyfavoritephotosofJuliaandLuisโswedding.Whycanโtweddingportraitsofthebrideandgroombealittlebitsexy?
VideoLightsVideolightis,forme,anessentialpartofmylightingarsenalwhenIphotographweddings.Theharderlightanditsrapidfallofflendacertaindramaticqualitytomyimages.
AvideolightliketheLowelID-Light,whichwasusedhere,isbalancedfortheincandescentlightingfoundinmostindoorlocations.Thecolorbalanceisusuallyeasilymatched.AnLEDvideolightsuchastheLitepanelsCromamakesiteveneasierbyallowingyoutochangethecolorbalancetoyourownintent.
TECHSPECS:
1/100second,f/4,1600ISONikonD4Nikon24โ70mmf/2.8
LEDvideolight
Youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubjectโsface.
PositioningtheLightAvideolightissoeasytouseinonesensebuttoughinanother.TheWYSIWYGnatureofvideolightmeansyoucaneasilyadjustitspowerandposition.However,sinceitisasmalllightsource,youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubjectโsface.Checkforweirdandunflatteringshadows.Inparticular,studyhowtheshadowofthenosefallsandiftheeyesareshroudedinshadow.Thepull-backshot(above)showstheplacementofthelightforthiscouple.
PostproductionForbothoftheseimages,IliftedtheshadowareasduringthepostproductionoftheRAWfile.IusedthelocalcorrectionsbrushinLightroomtobringupsomeadditionaldetailinthesepartsoftheportraits.
Posing,Directing,andComposition
28.POSINGENGAGEMENTPORTRAITS
Ilovedoingengagementphotosessionsbecausetheyallowmetheopportunitytoconnectwithmyclientsbeforetheirbigday.Evenmoreso,Ilovethat
thereโsmuchlesspressureandhasteduringthisphotosessionthanduringtheweddingday.
TheEssenceofTheirRelationshipAlthoughIoftenposeanddirectthecoupleduringtheirengagementphotosession,itisstillimperativetocapturetheirrealrelationship.Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthatโthespark,thewaytheyinteract.
KeepItLooseMostoften,Istarttheposingveryโloosely.โIdonโttrytoforceanythingthatwouldmakeanyonephysicallyuncomfortable.Myadviceisthis:ifitfeelsuncomfortable,itusuallylooksuncomfortable.Imightgetthecoupleintoabasicpose,thenaskthemtotalktoeachother,givegentlekisses(nopouty-lipkisses!),orexchangegentlenuzzling.Talkingtoeachotherisagoodplacetostart.Theyโllusuallytakeitfromthere,andthenyoujusthavetoguidethemalittlebit(โDonโttiltyourheadtoomuch,โetc.).
Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthatโthespark,thewaytheyinteract.
StartwithOnePersonWhiletheposeshowninthemainphoto(below)neededMelissaandDennistogetintopositionsimultaneously,mygeneraladviceforposingtwopeopleistostartbyposingjustoneperson.Havethatpersonanchorthepose,thenaddthesecondperson.
Thisisasimplearrangement,butitworksโandtheposecanalwaysbeadjustedintermsofhowtheirhandsareplacedoneachotherโsarms.Letthemenjoyeachotherโscompanyasyouphotographtheirrelationship.
KeeptheEnergyUpChatwithyourclients.Donโtbetooinvolvedwiththecameragearandlighting.Itisimperativethatyoukeeptheenergygoingandkeeptheirinterest.Themostobviouspointofconnection?Talkabouttheirweddingday.Askhowtheirplansarecomingalong.Askaboutthedetails.Keepitchatty.Bepersonable.Theirexperienceofthephotosessionwithyouwillbeasimportantastheactualphotos.Keepitfun.
TECHSPECS:
1/100second,f/5.6,800ISONikonD3Nikon24โ70mmf/2.8Late-afternoonavailablelightunderatree
H
29.COMPOSITIONANDFOCALLENGTH
ereโsatechniquethatIstronglyrecommend:whenshootingportraitswithazoomlens,stepbackinsteadofjustzoomingwider.Theperspective
distortionthatawide-anglelenswillcauseisnotallthatflatteringtoyoursubject.
ACloseViewForthisstraight-forwardportraitofAnelisa(below),Iwasshootingwiththe24โ70mmlens(onafull-framecamera)zoomedto70mm.Iwasnโtsupertightinmycomposition,soIwasshootingatadistancewherethereisnoperspectivedistortionintroducedonherface.(Forexample,a50mmlensusedasacloseportraitlensonafull-framecamerawillbringunfortunatedistortiontoyoursubjectโsface.)
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.
OnlywhenIcanโtsafelyorcomfortablystepbackanymorewillIzoomwider.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,theydonโthavetolookateachother;itโsentirelypossibletogivethatsenseofconnectednesswithevenadownwardglance.Aslongaitlooksliketheyareconcentratingoneachotherorrespondingtoeachother,itworks.
Withportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.
OlenaandAustinaredirectlylookingateachother,handsintertwinedandlegstouching.Theconnectionisclearlythere.Here,thecouplewasphotographedusingwindowlightonly.
TECHSPECS:
1/160second,f/4,800ISONikonD4Nikon24โ70mmf/2.8
Windowlight
ForthethreeimageswithOlenaleaningintoAustin,Iaddedaspeedlightinagriddedsoftbox.
โDropYourGazeโComparethethreeimagestotheright.Thereโsadefinitesexinessthatexudesfromthecouple,butonlyinthetopimage(whereAustinโschintouchesOlenaโshead)doestheconnectionbetweenthemreallykickin.Hedoesnโtneedtolookdirectlyatherforhimtoappearattentiveโbutwhenhisgazebecomestotallydistant,asinthemiddleimage,theconnectionislost.Itjustlookslikehewantstobeelsewhere.Inthebottomimage,theconnectionwassomewhatregained.Ihadaskedhimtodrophisgazesohedidnโtappeartobelookingaway.
Thisinstruction(โJustdropyourgaze.โ)isonethatIfrequentlyuse.Itissomehowmorecleartopeoplethantellingthemtoโlookawayโorโlookdown.โTheinstructiontolooksomewhereistoospecific,buttellingthemtochangethedirectionoftheirgazeseemstobeeasilyunderstood.
A
31.DRAMATICSTYLEWITHLEDFRESNELS
vivaandBrianbroughtsomespy-moviestyletothisphotosession.Thelocationwasahotellobbywithhugedisplaysthatareconstantly
changingcolors.Thechallengewastoretainthiscertainโnoirโmoodandaddatouchofsexiness.
LightingIusedLEDFresnellights,amodernversionofthehotlightsusedforclassicHollywoodglamorlighting.ThespecificmakewastheLitepanelsSola4.The4-inchdiameterFresnelgivesafairlyconcentratedbeamthatcanbefocused,dimmed,andofcourseflagged.IaddedonelightonAvivaandanotheronBrian,butmoreassidelight/backlight.Bothwereflaggedtocontrolthespreadofthelight.Thepull-backshot(above)showsthesetup.
Whenlightingacouple,Itendtofavorflatteringlightonthewoman.Thisisanimportantconsiderationwhenposingโandwhenadjustingthelightastheposeschange.
BackgroundSelectionWhendecidingonthisparticularbackground,Isatdownineachspottofeeliftheposemadesenseandtofigureoutthelights.Ididallofthisbefore
positioningthecouple.Then,whenitseemedtheideawouldworkandthelightsweresetup,Iaddedthecoupleandfinessedtheposeandthelighting.
WhileIgenerallytendtolooselyposepeople(asmentionedinsection28),inthiscaseIhadtobemoremeticulouswithwatchinghowAvivaplacedherhands.Brianโshandonherlegalsohadtobepurposefullypositioned;Ididnโtwantittolooklikeacasualafterthought.
Thereasonforthisextraposingprecisionwas,inpart,thelighting.WithsmallerlightsourcesliketheseFresnellights,thelighttendstobeharderandmorecontrasty.Slightchangesinhowsomeoneholdstheirheadcanmakeorbreaktheimage.Thenoseโsshadowdescendingdownoverthetoplip,ortheeyesdeeplyshroudedinshade,caneasilymakeanimagefail.
Ihadtobequitespecificwitheverygestureofposingmysubjects.Whenpositioningsomeoneโshead,Imostoftenuselarge,slowgestureswithmyhandstoindicatewhatIwant.IalsousemyownbodytomirrorwhatIwantthemtodo.
TECHSPECS:
1/100second,f/4,1000ISONikonD4Nikon24โ70mmf/2.8
TwoLEDFresnellights
W32.SEIZETHEOPPORTUNITY
henwediscoveralocationthatisintriguingandlookslikeitmightoffermoreopportunities,itmakessensetorevisititandseewhatother
inspirationmightstrike.Thechallengeisnotjustre-creatingourpastwaysofshootingtherebutfindingsomethingnewandfresh.
ThislargesundialinJerseyCityjustdrawsyouclosertohavealookโandevenclamberoverit.Iโvebeenherebefore(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.Withthesundialโsedgesandtheneedleattheseangles,IaskedNicoletohangfromtheneedlewithheronearm.(Theneedleiswhatcaststheshadowbywhichtimeisindicatedonthesundial.)Ithendirectedherposesothatherarmswereparalleltotheneedle,alltoaccentuatethelines.Agustofwindcaughtherhairandcompletedtheseriesoftriangleshere.
TECHSPECS:
1/8000second,f/1.4,100ISONikonD4Nikon35mmf/1.4
Availablelight
33.FINESSE
ItโswonderfulkeepingintouchwithpreviousweddingclientslikeReneeandDavid.Overtheyears,itโsgreatseeingthemforphotosessionsโthistime
withtheirdaughters,OliviaandJulia.
FlashPlusAmbientLookingattheimagestotheleftandthesetupshotbelow,thetechniqueshouldbeeasytodecipher.Iusedoff-cameraflashinasoftboxandshotwithalongerlenstocompresstheperspective.Iposedthefamily(andthetwokids,inthelowerimage)withthesunbehindthemtogivesomerimlighting.Theflashwassettomanualexposuremode,sincemysubjectsweregoingtoremainataspecificdistancefromthelight.
TECHSPECS:
1/250second,f/3.2,200ISONikonD4Nikon70โ200mmf/2.8VRIIOnemanualflashinasoftbox
AmbientOnlyTheimagestotherightwereshotasIwasstillsettingup.IhadDavidgetinpositionwithOliviasoIcoulddeterminemycameraandflashsettings.Atthispoint,Iwasstillgettingmyambientexposureandhadnโtenabledtheflashyet.Buttherewasthismagicalmomentbetweenadadanddaughter,soIkeptshooting.IntheimageofOliviaalone,Ilovethetouchoflensflarethatcreatesavignetteofcoloraroundher.
LensSelectionAnotherwonderfulthingaboutusingalonglensisthatyouโreatadistance,whichmakesitmucheasiertogetthesenaturalmoments.Worktooclosetothekidsandyoucaneasilybecomeadistraction.Ofcourse,dependingonhowyouworkwithkids,andyourownpersonality,itmightbetoyouradvantagetointeractwiththem.Personally,Iprefertobefurtherbackโabigguywithabiglensisnโteasytoignorecloseup!
TECHSPECS:
1/500second,f/3.2,800ISONikonD4Nikon70โ200mmf/2.8VRII
Availablelight
I34.ABETTERPERSPECTIVE
tโsabitofaclichรฉ,perhaps,seeingaphotographerlyingonhissideorsprawledontheground.However,whatmightlooklikeastrangeformof
attention-seekingisactuallyaverysolidwayofimprovingyourcompositionwithfull-lengthportraits.
AvoidDistortionThelazytemptationistojuststandthere,cameratotheeye,andtakethephoto.Whathappensthen(usually)isthatthephotographerisshootingdownonthesubject.Thebestadvice,generally,istostepbackforfull-lengthcompositions(asdescribedinsection29).Whenyoushootdownonsomeone,especiallywithawideranglelens,theperspectivedistortioncausesthefeettoappearmuchsmallerandyoursubjectโsheadtoappeardisproportionatelylarge.
Cameraatstandingheight.
ABetterViewoftheBackgroundWithalongerfocallength,suchaswasusedinthisoutdoorportraitofElle,perspectivedistortionislessofaconcern.Thelenswaszoomedtoaround135mmsoherheadandfeetwereequidistanttothecameraโmeaningnodistortion.However,ifyoutakethephotojuststandingatyourfullheight,thenyouarestillshootingdownandyouโregettingfartoomuchofthegroundintheimage.ThepathherebehindElleisnโtawful,anddoesnโtdistract.Butitโsthecolorsbehindherthathelpmakethisimagepop,complementingthecolorsofherclothing.
Cameraatkneelingheight.
Belowisaseriesofthreeimages,shotwhileIwasstandingup,kneelingdown,andfinally,lyingflatontheground.Noticehowthebackgroundchangesasmyperspectivechanges.Eliminatingmuchofthegroundgavethisstraight-forwardportraitofEllemoreimpact.
ThisissomethingIalwayscheckforwhenphotographingsomeoneโ
whetherIcantightenthecompositionbyshootingfromalowerangle.Evenaslightlylowerangleeliminatedmostofthepathwayhere.
LightingToaugmentthelight,Iaddedjustatouchoffillflashwithaspeedlightinasoftboxtogiveflatteringlightonher.Noticethatshadedareaonthegroundnearherfeet?Ispecificallyposedhertheresothattherewouldbenodappledlightonher.Decisionsliketheseareverymuchpartofthelightingtechniqueinvolvedinlocationphotosessions.Youhavetopickyourbattles!
Cameraatlying-downheight.
Anotherposeshotfromalowangle.
TECHSPECS:
1/250second,f/3.5,200ISONikonD4Nikon70โ200mmf/2.8Manualoff-camerafillflash
I35.RULESOFCOMPOSITION
faphotographisintendedforanaudience,notjustmyownrecordsandmemories,Ithinkitssuccesshingesonimpact.Doesthephotomakeyou
stopforatleastafewsecondstotakeitin?Ifitdoes,youโreatleastpartlysuccessfulalready.Withportraits,somanyelementskickintogiveaphotographimpactโthemoment,theexpression,thegesture,themovement,theposeandposition,thelighting,andmore.
AnInstinctiveApproachIntermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.Lookatthesubjectandsceneandrespondwithoutthemechanicaldecision-makingthatalltherulesofcomposition(theRuleofThirds,diagonals,mathematicalformulae,theGoldenMean,etc.)bringintoplay.
Theambientlightwasabout2stopsunderexposed.
โTherearenorulesforgoodphotographs,thereareonlygoodphotographs.โ
โAnselAdams
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/5.6,200ISONikonD4Nikon24โ70mmf/2.8Off-cameraflashwithabeautydish
Thereisalsothestrongvisualdynamiccreatedbyherfacebeingmoreorlesscentraltotheframeโaswellasthecurveofthisindustrialchimneystructure,whichpullsyoureyetowardthecenter.
Allthesethingsdoappearwhenyoubeginanalyzingtheimageafterthefact.Butduringthetimeoftakingasequenceofimageshere,thedecisionwasnโtstep-by-steplikethat.Itwasmuchmorethatinstinctiverecognitionthat,โHeyโthislooksgood!โ
StudioPortraits
36.THE85MMF/1.4LENS
TooMuchLightThesuper-wideapertureofthe85mmf/1.4lenspresentsafewchallengesโtheobviousonebeingthattheshallowdepthoffieldisnโtforgivingofeventheslightestmovement.Workingwithstudiolights,though,anotherchallengeisthatsometimesthereโsjusttoomuchlight.Inthenextexample(section37)whereIshotwithasimilarlyshallowdepthoffieldina(home)studiosetup,itwaswithspeedlights.Thatmadeiteasiertogettothef/1.4aperture.
LightingSetupFortheseimages,themainlightwasaProfoto5OctaSoftbox.Thishugelightsourcemakesiteasytogetflatteringlight.Bymovingitinasemi-arcaroundyoursubjectyoucancontrolthecontrastandhowmuchlightfallsontheshadowsideofyoursubjectโsface.Thismakesitquiteflexibleforasinglelightsource.
TherimlightwasaProfoto1x3-footsoftboxwithasoftgridtocontrolthelight.Thisrimlighthelpedcreatesomeseparationfromthebackground.
Thelightonthewallusedasthebackgroundwasgriddedtogiveaslighthotspotbehindher.Ididnโtwantanevenlylitbackground.
ReducingtheLightWiththe500Wsmonolights,therewasjusttoomuchlightโbutIwantedtousethathugeProfoto5.0OctaSoftboxbecauseofhoweasyitistocontrol.SoIhadtousea3stopneutraldensityfiltertobringthelightdown.Thisproducedanotherproblem:thecamerajustdidnโtwanttograbfocusinsuchlowlightwhilea3-stopNDfilterwasonthelens.
TheissueofeyeglassreflectionwashandledsimplybyadjustingOktaviaโspose,asshownintheseimages.
TECHSPECS:
1/160second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-SB+W77mm0.9(3stop)NDMRC110Mfilter
Iendeduphavingthemakeupartistholdavideolightclosertothemodelsothecamerahadenoughlighttofocus.ThenIโdtakeasequenceofphotoswhilethevideolightwaspulledaway.Itโsnotanidealwayofworking.Thislookisactuallymucheasiertopulloffwithspeedlightsorsmallerflashes,asweโllseeinsection37.
37.AHOME-STUDIOSETUP
ShallowDepthofFieldInastudio,weusuallyworkwithaperturesintherangeoff/8orf/11forgreatdepthoffieldandsuperbimagesharpness.However,shootingportraitswithfastlensesforthatdistinctiveshallowdepth-of-fieldlookalsoworksinthestudioโinfact,itworksexceptionallywell.Thatsuper-fast-apertureportraitlensreallyfocusestheattentionexactlywhereyouwantit.Withportraits,thatโsalmostalwaysyoursubjectโseyethatisclosertothecamera.
StudioLightsvs.SpeedlightsUnfortunately,aswesawinsection36,higher-poweredstudiolightscanproducetoomuchlight.Thisiswhereworkingwithlower-poweredspeedlightsisanadvantage.Withspeedlights,thatsuper-thindepthoffieldismoreeasilyattainedโwithouthavingtodealwithneutraldensityfilters.
TECHSPECS:
1/200second,f/1.4,100ISONikonD700Nikon85mmf/1.4GAF-STwoQuantumT2units,oneNikonSB-800
InMyDiningRoomThephotosofKaylexwereshotwithafairlysimplelightingsetupinmydiningroomareaโamakeshifthomestudio.Thepull-back(facingpage,top)showsyoujusthowunglamorousandcrampeditactuallywas.Yetthefinalportraitslookedgreat.
Themainlighttocameraleftwasan18x42-inchstripbank.TheflashgunwasaQuantumT2,butaspeedlightwouldhaveworkedjustaswell.Inthissmallspace,youdonโtneedhugeamountsoflight.
IusedanotherQuantumT2tolightupthegrayseamlessbackground.Ihada12ร12-inchsoftboxonthisoneandfeatheredittogivemeunevenlightingonthebackdrop.IalsohadasnootedNikonSB-800asahairlightinmostshots.
Fortheimageshotatf/1.4(facingpage,bottom),thepowerontheQ-flashwasturneddownto or ,forjustatouchoflight.
DifferentLens,DifferentLookFortheimagesonthispage,Iuseda70โ200mmf/2.8lens(ontheCanon1DMarkII)atmoreusualaperturesrangingfromf/5.6tof/8withthesamelightingsetup.Asyoucansee,studiolightingcanbedone(oratleastapproximated)inahomestudio.
M38.STUDIOHEADSHOTS
ikeisanactor/musicianfriendofminewhoneededhisportfolioupdated.Westartedoffwithheadshotsinthestudio.BecauseMikeisa
characteractor,wetookmanyphotosinwhichtheexpressionswerequitegoofyandstrange.Hereโsasmallselectionofhisheadshots,whichshowsomecharacterandexpression.
BackgroundThebackgroundwasthebackwallofmystudio,whichispaintedalightgray.Becauseoflightfalloff,thebackgroundappearsdarkgrayinthefinalimages.
LightingThelightingsetupfortheseimageswasfairlysimple.Iwantedclean,openlightonhimsoyoucouldclearlyseehisexpressions.Ialsowantedalargelightsourcesowehadsomefreedomwithhismovement.However,Istillwantedsomecontrasttotheshadowsideโbutnottoodark.
ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshotsโbutIdochangeitup...
IusedtwoProfotoD1Air500Wsmonolightsformylights,butthesamelightingcouldbeveryeasilyapproximatedwithspeedlightsandthenecessarylightmodifiers.
ThemainlightonhimwasdiffusedwithalargeProfoto5OctaSoftbox.Thismassiveoctaboxgivesbeautiful,softlight.Ihaditsettoanangle,soitwasfeatheredawayfromhimabit.Thereโsareasonforthat.Ifyoufeatheralargelightsource,youcanhaveyoursubjectstepforwardforamorecontrastylook.Ifyouhavethemstepback,thenyougetmoreofasoftwraparoundeffecttothelight.
TECHSPECS:
1/160second,f/11,200ISONikonD4Nikon70โ200mmf/2.8VRIITwoProfotoD1Airmonolights,V-flat
ThefilllightwasviaawhiteV-flat,whichactedasareflector.TheV-flatconsistsoftwowhitefoam-coreboardsthataretapedtogetherwithgafferstapetoformaVsoitcanstandupright.Isetitupsothatitreflectedlightfromthefrontandsideofmysubject,andalittlebitfrombehind.JustenoughfilllightforwhatIwanted.Thereโsnoexactsciencetoit.
ThehairlightwasviathesecondProfotoD1Air500Wsmonolight,supportedonaboom.Thelightbeamwasnarrowedbyagrid.
ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshotsโbutIdochangeitupattimes,alwaysexploring.
R39.LOW-KEYVINTAGEPORTRAIT
andyhasalookreminiscentofAvaGardner,soIwantedtocreateaportraitofherusingtheclassicHollywoodglamourstyleoflighting.
LightingForthissetup,IusedaProfotobeautydishasthesinglemainlightsource.Abeautydishisbestusedwithagridtocontainthelightspill,makingthelightquitedirectional.Thismeansthatyouhavetoposeyoursubjectprecisely.Whenusingabeautydishasthesinglemainlight,thereโsnoneofthefreemovementyouhavewhenusinglargelightsourcesandmultiplelightsinthestudio.Eventheslightestmovementofyoursubjectโsfacemakesabigdifferenceinhowtheshadowsappear.
Withoutadditionallightfromothersourcestogivefilllight,abeautydishcanbefairlychallengingasasinglelightsource.
BackgroundIwantedalow-keylook,soIusedadarkgraybackdropandworkedwellawayfromitsothatthemainlighthadverylittleeffectonit.TheInverseSquareLawhelpsherewiththenon-linearlightfallofftothebackground.Inotherwords,thefurtherthebackgroundisfromyoursubjectandlight,thedarkeritwillappear.
SeparationTopreventRandyโsdarkhairfrommeltingawayintoablackbackground,Ineededahairlightofsomekind.IsetupagriddedProfoto1x3-footsoftboxbehindandaboveher.
Thepull-backshot(left)showswherethegriddedbeautydishwasplaced,aswellasthepositionofthegridded1x3-footsoftboxbehindRandy.KeepinmindthatIpulleduptheshadowdetailforthisphoto,sothatyoucouldactuallyseethelightinggearhere.
TECHSPECS:
1/200second,f/8,100ISONikonD4Nikon70โ200mmf/2.8VRIIBeautydishwithgrid,softboxwithgrid
T40.CONTINUOUSLIGHTS
hisstrikingportraitofLauraineshowshersparklingmischievousnessโand,onthetechieside,theselectivefocusofafastlenspairedwiththe
flexibilityofcontinuouslighting.Thedeliciousnessofthe85mmf/1.4lensreallybringshereyestoattention.
KeepItRelaxed
Duringpartofthephotosessioninthestudio,Idecidedtousecontinuouslighting.Lauraineisnewtomodelingforthecameraandworkinginthestudio,sothelackofflashespoppinghelpedkeeptheatmosphererelaxed.Theshortertelephotolengthofan85mmlensalsomeantIcouldworkcloseandgiveinstructiononposing.Slightadjustmentstoherhandorthetiltofherheadcouldbemoreeasilyrelayedatthisdistance.
ThecontinuouslightmakesitsoeasytoadjustthelightingandtheposeโIfinditeveneasierthanwiththemodelinglightsofstudiostrobes,sincewhatyouseeistrulywhatyouget.
BackgroundThebackgroundwasafour-panelroomdividerscreen.Spillingabitoflightonit,andanglingitproperly,addedahintofcolorandtextureinthebackground.Thismadethefinalsettingfortheportraitseriesalittlemorenuanced.
TECHSPECS:
1/500second,f/1.4,500ISONikonD4Nikon85mmf/1.4GAF-S
WestcottSpiderlites
LightingForLauraineโsportraits,IusedtwoWestcottSpiderlites:aTD6witha3x4-footsoftboxandaTD5witha1x3-footsoftbox.Thelargersoftboxwasthemainlight.Thesmallersoftboxfunctionedasahairlightandspilledalittlebitoflightonthebackground.Thepull-backshot(right)showstheplacementofthelights.
IntheTD6(mainlight),Iusedfivebulbsthatweredaylight-balanced,plusoneincandescentbulbsothatthelightwentalittlewarmer.TheTD5(backgroundlight)onlyhaddaylightbulbsinit,sointhefinalediting,wherethecolorbalanceoftheimageisadjusted,thehairlightandbackgroundlightwentatouchcolder.
ImprovisingonIdeas
41.DECONSTRUCTINGAPORTRAIT
SubjectandConceptChuckArlundisanexceptionalphotographerwhomIgreatlyadmireโsowhenheandhisson,Lachlann,visitedNewYork,Iwantedsomethingalittleoutoftheordinaryformyportraitofthetwoofthem.TheideaIhadinmindwasawideshot,withasweepingviewofastreetscene.Iwantedtoshowmovementallaroundthem,whiletheyremainedstill.Inthatsense,theywouldbeisolatedevenamongallthemovement.
TimesSquareimmediatelycametomindasaplacewherethereโdbeahordeofpeoplemillingaroundโbutalsoawideenoughplacetoshootthis.Still,thedirectionwecouldshootinwaslimitedbythepedestrianflow,barriers,aswellasapolicemanwhoaskedmetohurryup.Sothepressurewasontomaketheideaworkquickly.
LightingandShootingToaddenoughlightonthematf/22(allowingfora1secondshutterspeed),Ibroughtina600WsProfotoAcuteB2powerpackandaProfotobeautydish.Withthisinplace,itwasjustamatterofbalancingtheflashandthedaylight(ataslowshutterspeed).
Ihadtoshootatanangleheretogetaclearviewofthestreetwithoutbarricadesintheway.Itwasalsoabusyintersection,sopeopleweremorelikelytobemovingalong.Whathappenedthough,wasthatpeopleinthedistanceappearedsharper,becausetheirmovementswereโsmallerโfrommycameraโsperspective.
ACompositeBackgroundtoSimplifySomepeoplewouldlingerandappeartoosharp.Asaresult,thebackgroundintheoriginalversion(above)wastoocomplex.Tocreatethefinalimage(left)Ipulledfiveshotstogethertomakethebackgroundmoresimple.Thishelpedmekeeptheemphasisonthedadandhisson.
Intheend,Ithinktheportraitisevocativeandslightlymysterious,showingatender,emotionalbondthatremainspermanentamidstthecrazinessoftheworld.Ihopeitwilldrawtheviewerinforawhile,withthisstillnessjuxtaposedagainstmotionโalthough,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,thereisabeautyinthemomentarystillnessinViktoriaโs
peakmovement,versusthebustlingstreetdownbelow.HerelegantmovementsomehowjustlooksreallygreatagainstthebackdropofManhattanโsskyscrapers.
TravelingLightForthelightinginthisphotosession,Idecidedtotravellight.TheCanon600EX-RT,withitsbuilt-inwirelesscontrol,offersthesweetestintersectionofpower,versatility,andcontrol.Theflashโsoutput(andmode)areeasilycontrolledfromthecameraโsposition.
TheFirstLookTheimageandpull-backshottotheleftshowonewayIpositionedmyspeedlightrelativetothesceneandsubject.Youcanalsoseemyownposition,lowdownontheground,togetthedesiredperspective.
TheSecondLookWewereworkinginthelateafternooninNewYork,withthesunlightglintingofftheglassbuildings.Thislookeddramatic,butthesunlightthatwasreflectingoffthebuildingswasnโtconsistentanddidnโtnecessarilyfallinaplacewherewecoulduseit.Fortheimagetotheright,Icreatedmyownlightwithanoff-cameraspeedlight.ThiswasplacedjustoutoftheframesothatitintentionallyflaredbutalsogavebeautifulrimlightonViktoria.
TECHSPECS:
1/250second,f/4.0,100ISOCanon6D24โ70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual
TECHSPECS:
1/250second,f/5.6,400ISOCanon6D24โ70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual
CameraSettingsTheexactpointwhereViktoriasteppedwouldchangeeversoslightlybetweenshotsandhermovementswerequick,soIhadtopre-focus.Giventheslightchangesinherposition,asuper-wideaperturewouldjusthavemeantmoremissedshots.SoIsettledonanapertureoff/5.6fortheimagetotheright.
Atherpeakmovement,shewasquitestillforhalfasecond,soIdidnโtneedaction-stoppingshutterspeeds.Settingmycameraat secondworkedfine.EventhoughthisishigherthanthemaximumflashsyncoftheCanon6D,andtherewassomelossofflashpower,therewasenoughheadroombecausewewereworkingatfairlyclosedistanceswithbareflash.
L
43.REGALPORTRAITWITHAFERRET
ynnClarkisanaccomplishedboudoirphotographerโbutIdidnโtwanttogowiththeobviousideaofdoingaboudoirphotosessionwithher.
LocationSelectionLynnโsboudoirstudioishome-based,andIspentsometimelookingaroundfiguringoutanglesandlightingandbackgrounds.Ifiguredoutwherewecouldshootafewbasicportraitsaroundherstudio.Theywouldbegoodportraits,butnothingextremelyengagingโyet.
InspirationStrikesLynnandherfamilykeepsixferretsaspets.Theyalsorunaferretbed-and-breakfastinDenver,wheretheytakecareofferretswhoseownersareonvacation.Sothereareferretsaroundโandtheyareadorable.InchattingwithLynn,shementionedLeonardoDaVinciโsportraitofawomanwithanermineโaswellasaportraitofQueenElizabethwithaferret.(Googletoseethesemasterworksforyourself.)Thatโsthemomentwhentheideaclicked!
ExecutingtheConceptThrowingthechandelierinherstudiooutoffocusandkeepingitinframe,weโdhaveaglowinghalooflightaboveLynn.Theregalreddrapesworked,too.Tofinishthelook,weneededacostume.Wedidnโthaveanythingnearlyasostentatiousasacrown,sowewentforatiaraandsomeโblingโjewelry.Areddressstoodinforaredcloak.Finally,weaddedElliott,theenergeticallycuriousferretyouseeinthephoto.
TECHSPECS:
1/200second,f/4.0,1600ISO
NikonD4Nikon70โ200mmf/2.8VRII
LitepanelsChromavideolight
ThefinalportraitofLynnisawhimsicalhomagetotheportraitofroyaltywithapetferret.Thereโsanabsurdityaboutit.Hopefully,theportraitisalsoquitecuteandamusing.IdothinkitshowsthatplayfulaspectofLynnโeventhoughsheinsistssheโsactuallyaseriousperson.
LightingIlitthisportraitwiththeLitepanelsCromaLEDvideolight,whichishandyinthatyoucancontinuouslychangethecolortemperaturetomatchthatoftheavailablelight.IwantedabitofaspotlightonLynn,butwiththelightfeathereduptohighlightherfaceandtheferret.Thepull-backshotbelowshowsthesetup.
44.WORKINGTOWARDTHEFINALIMAGE
ThesephotographsofJessicaweretakenjustbeforeaphotoshoot.Wecreatedaseriesofimagesasweworkedtowardafewportraitsthatwould
work,improvingoneachcompositionandpose,stepbystep.
EvolutionThisprocessofrefiningeachaspectoftheshotrelatesdirectlytoanideapresentedintheforewordtothisbookโthatthefinalimagewearepresentedwithisusuallynotfullyformedasafirstimage.Itis,almostinvariably,thelaststepinaprogressionthatworkedtowardit.
Thefinalresultshownhere(facingpage)isalittlebitofeverythingโawonderfulsubject,anopportunity,andthen(overthecourseofseveralphotographs)finessingtheimage.
Wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdonโtgiveuptooearly.
StepbyStepThefirstimage(1)showswherewestarted.Inthedressingareaofthestudio,therewasamirrorwithlightbulbsaroundit.IaskedJessicatoturntohersidesoIcouldseeherprofile.
Itwasastart,butthejacketwastoobulkyandtoonoticeable.Iwantedtheportraittobeabouther,soIaskedhertoremoveitโwhichgaveusoursecondimage(2).Iliketheresult,butIcanseeherbrightlylitarm(andmyself)reflectedinthemirror.
Movingtomyleftwouldhavesolvedthereflectionissueโbuttherewassomethingelsemissing.Thephotolackedasenseofmystery.Forthethirdimage(3),IaskedJessicatoturnaroundandlooktoherleft.Ihadherbringherhandintotheframe,toaddmoreofthatsensualitytotheimage.However,herreflectioninthemirrorwastoodistracting.
Throughaseriesofimages,Itriedtohideherreflection,whichcreateddistractinghot-spotsinthemirror.IneededtomovesubtlytothesideandhaveJessicarotateeversoslightlytowardthecameraโweโrenearlythere(4)!
Thephotostillhadthatslightlydistractingreflectionofherhandinthemirror.However,aslightchangeinherposehidthatandgotustothefinalimage,shownabove.
TECHSPECS:
1/200second,f/1.8,1600ISONikonD485mmf/1.4GAF-S
Availablelight(lightbulbsaroundmirror)
Oftenenough,wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdonโtgiveuptooearly.
A45.WORKTHESCENE
spartofmydestinationweddingphotographycoverage,Iofferanextendedphotosessionaroundtheexoticlocaleafter(orbefore)the
weddingdate.Whileweโrethere,wemayaswellmakethemostoftheopportunity.
ThedayafterDeshaandKyleโsweddinginAruba,wedrovearoundthearidareasoftheislandโawayfromthetouristyparts.Therewasashortrainstormwhileweweredriving,andthelandscapelookedreallycrisp.Offsettingthecoupleagainstthisstarklandscapejustseemedlikeagreatidea.
DesertSceneForourfirstlook(below),Iposedthecoupleintothelight.Workingwithawide-anglelenstogivemeasweepingview,Iexperimentedwithvariouscompositionsofthisscene,butlikedtheoff-centerversionthemost.
TECHSPECS(FACINGPAGE):1/250second,f/9.0,100ISO
Canon1DMarkIInCanon16โ35mmf/2.8L
Availablelight
TECHSPECS(RIGHT):
1/1000second,f/5.6,100ISOCanon1DMarkIInCanon70โ200mmf/2.8LIS
Availablelight
Foranygivenportraitsetup,Ialwaysshootwideandtight,verticalandhorizontal,andhighandlowviewpoints.ThiswayIgetavarietyofimages.Inthecullingprocesslateron,Icanthenpicktheonesthatworkbestformeandformyclients.
Ofcourse,thereโsusuallymorethanjustonephotograph...
IntheRoadIwasinspiredtocreateasecondlookforDeshaandKylewhenIsawtheroadsurfaceglisteningwiththerain(right).Istoodintheroadandaskedthecoupletoslowlymeanderdownthestreet.Itwasperfect.IinstantlylikedwhatIsawinmyviewfinder.Averticalcompositionlikethisjustmadethemostsenseforthescene.Ishotitwiththe70โ200mmlensat175mmforacompressedperspective.
SmallChanges,BigDifferenceJustaminuteandahalfpassedbetweenthesetwoimagesโandthecloudscameover,softeningthelightabit.Thatdidnโtreallymatter,though;thesecondimagewouldhaveworkedwithsunlightaswell.
Thekeyideahereisthatchangingyourpositionandmovingaroundcanoftenproduceimagesthatlookhugelydifferent,because:1. Youโrechangingyourbackground,and2. Youโrechangingyourpositioninrelationtothelight.
W46.FINDTHEOTHERANGLES
orkingwithafilmnoirtheme,agroupofphotographersinmyareaarrangedashoot-out.Thesearetwoofmyimagesfromthatsession.
LightingandPosingJillSusie,oneofthemodelsattheshoot-out,hadahairstyleanddressthatwerestronglyreminiscentoftheflapperera.Thisreallysuitedasexyposeandstyling.
Keepingwiththetheme,thelightinginthephotosneededtobesubduedandmysterious.Withthat,Ididnโtuseflashatallbutdecidedtouseonlyavideolight.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-outโandIwasinsistenthefindadifferentangle,ratherthanjustshootingfromeye-height.Ievenpushedhimdownonthegroundtoconvincehim.Andhereweare,afewyearslater,withhimfindingthealternateanglethatIdidnโtimmediatelysee.Usingthe85mmf/1.4lenswideopengavethatshallowdepthoffield.
TECHSPECS:
1/80second,f/5,1600ISONikonD3SNikon24โ70mmf/2.8AF-SLowellID-Light
Thepositionofthelightshouldbediscerniblebyhowthelightfallsonherandhowtheshadowpatternappearsunderhernose.
47.PLAYFULPORTRAITS,PART1
IImagesfromprevioussessionswiththeModernGypsiesโinfullcostumesandmakeup.
reneFongandMichaelSaabareatthecoreoftheBrooklyn-basedperformancegroupcalledtheModernGypsies.Overthepastfewyears,I
havephotographedtheModernGypsiesseveraltimesfortheirownpromotion.
ConceptSincetheyarealwaysinoutlandishcostumes,Ialsowantedtophotographthemasthemselvesโsanscostumesandstagemakeup.However,totallystraight-forwardportraitswouldnโthavebeentruetowhotheyare.Istillwantedtogivetheportraitssomeoftheircrazyinventiveness.
TheideaIcameupwithwastohaveIreneโsportraitbeslightlysurreal.Alongwithhertrademarksee-throughviolin,IwantedtoincludeMichael,butasasecondarysubject.Someofhisactshavehimbouncingaroundonstiltswhileincostume,sothatโshowIdecidedtoshowhiminthebackground.Byusinga
wideaperture(f/2),IwasabletothrowhimoutoffocusandkeepthisportraitaboutIrene.
High-SpeedFlashSyncIusedtwolightshereโaspeedlightinasoftboxonIreneandadirect,unmodifiedspeedlightonMichael.Shootingoutdoors,thef/2apertureimpliedafastshutterspeed,puttingmeinhigh-speedflashsyncterritory.Withtheavailablelightasthedominantlightsource,theflashwouldnโtbeabletofreezetheactiononitsown,soIneededa secondshutterspeed.
Twofinallooksfromthesession.
Thepositioningofthetwolights,withMichaelshownstandingwhereIrenewouldbeinthefinalsequenceofimages.
F48.PLAYFULPORTRAITS,PART2
ormyportraitofMichael(oftheModernGypsies),Iwantedsomethingthatshowedsomeofhisfreespiritandcreativity.ShootinginBrooklyn,we
stoppedatoneofthenumerousgraffitimuralsthatspeckletheurbanlandscapeofthisboroughofNewYorkCity.
APreliminaryLookWestartedoffwithabasicportraitwithhimagainstthecolorfulgraffiti(below)โbutIwantedmorethanjustsomeoneposinginfrontofamural.Iwantedtoshowmoreofhisenergyandplayfulness.
AMoreEnergeticLookAwonderfulthingaboutphotographingcreativepeopleandentertainersisthatthebestofthemcanjustturnitonprettymuchanytime.SoMichaeleasilystartedtogoofaroundwithhisbowlerhat,whirlingitaround.
Shootingnatural-lightportraitsofMichaelagainstagraffiti-coveredwall.
Ishotalongsequenceofimages,buttheoneIlikedthemostwaswhenheattemptedtobalancethehatontheedgeofhisnose(above).Withoutmirroringthegraffitimuralinpose,thereisstillakindofsymmetryintermsofthegesture;thewingsspreadandMichaelโshandsextendoutashebalancesthehat.
ThissimpleportraitofMichaelagainstacolorfulbackgroundwasniceโbutitdidnโtquitecapturethecreativityandenergyIwantedtoshow.
Itโsanincongruousimageperhaps,someonerandomlybalancinghishatonhisnose.But,forme,itcapturespartoftheessenceofsomeonewhoisconstantlyinventiveandplayful.
Lighting
Thetechnicaldetailsaresimplicityitself.Thelightingwasallnatural;theovercastweathermadeforsoftlight.Ialsousedawideaperturetocreateseparationbetweenmysubjectandthebackground.
TECHSPECS:
1/500second,f/2,200ISONikonD435mmf/1.4
Availablelight
W49.FILMNOIR
orkingonimagesforcharacteractorMikeLaroseโsportfolio,wedecidedonafilmnoirthemethatwoulddepicthimasacharacterfrom
aHitchcockmovie,butincolor.Hedressedthepart.ShootingaroundNewYorkโsCityHall,theimposingarchitecturesuitedthisthemewell.
CameraandCompositionItraveledlightonthisday,usingtheFujiX100scamera,whichissmallerthanmyusualDSLRs.TheFujiX100shasafixed35mm-equivalentlens,sothereisaspecificfieldofviewthatyouhavetoworkwith.Anycompositionshavetoworkwiththislensโorelseyouhavetocropinpostproduction.Idonโtlikeheavycroppingbecauseyouloserealestate;themoreyoucrop,themoreresolutionanddetailyoulose.
Oneofmyinitialtestshots.Ilikedthependulousshadowofoneofthelightsthere.
Scene-SettersTakingascene-setterimagelikethisgivesmeabettersenseofwhetherthereissomethingtoworkwithinalocation.Veryoften,eventhoughwecanvisualizewhatwewantinanimage,itsomehowcomestogetherbetterwhenweseeitintheconfinesoftheframeโevenifjustonthebackofthecamera.
SoIreallypreferworkingwithintheconfinesofthespecificlenstofindthecompositionthatworkswell.Inthiscase,however,lookingattheoriginalout-of-cameraimage(below),theblueskyontheleft-handsideseemedsuperfluous.SoIcroppedittothisfinalimage(left)forsimplicity.Thisleftuswithonlythecharacter,thelinesofthepillar,andhisshadow.
Themoodisnowmoreominousperhaps.Withhimlookingathiswatch,thereโsalsoasenseofurgency.Thatsimplegestureaddedatouchofextradramatotheimage.
W
50.PUNCHINGUPPLAINWHITEWALLS
hilephotographerslikeIrvingPennhavemadebeautifuluseofplainwhitewallsasportraitbackgrounds,sometimesweneedsomething
moretotelloursubjectโsstory.Thatwasmychallengeforthisportraitsession.
SubjectandConceptMichaelDowney,aNewJerseyphotographer,shouldbewellknowntovisitorsatUniquePhoto.Heโsasuperniceguy,butIdidnโtthinkwildandcrazyposingwouldsuithim.Instead,thisfairlysimplelightingsetupletmeaddsomeflavortotheportrait.Withthistechnique,astraightforwardportraitagainstawhitewallbecameakaleidoscopicadventureincolor.
MoreThanaShadowOneofthecommonapproachestopunchingupplainwhitewallsistousethepersonโsshadowagainstthewallaspartoftheoveralldesignoftheimage.Here,Itookitastepfartherbyaddingthreegelledflashes(red,green,andblue)tocausethreeshadowsindifferentcolors.
Thethreebarespeedlights,eachwithagelovertheflash.
Notethatthosethreecolorsaretheprimaryadditivecolors,sowhereallthreelightsoverlappedtherewaswhitelightโgivingmenaturalskintones.(ShootinginRAWhelpswithcorrectinganyshiftincolorifthegelsareofunequalstrength.)Whereonlytwolightsoverlapped,youโllseetheshadowshiftedincoloraccordingly.Forexample,wheretheredandblueoverlapbutgreenisblocked,yougetamagentacolor.
TECHSPECS:
1/160second,f/8,200ISONikonD4Nikon70โ200mmf/2.8VRII
threebarespeedlightswithgels
H51.CLASSICSTYLING
avingsomekindofideawhatyouwanttodoatthestartofaphotosessionisalwayshelpful,buttheultimatesuccessofanyphotographis
mostoftentheresultofavarietyofchoicesallcomingtogetherโposing,composition,lighting,andmore.
SettingandClothingTheimposingpillarsandleadinglinesofthecourthouseinDenver,Colorado,madeforastrong,unclutteredbackground.Themodel,ElizabethHaynes,hadthissimplebutelegantblackdressaspartofherwardrobe;itwasaperfectcomplementtothesetting.
LightingIntheimageonthefacingpage,hershadowhelpedpulltheshottogether.Itlooksliketherewasabitofsunshinesneakingthroughathinlayerofcloudsโandtheimagepops!
Togetthatdramaticlightonher,Iusedundiffusedoff-cameraflash.Sincethisisasmallsource,youhavetobeveryspecificinposingyoursubjecttoensurethelightingremainsflattering.Posingโintothelightโusuallyworksbest.Thewaytheshadowfellbehindherwasanaccidentallittlebonus.Iโlltakeitwhenitcomes.
Theimagephotographedwithavailablelightonly.(1/250second,f/4,100ISO)
Theimagewiththeadditionofoff-cameraTTLflash.(1/250second,f/4,100ISO)
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon24โ70mmf/2.8Undiffusedoff-cameraflashinTTLmode
AnApertureChangeWhileshooting,Idecidedtochangefromf/4(belowright)tof/5.6(facingpage)topulltheambientlightlowerandmakethelightfromtheoff-cameraflashmoredramatic.ThisdecisionhingedonhowdarkIwantedtheambientlightto
appear.Thiswasanartisticdecision.Ihadothergoodchoices,butIfindthemoredramaticeffectisusuallythemoreinterestingone.
CameraHeightIshotslightlyupwardtoaccentuateherlegs.Shootingdownwouldhavecreatedastrangeforeshorteningeffect.Whenphotographingpeoplewithawidelens(here,about38mm),itisbesttoshootfrombelly-buttonheightโexactlywhereanoldtwin-lensreflexcamerawouldhavebeenheld.Thiswayyouโrenotshootingdownorup,soanyspatialdistortionisminimized.
M
OnLocationwithBigLights
52.PROMOTIONALPORTRAITS
yfriendMikeLaroseisaNewYorkactorandmusician.Youmightrememberseeinghimelsewhereinthisbookincompletelydifferent
guises(sections38and49).
ASolidStartFortheseportraits,weworkedoutsidealongapathwayinawoodedarea.IknewIwantedtoshoottightwitha70โ200mmlensatthelongerendofthezoom.ThiswouldcompresstheperspectiveandisolateexactlywhatIwantedasabackground.Thischoicegoeshand-in-handwithcarefullypositioningmyselfandmysubjectinrelationtothebackground.Itโsnotaccidental.
IframedMikeagainstthehighlightsinthebackgroundtocreateanaturalvignette.ThisiscommonlyhowIworkwhendoingportraitsonlocation(seesection2foranotherexample).Itโsaspecificwayofshootingthatgivesconsistentresultsasabaselineโinotherwords,theminimumherealreadylooksverygood.
TECHSPECS:
1/200second,f/4,400ISONikonD4Nikon70โ200mmf/2.8VRIITwooff-cameraflashes;mainlightingriddedstripbox,rimlightinreflectorwith10degreegrid
MakingItBetterTocontrolthelight,IaddedstudiolightingwiththeProfotoB1,abattery-poweredflashunitthatdelivers500Ws.(Ofcourse,thiscouldalsohavebeenshotwithspeedlightsandsimilarlightmodifiers.)AgriddedstripboxonMikelithimselectively,whilea10degreegridonareflectorfrombehindgavetherimlight.
TwoCompositionsTheverticalversionwasshotat200mm,whilethetighterhorizontalportraitwasshotat190mmโtherewasnobigchangeinthefocallength.Ikeptmyzoomrackedtothemax(orclose)andthenmovedaroundtokeepthatcompression.
Asnotedinsection29,Iresistedthetemptationtojustzoomwider.Usingaconsistentapproachlikethishelpsguaranteereallygoodphotographs.Itprovidesasolidfoundation.Fromthere,wecanimprovise,lookingforwaystorefinetheapproachandcreateimagesthattrulystandout.
B53.AVINTAGEMOTORBIKE
ackinsection25,wesawJohninhisworkshop.Johnalsohastwovintagemotorbikes;oneisfromtheWWIeraandtheotheristhis1928German-
builtTriumph.ThesidecarwasmadebyHindenburgMetalworksโyup,thezeppelinguys.Johnโsfriend,Barbara,frequentlyaccompanieshimtoshowsandrallies,soshealsocamealongforthisphotoshoot.Afterall,thereisasidecar!
ImageConceptsUsingdifferentsetups,IphotographedafewsequencesofJohnandBarbarawiththemotorbikeonlocation.Ilikedthisdramaticseriesthemost,withthelightfrombehindcastingashadowinfrontofthem.Iwantedthelighttoetchtheframeofthemotorbikeandsidecar,withoutrevealingtoomuchdetailโafterall,thiswastobeaportraitofJohnandBarbara.However,Ialsotookanumberofotherimageswherethemotorbikewasbetterlit,justtohavethevariety.
LightingIworkedwithtwoProfotomonolights.ThelightfrombehindwasfromaProfoto50degreeMagnumReflector,becauseIneededabiglightbehindthem.Thelightstandneededtobeoutsidetheframebutstillcastenoughlightonthemtocreatethatshadowinthefront.TheProfotoMagnumReflectorconcentratedthebeam.
TECHSPECS:
1/250second,f/14,200ISONikonD4Nikon24โ70mmf/2.8Twooff-cameraflashes;mainlightinsoftbox,backlightinProfotoMagnumReflector
Apull-backshotshowingthelightingsetup.
ThelightinthefrontofthemwasaProfotoD1Air500Wsmonolight,usedwithaProfoto3x4-footsoftbox.Thiscreatedlarge,softlightingonJohnandBarbara.Themainlightwasplacedtocamerarightโnoton-axiswiththecamera.Thishelpedmaintainthedramaticqualityofthelight,soitdidnโtflattenoutthesubjects.
ALittleFlareForafewimages,Iallowedthelenstoflare.Becausethelightinthebackgroundwassostrong,Ihadtousemyhandontheedgeofthelenstocontroltheamountofflare.Ishotandcheckedanumberoftimes,untilIhadafewimageswheretheflarewasnโttoooverpowering.
P54.SPEEDWAYRACER
hotographingspeedwayracer,CourtneyLefcourtattheBethelMotorSpeedwaywasatwo-parttechnicalchallenge.
ChallengesWhileCourtneyisundoubtedlyphotogenicโandspeedwayracingisexcitingtowatchโtheracetrackitselfwasnโtexactlyavisualfeast.Itwasabarrenovalstripoftarmacatanangle.Thatwasthefirstchallenge.Tomakethesceneworkasabackground,IhadtoaccentuateCourtneymoreandtheracetracklessโwhilestillkeepingitrelevantasanenvironmentalportrait.Thesecondpartofthechallengewasthattheoverheadsunwasverybright.
SolutionsForthetighterportraits,Icouldeliminatethedistractingbackgroundโthecrashbarrierandtreesโbyshootingfromanelevatedviewpoint(below,facingpagetop).Standingonasmallstepladder,Icouldexcludeanyoftheedgesoftheracetrack.Thatway,Iachievedvisualsimplicitybyeliminatingclutter.
Whileahigherviewpointhelpedaccentuateher,workingunderthebrightsunmeantshootingatsmallapertureswhenIwouldhavepreferredawidersetting.Addinga3-stopneutraldensityfilterbroughtmyaperturetof/4.5,givingmejustenoughdepthoffield.
Thelightingsetup,withaProfotoAcuteB2600WspowerpackandaProfotobeautydishwithasock.
TECHSPECS:
1/250second,f/5.6,100ISONikonD4Nikon70โ200mmf/2.8Undiffusedoff-cameraflashinTTLmodeB+W77mm0.9(3stop)NDfilter
Tocreateevenmoreseparation,Isetupaspeedlightbehindheratfullmanualoutput.ItgavethatbitofrimlightthatmakesCourtneyreallypopoutfromthatneutral,out-of-focusbackground.
ThelastpieceofthepuzzlewastheadditionofaProfotolightwithabeautifydish;likethespeedlightbehindher,thiswassetatfullpower.Thespeedlightjusthadtoaddthatbitofrimlightfrombehind.TheProfotohadtodotheheavyliftingbymorethanjustmatchingthebrightsunlight,therebyopeninguptheshadowsandgivingflatteringlightonCourtney.
Bykeepingtoaspecificthoughtprocessinaddingoff-cameralighttostrong
sunlight,thephotosessionwasmadeeasierโandthechancesforsuccessweresignificantlybetter.
Thewidershotsweredonewithoutaneutraldensityfilter,sinceIdidnโtsospecificallyneedashallowerdepthoffield.
F
55.BESTON-LOCATIONLIGHTMODIFIER
orthissession,ImetupwithmyfriendMikeAllebach,aweddingphotographerbasedinPhiladelphia(www.mikeallebach.com).Weselected
anintriguingvenue,TattooedMomโs,whichwasidealforportraitswithamoregrittylook.
SceneandCompositionOfthevarioussetupsweshot,Imostlikedtheoneabove.Thesemicircularpatterntothegraffitiartworkandthesymmetryofthefurnituredrovemetoward
keepingthisaverycentralcomposition.EverythingintheframepullsyouintowardMikeโsintenseexpression.
ControlledFalloffThelightlevelsinsidewerelowandIwantedtoretaintheatmosphereoftheplace.Icouldnโtuseanumbrella,sincethatwouldjustblastlightallaround.Instead,Ioptedfora1x3-footgriddedsoftboxโmyfavoritelightmodifierforlocationshootslikethisone.Shootingat secondandf/4at400ISOretainedenoughoftheambianceoftheplace,butitalsoallowedmetospotlightMike.Thepull-back(above)showshowwellthegriddednarrowsoftboxcontainedthelight.Thecontrolledfallofffromthislightwasinstrumentalintheseportraits.
ThecompactProfotoRFi1x3-footsoftbox(alongwiththe50degree1x3-footsoftgrid)iseasytocarryaround,soIkeepitpermanentlysetupasaportablelightmodifierwhenworkingwiththestudio-typeProfotolights.
TTLExposureShootinginside,Ididnโtneedfull-blast,matching-the-sunkindofpowerbutamoredelicatetouchoflight.IstartedoffshootinginTTLmodeontheProfotoB1portablestudioflash.TheTTLmodeoftheseunitsissurprisinglyaccurateforsuchpowerfullights.
TECHSPECS:
1/50second,f/4,400ISOCanonEOS5DMarkIII24โ70mmf/2.8IIUSM
Profotoflashwith1x3-footgriddedsoftbox
However,withever-changingcompositions,shootingwideandtight,theTTLexposuredidvary.Toensureconsistentresults,Ipickedoneoftheexposuresthatlookedcorrectonthebackofmycamera,thensimplysettheAirRemoteTTLcontrollertomanualmode.Thatlockedthedesiredexposure.
F56.NEWYORKCITYROOFTOP
orthisphotosessionwithHeather(www.heatherberman.com),aNewYorkactoranddancerโandformerRocketteโwehadaccesstotherooftopof
herNewYorkCityapartment.
ConceptIwantedtousethedramaticsunandskytoshowcaseHeatherโsvividdressandelegantmoves.Therewasnoneedtoposesomeonewhoworksasaprofessionaldancer.Shehadit!SoitwasjustuptometofigureoutwhereexactlyIwantedtoposeherandhowtolighther.
LightingandExposureTocreatetheseimages,Ishotinmanualmode,atfullpower.ThelightonHeatherwassoftened(andcontrolled)withagriddedProfoto1x3-footsoftbox.Inthiscase,theuseofthegriddedsoftboxwaslessbasedontheneedtocontrolthespilloflight(asinsection55).Instead,theappealwasthatitโsafairlycompactsoftboxthatiseasytocarryaroundinNewYorkโandeasytomaneuverthroughwindows,ontofireescapes,anduptotherooftop.Oftentimes,thechoiceofequipmentislessexactlybasedonwhatisidealintermsoflighting,butratheronwhatisphysicallypracticalandonhand.
TECHSPECS:
1/160second,f/14,100ISOCanon6DCanon24โ70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox
DepthofFieldIneededtomatchtheexposureforthebrightsky.Unfortunately,Ihadforgottenmyneutraldensityfilter,soIhadtoshootatf/14โbutthelackofcontroloverthedepthoffielddoesnโtbothermehere,sinceitreallyisaboutHeather,herdressandthebluesky.Theneutraldensityfilterwouldhavebroughttheexposuredownby3stops,turningthef/14intoanf/5forthesameambientandflashexposure.(Checksections54and36forotherexamplesoftheuseofaneutraldensityfilter.)
57.DECISIONS,DECISIONS,DECISIONS
ASpiritedSubjectJaleelKingisacolorfulcharacter.Whatmakeshimunusualishisspiritandmotivation.Ashotgunblastbyanangryneighborlefthimparaplegicsincetheageofeight.Heismostlyconfinedtoawheelchair,buthisdesiretobeaphotographermadehimadaptโandhiswheelsarenowarollingstudio,completewithabeautydishonamovableboomarm.ThebatteryforthisAlienBeesflashismountedonthebackofhiswheelchair.Thiskindofdeterminationandirrepressiblespiritjusthastoearnrespect.Visitwww.jaleelking.comtolearnmore.
CapturingTheirCharacterWhenphotographingsomeone,youhavetoconsiderthetreatmentonnumerouslevels.Compositionโwild,crazyanglesormorestraightforward?Howareyougoingtoframethem?Lightingโdramaticormoretraditional?Whatwillthebackgroundandsettingbe?Allofthesethingsneedtobebalanced.Sometimes,thedecisionsaremadebeforehand;othertimes,therightchoicesflowoutoftheselectedlocation.
TECHSPECS:
1/160second,f/5.6,400ISOCanon6DCanon24โ70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox
LocationSelection
WhenIcontactedJaleelaboutphotographinghimandhiswheels,hesuggestedtheincrediblysurrealMagicGardensinPhiladelphia.Thecrazycolorsandpatternsinthislocationsareabitofavisualoverload,soIdecidedtoplayitquitestraightwiththeseportraits.Amidsttheshiftingpatternsthatdonโtallowyoureyesaplacetorest,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,itwouldnโthavemadesensetolightthisportraitwiththemoodinessof,say,aMarvelcomic-bookcharacter.Itneededfairlyevenlighting.
Themainlightwasa3x4-footProfotosoftboxforsoftlightonGer.A1x3-footgriddedProfotosoftboxwasaddedbehindherasarim-lightandtoputalittlebitoflightonthewallinthebackground.Tocontrol(andevenminimize)theamountoflightfallingonthewall,Ifeatheredthemainlightawayfromthewall.
ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldnโtchangeastheposeorcompositionwasaltered.
TECHSPECS:
1/180second,f/5.6,100ISOCanon6D24โ70mmf/2.8IIProfotoB1flasheswithsoftboxes
ThelightsweretwoProfotoB1unitssettomanual.InmadeaninitialexposureviaTTLmode;whenIcheckedandsawthetestexposurelookedgood,IflippedtomanualexposuremodeviatheAirRemoteTTLcontroller.ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldnโtchangeastheposeorcompositionwasaltered.
Ofalltheincrediblegraffitithatadornedthe5PointzBuilding,IfeltthatthissectionbestfitthestylingofGerโscharacter.Itisdynamicandhasnocartoonfacesorfiguresbehindhertodistractattention.
T
59.STEAMPUNK/FUTURISTPORTRAIT
erriClaireโsstoryisaboutempowerment;hertattoos,dress,andpersonalstyleareanaffirmationofherindependence.Terriisateacher,holdinga
degreefromColumbiaUniversity.Withnumeroustattoos,adaringstyleofdressthatborrowsfromcosplay,steampunk,andfuturistthemes,shehopesherworkasamodelwillhelptoerasenegativestereotypesaboutwomenwithtattoos.
LocationandCompositionWithallthatinmind,wehadtothinkofalocationthatwouldbecomplementary.Ididnโtwanttheimagestobecometoomuchaboutthelocationitself.IjustwantedthescenetoenhancemyportraitsofTerri.
Meetingupinacemetery,Ilookedforabackgroundthatwouldprovideasenseofwherewewere,butnotbeimmediatelyrecognizableasacemetery.IdidnโtwanttohaveTerriposewithheadstonesoranythingsoblatantlyassociatedwiththelocation.
Roamingaround,Inoticedaseriesoftallmonumentsโlikearowofchessfigures.Fromacertainangle,theywerestaggeredinthebackground.IdecidedtohaveTerriposeinfrontofthem.Thisrepetitioninthebackgroundbroughtacertainsimplicitytothecomposition.
Ipositionedmyselfatananglethatletmeincludeatree(withsomelatefallcolors)intheframe.Fromtheโotherโside,Iwouldhavehadjustablankskyinthebackground.Ilikedthewaytheout-of-focustreehelpedfilltheframe.Shootingwiththe70โ200mmcompressedtheperspectiveandallowedmetobemoreselectiveaboutwhatIincludedinthefinalphotograph.
LightingandExposureThelightonTerriwasfromaProfoto600Rwitha1x3-footgriddedsoftbox.Theimagesonthefacingpagewereshotatf/2.8witha70โ200mmlens.Fortheimageabove,Iwantedashallowerdepthoffield,soIswitchedtomy85mmf/1.4lensandshotwideopen.Iaddedaneutraldensityfiltertocuttheambientandflashlight,sotheshutterspeedandISOsettingremainedunchanged.
TECHSPECS(FACINGPAGE):
1/250second,f/2.8,50ISONikonD4Nikon70โ200mmf/2.8VRIIProfoto600Rwithgridded1x3-footsoftboxTECHSPECS(ABOVE):
1/250second,f/1.4,50ISONikonD4Nikon85mmf/1.4GAF-SProfoto600Rwithgridded1x3-footsoftboxB+W77mm0.9(3stop)NDfilter
60.DEPTHOFFIELDCONTROL
FlashSyncSpeedandApertureWhenworkingwithlargerflashunitsandstudio-typeflashunitsoutonlocation,youโrelimitedtoyourcameraโsmaximumflashsyncspeed.Ifyougooverit,youโllgetthatblackbandacrosspartofyourframe.Thatceilinginshutterspeedchoicealsolimitsyourchoiceofaperturewhenshootinginbrightlight.
ForthisseriesofphotosofSeanNowell,aNewYorkโbasedsaxophonist,weshotontheBrooklynwaterfronttogettheNewYorkskylineinthebackground.At second(themaximumflashsyncspeedoftheNikonD4),theresultantaperturewasf/8forthelightoftheday.Iaddedlightfromasoftboxtobalancetheexposureformysubjectagainstthatofthecity.
Theimageshotatf/8(left)andf/2.8(below).
ABetterChoiceWhileshootingatf/8didnโtlooksobad(left),thebackgroundjustreallymeltedawayatf/2.8withalongfocallength(below).
TECHSPECS:
1/250second,f/2.8,100ISONikonD4Nikon70โ200mmf/2.8Profoto6009RflashwithsoftboxB+W77mm0.9(3stop)NDfilter
Topulltheexposuredowntothepointwheref/2.8wasausefulandusableaperture,Iaddeda3-stopneutraldensityfilter.(YoucangetNDfiltersinanentirerangeofstrengths.)Addingthisfiltermeant3stopslessambientlightand3stopslessflash.However,thelossinflashexposuredidnโtconcernme,sincethebalancebetweentheflashandambientexposureremained.Whatmatteredwasthatf/2.8goodness!
Thescenewithjusttheavailablelight.
Apull-backshotshowingthesoftboxinposition.
PerspectiveMattersThisimagewasshotatf/14โbutthemassiveamountofdepthoffielddidnโtdetractfromtheimage.Seanremaineddominantintheframeduetotheperspective.
LocationIreallylikedthisspotwiththewordsโstandโandโbeautifulโ(partofaWaltWhitmanpoemaboutBrooklyn)visibleontherailing.Itjustseemedappropriateforamusicianโsportraitโstandbeautiful.
INDEX
A
AdobeCameraRaw,32โ33,58โ59AdobeLightroom,58โ59AdobePhotoshop,32โ33Aperture,10โ11,28โ29,45,46โ47,52โ53,68โ69,78โ79,96โ97,98โ99,100โ
101,106โ7,112โ13,114โ15,116โ17,122โ23,124โ25.SeealsoDepthoffield
B
Backlighting,28โ29,30โ31,32โ33,66โ67,92โ93,110โ11.SeealsoRimlight
Backgroundselection,6โ11,12โ13,16โ17,18โ19,20โ21,22โ23,30โ31,34โ35,46โ47,50โ51,66โ67,68โ69,72โ73,74โ75,80โ81,84โ85,90โ91,100โ101,102โ3,104โ5,106โ7,108โ9,110โ11,112โ13,114โ15,118โ19,120โ21,122โ23,124โ25
Beautydishes,74โ75,82โ83,86โ87,112โ13,118โ19Blackfoamiething,42โ43,44โ45Booms,80โ81Bounceflash.SeeFlash,bounceBruceDorn,78โ79
C
Cameraangle,9,35,52โ53,62โ63,72โ73,96โ97,106โ7,112โ13,122โ23Canon,12,26,42,79,88โ89,95,115,116,118,121Childrenโsportraits,18โ19,44โ45,46โ47,52โ53,70โ71
Clothingselection,11โ12,22โ23,90โ91,102โ3,106โ7,110โ11,122โ23Colorgels,104โ5Colortemperature,40โ41,46โ47,48โ49,56โ57,58โ59Composition,6,8โ9,12โ13,16โ17,34โ35,36โ37,50โ51,62โ63,68โ69,74โ75,
102โ3,108โ9,114โ15,118โ19,124โ25Cropping,102โ3CTSgels,40โ41,46โ47,48โ49
D
Depthoffield,6,9,10โ11,12โ13,26โ27,45,46โ47,52โ53,68โ69,76โ77,78โ79,96โ97,98โ99,100โ101,112โ13,116โ17,122โ23,124โ25
Diffusercup,flash,38โ39,42โ43Distortion,minimizing,62โ63Distractions,minimizing,6,11,16โ17,18โ19,46โ47,72โ73,106โ7,112โ13
E
Edgelight.SeeRimlightEyeglasses,76โ77
F
Featheringthelight,78โ79,80โ81,90โ91Fileformat,32โ33,58โ59,104โ5Filllight,72โ73,80โ81,82โ83,112โ13Finesse,92โ93Flags,42โ43,44โ45Flash,20โ21,22โ23,24โ25,26โ27,28โ29,30โ31,36โ37,38โ39,40โ41,42โ43,
44โ45,46โ47,48โ49,68โ69,72โ73,74โ75,76โ78,78โ79,80โ81,82โ83,86โ87,88โ89,98โ99,104โ5,106โ7,108โ9,110โ11,112โ13,114โ15,116โ17,118โ19,120โ21,122โ23,124โ25
bounce,42โ43,44โ45,46โ47colortemperature,40โ41,46โ47,48โ49
distance,28โ29,68โ69,82โ83exposurecompensation,38โ39,42โ43fill,72โ73,112โ13high-speedsync,98โ99manual,22โ23,30โ31,36โ37,38โ39,72โ73,88โ89,114โ15,120โ21monolights,74โ75,76โ77,80โ81,86โ87,108โ9,110โ11,114โ15,116โ17,118โ19,120โ21,122โ23
power,28โ29,38โ39,78โ79,112โ13syncspeed,45,98โ99,124โ25TTL,20โ21,22โ23,36โ37,38โ39,42โ43,44โ45,114โ15,120โ21
Flare.SeeLensflareFluorescentlighting,46โ47,84โ85Focallength.SeeLensselectionFocusing,52โ53,76โ77,84โ85,88โ89Fresnellights,50โ51,66โ67Fuji,102โ3
G
Gels.SeeColorgels,CTSgels,orNDgelsGobos,24โ25GoldenMean,74โ75Grids,76โ77,80โ81,82โ83,108โ9,114โ15,116โ17,118โ19,120โ21,122โ23Groupportraits,16โ17,22โ23,24โ25,26โ27,32โ33,38โ39,40โ41,58โ59,60โ
61,64โ65,66โ67,68โ69,94โ95,110โ11
H
Hairlights,78โ79,82โ83,84โ85Histograms,32โ33
I
Incandescentlight.
SeeTungstenlightInverseSquareLaw,82โ83ISOsetting,28โ29,114โ15,122โ23
L
LEDlights,50โ51,56โ57,58โ59,66โ67,90โ91Lensflare,7,24โ25,32โ33,68โ69,88โ89,110โ11Lensselection,6โ7,8โ9,10โ11,12โ13,18โ19,24โ25,35,46โ47,52โ53,56โ57,
62โ63,70โ71,72โ73,78โ79,84โ85,94โ95,96โ97,102โ3,108โ9,118โ19,122โ23,124โ25
Lightmeters,28โ29Litepanels,58โ59,66โ67,90โ91Location.SeeBackgroundselectionLowel,58โ59,96โ97Low-lightportraits,26โ27,38โ39,42โ43,48โ49,56โ57,58โ59,66โ67
M
Manualflash.SeeFlash,manualMonolights,74โ75,76โ77,86โ87Monopod,48โ49,56โ57
N
NDgels,76โ77,78โ79,112โ13,116โ17,122โ23,124โ25Nightportraits.
SeeLow-lightportraitsNikon,5,7,9,10โ11,12,17,19,23,24,29,31,35,36,39,41,44,46,48,51โ
52,54,56,58,61,64,67,69,70,73,75,77,78โ79,80,82,84,87,90โ91,96โ97,101,104,106,108,110,113,123,124
O
Overexposure,32โ33,45
P
PocketWizard,38โ39,48โ49Posing,8,14โ15,16โ17,20โ21,22โ23,24โ25,50โ51,52โ53,60โ61,64โ65,
66โ67,68โ69,74โ75,80โ81,84โ85,88โ89,92โ93,96โ97,100โ101,102โ3,118โ19,122โ23
Postproduction,32โ33,58โ59,84โ85,86โ87,102โ3Profoto,80โ81,82โ83,86โ87,108โ9,110โ11,112โ13,114โ15,116โ17,120โ
21,122โ23Props,11โ12,32,34โ37,42โ43,52โ53,90โ91,108โ9,110โ11,112โ13
Q
Quantum,78โ79
R
Reflectors,34โ35Rimlight,8,14โ15,24โ25,26โ27,28โ29,30โ31,36โ37,38โ39,88โ89,92โ93,
112โ13,120โ21.SeealsoBacklighting
RuleofThirds,74โ75
S
Scene-setters,102โ3Shutterspeed,38โ39,45,56โ57,86โ87,88โ89,98โ99,114โ15Sidelight,66โ67Snoots,78โ79Softboxes,20โ21,22โ23,24โ25,28โ29,30โ31,38โ39,48โ49,68โ69,76โ77,
78โ79,80โ81,82โ83,84โ85,98โ99,108โ9,110โ11,114โ15,116โ17,118โ
19,120โ21,122โ23Spinlight360;48โ49Spotlights,14,48โ49Striplights,26โ27,78โ79,108โ9Studioportraits,76โ77,78โ79,80โ81,82โ83,84โ85Subjecttone,16โ17
T
Teleconverters,18โ19Timeofday,6,8โ9,11,30โ31,40โ41,112โ13TTLflash.SeeFlash,TTLTungstenlight,40โ41,56โ57,84โ85,90โ91,92โ93
V
Variety,increasing,34โ35,36โ37,68โ69,94โ95,96โ97V-flats,80โ81Videolights,48โ49,50โ51,56โ57,58โ59,76โ77,90โ91,96โ97Vignettes,9,68โ69,108โ9
W
Weddingportraits,16โ17,32โ33,58โ59,94โ95Westcott,84โ85Windowlight,52โ53,54โ55,64โ65
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