To re-create the classic Hollywood self-portrait, we will first analyze and reverse-engineer some portraits from that time and style. Next, we’ll choose what kind of lights and modifiers to use. Then, finally, we’ll position those lights and take the shot to see what results we get.
I really believe that learning to properly use a bounced flash will give you a much greater degree of freedom when you are on a shoot. In venues that allow for it, you will be instantly prepared for any lighting condition and will no longer be shackled to the off-camera flash or sent scrambling for one to mount to the camera.
In this video, Sal demonstrates how he uses natural light to create beautiful portraits. From the position he needs to be, to communicating with his subject, this video will give you a great inside look on what it takes to use natural lighting to create the look you’re wanting.
Lighting can make or break a photo. Getting the right light can be easy with the Profoto B1. Whether the shoot is inside or outside, this off-camera flash is guaranteed to give you an image worth sharing.
There are rules in photography, and there are rules in lighting as a part of photography. However, when you're photographing conceptual work or fine art, you are largely expected to make your own rules. Only you know what is in your own head, and you have to bend any rules that stand in the way of making that vision a reality.
Photography is so much more than "What camera do you own?" If you understanding lighting, you are well on your way to conquering one of the most difficult aspects of photography. Without light, you are not making an image. We need light. We should crave light, in all its forms.
Whether the story is very apparent visually or more subtle, I want to understand it so I am then able to start designing a lighting plan to represent that story. Should the lighting be soft or natural to reflect the subject’s personality? By starting with their stories, I am inspired to visually tell a story with light.
Like many who teach lighting for photography, I tend to focus heavily on the other three properties of lighting first (quantity, quality, direction) and avoid color. That’s because you really can make quantum leaps in your technique by simply learning to “shape” light, and color kinda falls into a separate category.
The one thing you can count on when you’re shooting on location is that you can’t count on anything except a variety of challenging lighting situations. These all fall squarely into what I like to refer to broadly as “bad light.” Bad light is any quality of light that is inconsistent with the lighting desired for the images you’re about to capture.
We need to have the ability to shoot when and where things happen. This means you will need to know how to handle direct sun. There is no reason to hide inside when the sun is high and harsh; we are going to show you how to get out there and shoot successfully.
