Great lighting is what separates the good images from the bad, as well as the good from the great. It’s literally and technically what your camera sensors capture every time you press your shutter. As a photographer, our number-one goal should be to chase down great lighting, maybe even learn how to create it if called for, and then place our subjects within that scene to bask in its brilliance.
The golden hour, in my opinion, is one of the great wonders of the world. The time of day just before sunrise or sunset (I prefer sunset) when the light streams in with its red and orangey glow, warm and oh-so-satisfying to bask in. As a photographer, there is literally nothing quite like shooting at this time of day.
Every location poses different challenges, but the results can be great when you get outside your comfort zone and work with a purpose. In this article, I will explain my creative thought process and cover the technical details I encounter when creating environmental portraits.
Location-based photographers need to be able to create lighting under any circumstance, at any time. Once a photographer’s schedule becomes more and more filled as their business begins to grow, the luxury of shooting all clients during the beautiful, golden-hour, natural light will become a thing of the past.
I recently picked up a new set of V-Flats for the studio from the aptly named V-Flat World. V-Flats, a studio staple, are typically comprised of a pair of two 4x8 sheets of foam core—black on one side, white on the other—taped together along their long end to create a book-style configuration of panels that can be opened (hence the V in V-Flat) or closed.
Using strobe in the studio and on location is now second nature for me, and it can be for you too. I think you’ll find once you understand strobe it opens up a whole new world of exciting creative possibilities. Here are the 10 things I wish I knew before I started using strobe.
Off-camera flash can be an intimidating thing to try to master. Where do you put the flash? What power should it be on? When do you need more than a simple Speedlite? What about modifiers? Where do you even start? Here are five tips to help you out!
It’s a photographer’s house of horrors—a dark reception hall. Let me simplify everything for you. Below, I’ll lay out the easy system we at The Blumes use to create crisp, color-balanced, commercial-quality reception images every time. You’ll just need your camera, three cheap flashes, and a few rubber bands. Sound good?
For this series of hip-hop-inspired black-and-white portraits, I wanted a dramatic, moody, high contrast look. In the studio, nothing says drama like a black background. My concept was all about black on black—black skin, black wardrobe, on a black background. Lit properly, this monochromatic palette would isolate, elevate and highlight the subject in a punchy, dramatic way.
We train our team in four technical elements: lighting, composition, posing and storytelling. Light is the first thing our photographers must become proficient in before moving on to the next subject. Lighting is essential because without it, we don’t have a picture. The word photography literally means “the study of light,” so to understand lighting, the first thing you need to understand is how to recognize it.
