As a design engineer at heart, Vivitar circa mid-70's, I enjoy finding a way to adapt lighting products to work together. Such is the case with the excellent OCF light Modifiers by Profoto and the somewhat revolutionary design of the Godox AD-200X portable strobe light.
A fair amount of information on the internet is concerned with the demonstration of the use of only one light. The approach I take is to light the whole subject and create a sense of dimension in the final image. This being said, it is also very important to establish the setting or backdrop for the photographs.
This blog post chronicles a day at my recent Lighting Workshop held on July 9, 2017. The place, Woods Canyon Lake, N-E of Payson, AZ
We began at the lakeside campground of Woods Canyon Lake, in a setting of pine trees and Aspens. And while Phoenix was sporting temperatures in three digits, we enjoyed the pleasantry of cool breezes and mid 70's weather.
The theme of this portrait, eliciting the feeling of the meeting of Guinevere and King Arthur in the forests of Camelot, a cinematic look was envisioned.
During the 2017 summer session at West Coast School, held at the University of San Diego, our instructor and Master Photographer, Jesus Padilla Neri took us on an outing to Coronado Beach for sunset shots. Our Beautiful model, Jena Masero provided us with the perfect compliment to the Sunset. Join us on this outdoor photo adventure with Jesus Padilla Neri
As our class at West Coast School with Jesus Padilla progressed, we ventured over to the south end of the USD campus to the reflection pool. While the sun was relatively high, we were still able to utilize the it as a back light for our lovely model, Sara. Our next step was to measure the ambient light level in order to set our base exposure. With his trusty Sekonic light meter in hand, Jesus measured the scene illumination. The scene measured in at ISO 100, shutter speed at 1/125th and an aperture of f-11.
During the 2017 summer session at West Coast School, held at the University of San Diego, a small group of photographers and I had the rare privilege of studying Wedding Photography Lighting with Jesús Padilla Neri, a renowned wedding photographer from León, Mexico.
Jesús shared his systematic lighting techniques with us in a very straightforward manner; with lighting diagrams, behind the scenes videos and in class demonstrations. With the basics under our belts, we ventured out into the real world, exploring the various picturesque locations within the beautiful USD campus grounds.
In 1988, Photo-Sonics, Inc. was once again awarded an Oscar from the Academy of Motion Picture Arts and Sciences© for technical achievement with the design and manufacture of the 4ER 35mm High-Speed motion picture film camera, used to capture slow motion special effects. The award was presented to Mr. Roy Edwards, the chief mechanical designer, and the Engineering Staff of Photo-Sonics, Inc.
The purpose of this article is to acquaint you, the photographer using electronic flash, with the working mechanics of high speed sync; what it is, what it isn't, and how it can be confidently incorporated into a functional outdoor portrait lighting workflow.
What will be presented is a practical way to determine the exposure contribution of a specific flash/modifier combination, once the X-Sync guide number is defined by measurement, and the resulting shift in light value output, when incorporating high speed sync, at various shutter speeds.
From a long time and perhaps obvious fascination with the glamour portraits of Hollywood Stars from the 1940's - 1950's, I wanted to recreate that look with my own photography. My Uncle Julian was stationed in Japan during the close of WWII and was the editor and chief of Stars and Stripes magazine. His camera of choice was a 4x5 Speed Graphic. Looking at some of the famous glamour portraits of that time, I became fascinated with the lighting style and an avid fan of Film Noir. The lighting techniques achieved with Fresnel lens based spotlights, was nothing less than remarkable in my mind
Creating dramatic images draws on the imagination of the photographer. Past experiences, previous and self assignments as well as trying new approaches, provides a level of confidence from which the creative photographer will go the extra mile to bring the components together that will define a work of art and a salable image.
In the Hollywood Golden Age of Film Noir, there existed an expertise of crafting light and shadow, building suspense, drama and exquisite beauty.
This adventure, depicted in my new book, "Creative OCF Lighting Techniques for Photographers", would ultimately fast forward to the writing of this book. That is, define a course for my education and professional vocation and ultimately resulting in the sharing of what I had learned; through workshops, my OCF Lighting book and one on one tutoring.
In 1956, the school I was attending in Ojai, California, built a black and white darkroom. We spooled 35mm Tri-X movie film ends from the Air Force photo lab into 35mm film cartridges and loaded vintage 35mm cameras. In the spirit of a movie director, I searched for interesting and story telling ideas to photograph. I then processed my film and printed a contact sheet of the 30 plus images I had captured.