In this video, USA TODAY photographers Robert Hanashiro and Dan MacMedan talk about how they approach shooting an awards show like the Emmy’s. [Read more…]
Here’s another great lighting setup and walk-through from Karl Taylor as he shoots a bottle and glass of red wine.
He starts with setting up the scene to create warm tones and textures. Then he walks through the lighting setup from the background and accent lights up to the key light as he builds the scene.
Obviously, he’s using Broncolor strobes in the setup but the principles apply across the board with cheaper speedlights and strobes as well.
While he demos the Profoto kit, the same rules apply to smaller speedlight kits and other TTL monolights and flash heads. With purely manual flash communication, however, you are limited to the sync speed of your camera (often around 1/200s) and won’t be able to freeze that motion.
In this short video, Gary Fong takes a look at full frame, APS-C and 1.0-type cameras to see how the depth of field is affected at the same effective focal lengths.
The challenge, of course, is that you must change the actual focal length of your lens to accommodate the same field of view on cameras with different sensor sizes. Invariably, this changes the depth of field so that the camera with the smaller sensor appears to have a much greater depth of field, while the full frame camera has a much shallower depth of field.
Gary’s demo is a nice practical demonstration of how these different camera sensors provide different images when shooting the same scene from the same position.
In this short video, Damien Lovegrove explains how to take low light portraits and retain good exposure and tonal range.
In the first shot, Damien uses a tripod and dials in manual exposure compensation to get the tonal range spot on. In the second shot, Damien uses a monopod and multiple light sources, including a rim light to add depth and separation.
Check out this video from Karl Taylor as he walks through the setup of a stroboscopic sports shot using the Broncolor Scoro packs.
Aside from the lighting setup and programming the intervals into the power packs, the notion of moving the camera during the exposure in order to separate the exposures from the strobes is a very cool technique. As Karl notes, it prevents the strobe exposure from stacking up in areas of the subject that don’t move as much and it also does justice to the composition by separating the subject across the four exposures.
If you’ve never tried stroboscopic or multi-strobe flash photography before, you don’t necessarily need the $10k+ Broncolor Scoro packs. Many system speedlights (e.g., Canon & Nikon) offer a “Multi” mode that will allow you select multiple flash firings during one exposure, along with a frequency rate and power level. Obviously, they are going to be less powerful than the Scoros but can still produce solid stroboscopic results with proper planning.
Check out your flash manual to see if it is compatible.