Combining natural light and flash can be tricky, but photographer Axel Rivera shared a perfect example of such image with us. He shot this gorgeous portrait in quite tricky conditions – it was during the sunset, the model was backlit, and he only had one strobe. But he did a great job, and he kindly shared his setup, tips, and tricks with DIYP.
As we reported a few weeks ago, Godox has launched new Witstro AD200 Modular Strobe. It’s also called 200x or eVolv 200, so if you see it under these names – have in mind it’s the same thing. If you’re thinking of investing in one, we’re sharing a review from photographer Robert Hall. As I can see from the video, this unit is very versatile, and I believe it’s worth the buck. According to Robert, this is the most versatile Godox unit so far, and it has lots of tricks upon its sleeve.
I’ve become a big fan of Godox (Pixapro, Flashpoint, etc) over the last couple of years. They sprang out of nowhere, and in no time at all built up a solid following. They are the first company to offer a complete self contained solution that covers everything from speedlights to studio strobes. But their latest addition is something of an oddity. It’s not quite a speedlight, and it’s not quite a strobe, but somewhere in between, and both at the same time.
The Godox Witstro AD200 is a 200Ws flash unit with two interchangeable heads. One is a bare bulb, like the AD180/360. The other offers a more traditional speedlight-like fresnel head. But it doesn’t have a hotshoe, so you can’t easily mount it onto your standard speedlight bracket. It does, however, have 1/4-20″ threads in the side and underneath. One big advantage of this over something like the AD180 or AD360 is the weight savings. It doesn’t use an external power pack, but a built in a LiIon battery.
I was just raking up the last of the fall leaves and though that I’d like to get some photos of the kids jumping in my big leaf pile.
The image I had in my head was one of those amazing fall days where that gorgeous warm glowing late day sunshine was back-lighting the leaves and highlighting the kids.
Problem was: by the time I was done raking the leaves, it was petty late in the day so most of my yard was in shade, and the ambient light that was available was coming from the wrong direction.
To get the photos I wanted, I decided to fake that late day warm sunshine glow with strobe sunlight. In this article, I will show you how to do it yourself (its actually pretty easy to get great results)!
The Flashpoint StreakLight 360 is known by many names. Godox, for example, sells it as the Witstro AD360II. But there is a solid reason to buy that strobe under the Flashpoint brand, and that is that it has the best instruction set ever made for a strobe. (Thanks Chris-Burger for sending those over)
Forget about Chinese machine-translated texts, this one is 100% original and it will get you LOLing at lest a few times if you read it through. Actually, I think that this instruction set is a work of art. So rather than throwing that manual away, take the time and RTFM, you’ll thanks me later.
Here is a scanned copy of the manual, followed by some text. And now, RTFM!
Nine times out of ten, I would rather shoot with natural light. But no matter how prepared I am or how keen I am on picking out the perfect moment, the reality is natural light sometimes needs a little assistance to capture the vision I have in my mind. It’s at times like these when I do my best to combine the best of both worlds: natural light and flash.
As someone who shoots on location a lot I’m often given a choice on what I like to call “popping” or “blending” a subject into a scene, in short this really as as simple as using your main light source to either complement the direction of a natural / embedded light source in a scene (a candle, window, lights etc) or contrasting it completely so that the subject “pops” out and suspends the belief that they are illuminated within the scene naturally.
Here’s what I mean:
I was recently at an interactive installation that had three theater lights – red green and blue shining on a white wall.
The kids were fascinated by this – especially with how the colors mixed and how they could make different colors by casting shadows on the wall.
This is a human scale representation of the red-green-blue (RGB) additive color model (the electronic screen you are looking at right now uses the exact same method to reproduce every color you’re looking at).
It also reminded me of some of the really cool applications to use photography gels to have fun with color.
So, this article is for stylish-or-so (mostly wedding) photographers on a budget; if you were looking for a DIY honeycomb speedlight grid that is sleek, easy to mount and efficient, to use on your strobes during balls, parties and any low light dynamic situations that you might face during your events, you might be interested in this tutorial.
As we know, shooting in harsh sunlight at midday is a portrait photographers nightmare! But, it can produce a very striking and edgy look thats fantastic. However this particular author lives and works in Northern Ireland – now, most will agree, this is a beautifully scenic part of the world unfortunately though we are not blessed with a lot of sunlight. In fact this year its hard to remember a day when its wasn’t raining!
Hence my project to create a wonderfully hard Mediterranean sunlight effect in the studio! In fact this is a fairly easy task and using the correct modifier can produce excellent results. For my first test I wanted to create a textured wall effect rather than use a seamless paper roll. I purchased a 4′ X 8′ sheet of plasterboard (Drywall) and produced a textured effect by liberally applying Spackling Paste to the board.