I would probably need an infinite number of counting beads to count how many times a photographer says they are trying to capture the master painters of old in their work. But one photographer embodies this style whilst infusing it with their own master touch more than any other. Meet Gemmy Woud-Binnendijk, one of the sweetest people you will ever meet and a master of portraits! I first saw Gemmy’s work a few years ago and was blown away by the attention to detail and subtle touches. At first, I thought they were paintings until I looked closer. Her influences are worn clearly on her sleeve for all to see, but she never copies. Gemmy’s work forces you to star at it, looking for the little touches that add character, and that is where the magic lies.[Read More…]
There is an almost endless supply of lighting modifiers available on the market right now, some are cheap and some of the better ones are certainly a lot more expensive. But does cost directly relate to quality? Well, a lot of the time yes it does if you’re referring to build quality.
In general, the more you spend, the more well-made and durable the modifier will be. But does that extra money you spend mean you’re getting a better lighting modifier overall? I would have to say no, in fact for less than £15/$20 you can get some stunningly beautiful light from a homemade lighting modifier. Read on to see examples of the stupidly cheap DIY lighting modifiers I’m referring too.
Shooting portraits in the studio with flash can be daunting to newer photographers. They look at the setups like the one above and have no idea what each of the lights is doing, how or why. This video from photographer Mark Wallace is a primer to flash-lit portraits in the studio.
Mark explains what each light is, its purpose, and how each of them contribute toward the final shot. It’s a great breakdown showing you exactly what everything does. No matter how many lights or what lighting setup you’re using, the same principles apply.
The flash market used to be rather simple. You go to one company for speedlights, usually your camera manufacturer or a specialist brand like Metz. Then, you go to another company, such as Bowens and Elinchrom, for strobes when you needed more power. The strobe market stayed largely stable, but then Yongnuo came along and upset the speedlight scene quite drastically.
Last night, as I was in bed, browsing Facebook on my iPad, as you do, I ran across a post over on Flash Havoc. Described as “something of an open letter to Yongnuo”, I thought it seemed to hit the mark pretty well on many points. So, here’s some of my own thoughts.
David Hobby is the man who started off the whole strobist movement. He literally is the Strobist. It’s been a while since we’ve seen him on video, and he took a bit of a break from the site for a while, too. He is now back, with a new free Lighting 103 course, focusing on colour.
The Phoblographer caught up with David recently at the Fujifilm Festival in New York City. Naturally, out came the camera, for David to impart some of his wisdom. Specifically, it’s aimed at those thinking about, or looking into getting their first flash.
If you’re new to studio portraits, there’s just so much to learn about the light. Also, you have a choice between strobes/speedlights and continuous LED lights. If you can’t decide where to start, the latest video from Joe Edelman could be helpful and get you on the right track.
In this video, Joe breaks down the differences between these two types of lighting. You’ll learn their main uses, and also why it’s good to use one or the other in different situations.
Before the proliferation of speedlights and portable strobes over the last few years, people always asked me why I’d take flash out in the daytime. It was often difficult to formulate an answer that they’d accept. They never really “got it” unless I took them on a shoot with me so they could see first hand.
This video from photographer Manny Ortiz embodies the answer in my head, though. Essentially it’s about having options. Sometimes the natural light will give me exactly what I want, and sometimes it won’t. In the horrible British weather, for me it’s more often won’t. So, I take flash with me.
All the time, I see new flash and strobe owners ask “How do I fire these things?, which isn’t an unreasonable question. For speedlights, it’s fairly straightforward. You buy the one that fits your camera’s hotshoe, slide it on, and beyond that you read the manual to figure out what all the different functions do. But what if you want to get it off your camera, or you’re using studio strobes?
In this video, Jay P Morgan shows us the three main ways to fire flashes with your camera. It’s fairly simple to do using either a sync cable, optical slave or radio slave. But each method has its own advantages and disadvantages. Not all methods suit all circumstances. So, it’s good to know and understand all three, and when might suit a certain situation best.
Well, they may have been lagging a little behind Godox and Cactus, but Profoto have finally caught up. Profoto have announced a new Fuji compatible Air Remote TTL-F trigger. And whereas Cactus and Godox had to reverse engineer their compatibility, this trigger is made in collaboration with Fujifilm themselves.
The Profoto AirTTL system was first announced in 2013. It was a pretty fantastic thing back then. Now that cross-compatibility outside of Nikon and Canon is well and truly here to stay, it’s nice to see Fuji getting some love from the higher end names in flash.
So, this is an interesting, if rather unusual idea. Photonicz is an LED based strobe (a world’s first, apparently) designed to offer the advantages of both strobes, and modern LED technology. Lots of power, lightweight, portable power through V-Mount batteries, weather sealed… It sounds ideal. But, it does kind of just look like a giant heatsink with an LCD bolted on.
The product is currently being funded through Kickstarter where they say they’re ready to start tooling and production. On paper, they look quite impressive. They boast flash durations as fast as 1/50,000th of a second, with up to 30 pops per second at full power. Full power, they claim, is the equivalent of a 2500Ws traditional strobe. It also offers high speed sync for a whole bunch of camera brands.