I’ll own up to this and say that I’m guilty of being stuck in my ways. But age is no excuse for not being as adaptive as I should be to the changing times. But let me explain.
This is the last part of a three part mini-series of articles on LED lights for photographers. Part 1 looked at the pros and cons of commercial level LED lighting for photographers, so if you missed it, Do LED Lights Have a Place in Your Kit? – Part 1: Pros & Cons. Part 2 saw us test the viability of using coloured LED bulbs in our strobes, including what to look for and what I recommend. Here’s the link to that one too if you missed it Do LEDs Have a Place in Your Kit? Part 2: Coloured LED Modelling Bulbs.
This is the second part of a three-part series of articles on LED lights for photographers. Part 1 looked at the pros and cons of commercial level LED lighting for photographers so if you missed it, here’s a link – Do LED Lights Have a Place in Your Kit? – Part 1: Pros & Cons.
In this weeks article, I aim to test a selection of cost-effective, coloured LED bulbs that can be used in your strobes instead of regular tungsten modelling bulbs. Are they any good? What creative options can they provide to us? And is it worth spending a little more to get some decent ones?
In this article, I look at what LEDs actually are, how they started out and where they sit in the world of photography now. Many photographers have switched over to using LEDs, but do they have a place in your kit and why aren’t we all using them?
To avoid making this one article ginormous, I aim to separate it out into three parts. Part 1will be the pros and cons of LEDs, part 2 will be testing a variety of coloured LED bulbs in our strobes and part 3 will cover using them on a model shoot including advice and lighting diagrams.
Sometimes the hardest lighting setups to achieve are actually the ones that look the easiest. For years I’ve wanted to emulate that dappled lighting you see through leaves on a sunny day, or that rippled light you see at the bottom of a swimming pool when the wind catches the water. Like I said, this should be relatively easy to recreate in a studio in theory, as every natural light setup is only ever one light. How hard could that be? (<- photo-nerd pun)
It’s not often I get to shoot very simple, clean white light shots, but in a recent shoot the model asked if she could get some updated ‘Polaroids’. For those of you not familiar with the term when used in reference to a model shoot, it’s actually not the now obsolete and ludicrously expensive single-shot film, but a request for very basic portraits of the model for their agency. This ‘Polaroid’ term is a relic from the analogue film days and it essentially now means shots that are un-retouched and with the model wearing very little makeup.
If you’re like me and you’ve tried to attach gels to your lights in the past, you’ve likely resorted to using one of the many types of sticky tapes available. When I used to manage a studio, I would see all manner of tapes being used to attach gels to hot modifiers. From masking tape, duct tape, parcel tape and when they ran out, even regular old sticky tape was used. But ultimately, all of these tapes fell short in achieving their simple task of holding a coloured gel in front of a light.
Art has arguably been around almost as long as humans have. The moment we learned to mark something for others to see and interpret, the moment art was born. Thankfully for us photographers, we needn’t go quite that far back to begin learning from the history of art, in fact we only need go as far as the ‘Old Masters’.
Since the recent release of my new Long Exposure Portraits tutorial from RGG EDU, I’ve been inundated with messages and questions relating to the light painting section.
Questions like: ‘What’s the best light painting tool to use? ‘Where can I get them?’ ‘Which ones did you use in your video?