No matter what kind of photography you prefer, there are so many light modifiers to choose from and give your photos the look you want. A wide choice is a great thing, but it can also be confusing. To help you out, Scott Choucino has compared as many as 17 of light modifiers in his studio. So, let’s see in his video how different light modifiers work and how they affect your images.
We moved to our new studio a few months ago and we have been gradually building things as we go. This will be the first of several videos in this series where we will try and give a look at what we tried to accomplish with our studio.
Our new studio isn’t big, it is actually about the size of a mid size room (close to 40 square meters which is just over 400 square feet). It has quite low ceilings which isn’t ideal for photography in many respects but we tried to get the best out of it and it does have some advantages for what we have been doing as you will see later on.
A little while ago I was teaching one of my lighting workshops and one of the attendees was looking to implement some of the set-ups I was sharing into his workflow. Seems simple enough right? Well it turns out this photographer was a Formula 1 trackside shooter that needed to get portraits of drivers and crew. As you may well imagine, there is limited time to setup a photoshoot in a busy pit-lane on race-day, so he was after lighting modifiers that would be suitable for his slightly more ‘run-and-gun’ portraits.
When photographing portraits in a studio, you can create many different looks using only one light. Depending on how you place it and how big it is, a softbox can significantly change the look and mood of your photos. In this video, Jay P Morgan discusses different factors of softbox placement. And when you learn how they affect your portraits, you’ll know exactly how to achieve the look you want.
Lighting glossy metal objects can be really tricky when you incorporate them in photos. They don’t only reflect light in a pretty harsh way, but they also reflect the scene. In this video, Jay P. Morgan teaches you how to light shiny metal objects so you make them look their best in your shots. He guides you through his setup and gives an example of lighting a BB gun in a studio.
The name of this installment is meant to be a joke, but anyone who follows the blog knows that I’m is a little bit color-obsessed. This image is a play on the highly popular orange and teal color scheme, using the complementary contrast between orange and cyan
Sometimes you want a hard light to make a statement, but sometimes you want a soft light, a light that draws little attention to itself. That was the case with our Model in a Red Dress shoot.
Taking a 180 degrees turn from our color-bursting portrait, here is a very soft black and white portrait and how to build a great setup for it.
Some portraits, you just want to be beautiful, not after retouching, but when you’re taking them, right out of the camera. That’s how this one goes.
There is one genre of photography that is black and white. There is another genre that is exactly the opposite and it is full of color. Today’s breakdown belongs to the second genre.