Giant soft boxes. Parabolic umbrellas that look like radar stations. Reflectors equaling the size of tea clipper top-sails from a time when photography was young and nothing but alchemy - or even blasphemy. Size does matter when it comes to light formers - so they say.Read More
This is not about balancing. This is about killing the sun. Killing like in "Go ahead, make my day, punk*". And it is about shooting in the worst conditions, at noon, in bright sunlight, with no shade available. And no concept or location neither. Now, go ahead ... make my day.
For shooting flash amplified on location, this is a workflow that just works. As fast as TTL, very reliable and for sure more consistent once you nailed the variables down.Read More
Flash. Love it. All of it. Its technical aspects, its possible complications. The control you gain. The troubles you have. The sound of those little photons when they are pushed through a diffuser on full power. You can almost feel them. Like a breeze of sun. Fire Mission! Model in the open! Fire! Yay. However, every so often nothing can beat ambient. Absolutely nothing. Which is a shame. As you have just dragged your lead-powered equipment a long way uphill.Read More
As we all have heard by now: Photography is painting with light. Right. Hoo-Ray. Big Yaaaawwwn in the audience. You could say that for Adobography as well, only that with Adobe you paint light with pixels instead of the sun or strobes. And it comes with an undo function. So why bother to paint with light? Because it’s instant fun. Compared with moving pixels in solitude in front of your computer screen in could be as much fun as shooting Polaroid back in the days.Read More