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
One common thing I witness whenever I try to be of some of kind assitance to enthusiasts is that they rarely or even never change their angle in relation to their subject. Maybe that's because of nowadays popularity - and quality - of zoom lenses or the unfamiliarity with external lighting on the set. But that's quite easy to change, and it does comes for free - all you have to do is move your feet
Dark skies - once quite common in the heavily industrialized Ruhr valley. Like the smog in London back then, but minus the fog and the good manners. But nowadays, the so-called "Ruhrgebiet" is busy becoming a post-industrial society, turning coking plants into museum pieces and steel mills into local recreations areas. Which is good for the environment, but a bit of a problem if you are looking for some dramatic sky as you can't count on the industry anymore for some serious clouds.
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.
ove to play with light. And I tend to be on the right side of the histogram - the bright side that is. Where pixels blink in joy. Which means that I usually disregard the factor that shadow shapes the form - an object, face or body. But I couldn't care less. In particular when I am shooting women. Shadow is supposed to make something interesting. Sure thing. But then again, as Tonino Delli Colli once said: "How can you dare to hide something so wonderful in the shadows?"Read More
Strobes. Grew up with them. Metz CT 45. Once the gold standard for the pressmen. Reliable and powerful. Now long forgotten. But since then I can't live without strobes. It's a habit. An addiction. Fortunately, its an addiction that you can switch off at any time.
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