When faced with the challenge of light, many of us photographers simply reach in our trusty camera bag and grab another strobe or two to throw more light at it. We accept the challenge and attack. I’ve been challenging myself lately to modify the light and add detail or texture and change the focus of the image.

Years ago, I was at a Marty Rickard seminar and was amazed at what he was doing with simple light modifiers; reflectors, mirrors and gobos. He could light up a barn at sunset and make it look like high noon. And on the flipside he could take full daylight and shape it, give it depth and texture and make it look like he was shooting at sunset in a wooded glen.

You can put as much production into modifying light as you like or keep it simple with one or two units to keep it fun. As far as light modifier we have many tools at our disposal:

• soft boxes
• umbrellas
• reflectors and light panels
• gobos
• mirrors
• glass/windows
• translucent materials
• fabrics
• blinds and other window coverings

In the example photo above I’ve used three different techniques to modify the light.
Photo 1, this is natural light coming through the window about an hour before sunset. Beautiful color and direction but a little harsh. While the dark shadow on Celia’s left cheek may be the perfect look for a leading man or athlete, it’s a little harsh for a girl of 11 years.

Photo 2, I added a white piece of foam core about 18 inches from Celia’s face, right next to her shoulder at 90 degrees to the camera. You can see how a simple reflector that cost less than $3 opens up the shadow and makes a more pleasing portrait.

Photo 3, a lace curtain is placed about 18 inches from Celia’s face and we still have the reflector to Celia’s left. I’ve done this before with brides using their lace from their veil projected on a seamless background. It’s a nice, low-cost alternative to projectors or focusable studio lights and templates.

Photo 4, I placed the same lace curtain about 6 feet from Celia with the reflector still on her left shoulder. You can see how this will soften the lines of the pattern on her skin creating fun and interesting shadows. Playing with and mixing patterns, distance-to-subject and opacity of the fabric can make the portrait unique and fun. The easy thing about this technique, if you’re using window light is that you can hang the lace from the window and double up the lace in spots with clips and lets you play with the texture and shadows without an assistant.

One of my favourite techniques is to use a honeycomb grid over a studio spot and use lace to project on my subject and use one or two gobos to feather the light managing the shadows with a little detail.

I look forward to seeing any images you may have with light modifiers.
Cheers,
~fotodog

Short Light vs Broad Light

In the example you see here, the photographer who shot this cowboy portrait, chose to use broad lighting, placing the light to photograph into the broad side of the face (or shooting into the cowboy’s ear). The image of the rollergirl was shot with a modified short light as depicted in the diagram.

Short lighting occurs when we place the light to photograph into the persons face – lighting for the back half of the face and the front side (closest to the camera) will fall into shadow.

In this example of the rollergirl, Pippi Van Whalen of the North Star Roller Girls we’ve modified the short lighting by placing a reflector on the shadow side to reduce the shadow just a bit.

The benefits of short lighting:

li>when used correctly and provide a slimming effect on your close-ups
• when placing a scar or imperfection towards the light reduces any shadow to make it disappear
• when used with a reflector provides a beauty light for women
• helps the the viewer focus on the eye. The contrast created brings out the white of the eyes and provides a beautiful, rich eye colour

gives you great catchlights in the eyes. Makes ‘em sparkle

The ways to control the shadow:

• Use a large softbox. By placing the large softbox close to your subject you will have a nice fall-off from light to shadow. Place it farther away from your subject to give you a dramatic shadow
• Use a reflector. A large reflector, close to the subject will give a nice even ‘fill’ on the subject and by adding gold or silver gives you great details
• Use a fill light. You have greater control with the fill light to provide a softer transition to shadow and add a different colour cast (using gels)
• Use a gobo/black foamcore – by using a black foamcore, you can control the light the falls on the front of the subject of enhance the shadows (works great for men or athletes)

Now don’t get me wrong, there are times when broad lighting is the best choice for the subject, but for portraits I’ve found the rule of thumb to ring true and use short light or modified short light for your best portraits.

I look forward to seeing your examples of short lighting.

Thanks and have a wonderful day!
~fotodog

Have a Happy Easter Everyone!

Happy New Year from us here at Urban Grafix Designs & JayRodPhotos.com. May all the best you hope for work out well for you from here on out!

P.S. don’t tell Kelby that I’m using his 2010 balloons…LOL

At 3:35am this morning I lost my best pal due to kidney failure!
Lynx was a purebred Seal Lynx Point Siamese Cat who has gave me more then you can ever expect in a cats life. Lynx was a show cat that brought home numerous prizes such as “best in show” and “best in breed.

Asides all the training and prized Lynx was the welcoming committee when you came to my home. When you knock on the door he would be the first one there to say “hey, wassup… welcome, come right in”!

He was a continuous talker but a very good listener also. I already miss his voice – his meow’s. I am sure he’s doing better right now… no more suffering!

Lynx was my sunshine!

I miss you and I love you Lynx!
I refuse to say goodbye… so I’m going to say see ya later my friend!
Hugs and Kisses <3

What you’ll need:

Camera with manual settings I prefer a digital SLR for complete control, but you can make this work with compact cameras with either a fireworks setting or manual override

Sturdy tripod I know many people say this, but if you want clear straight lines, a dependable, adjustable but sturdy tripod. You don’t want this slipping and shaking during your exposure

Remote Cable Release I prefer one with a lock and one at least 30 inches in length. You’ll use this to trip the shutter and hold it open for longer bursts

5×7 inch black non-reflective card To cover the lens and adjust your exposures

Flash Light To help you review your settings or possibley paint your foreground with light.

Water, Insect repellant and comfortable shoes You have to take care of yourself, right?

It helps if you can scout the location prior to the event. Preferable getting an obstructed view and a place to place your blanket and cooler and relax. I try to find a place that could offer some interesting reflections or silhouettes.

Set your camera on the tripod and make sure the legs are secure from slipping. Connect the cable release and test to make sure it’s working and get out your black card. Set your camera to manual setting and put your shutter speed at B (bulb). You will dictate the shutter speed using your cable release and black card.

Now decide if you want the skies to be black or if you want some detail or colour in the background. Or if you have a building in your foreground you may want to include some of that detail in your exposure. I prefer black skies and will use the following as starting points for exposure settings for sensor sensitivity/ISO and your aperature.:

ISO/Sensitivity: 100, Aperature f/5.6

ISO/Sensitivity: 200, Aperature f/8.0

ISO/Sensitivity: 400, Aperature f/11

ISO/Sensitivity: 800, Aperature f/16

ISO/Sensitivity: 1600, Aperature f/22

Keep in mind that the fireworks are extremely bright and will clip out very easily. The lower your ISO the darker the skies and the limited amount of detail you’ll have.

Now you’re ready to shoot.

When it’s time for the fireworks, place the black card in front of your lens, trip the shutter (lock it if you can) wait for the trailer to shoot up and once it disappears, lift the card away from the lens and capture the burst.

Place the card back in front of the lens. If you want to capture multiple bursts repeat this process. If you’re satisfied with one burst, release the shutter, review the exposure (assuming you’re shooting digital) and adjust the f/stop or ISO to suit your camera, lens and environment.

Now this seems like a lot of detail for getting the shots, why not just trip the shutter and let it go? By all means, do it, have fun with it and see what you get. Shooting fireworks is a lot about adjustments and experimenting, but if you can predict what it’s going to look like and being able to adjust will help you increase the number of amazing fireworks photos.

So what kind of lens do I use? Most of the time, I’m shooting with an 18-55 lens. Moderate wide-angle to normal. But shooting with a telephoto zoom can help you create some nice abstract light paintings.

Things to consider for the quality of your image

With higher ISO you will increase the grain/noise of your image plus it will detect a lot of the bomb smoke. While it can provide some great effects, you may want to experiment and adjust

To capture the trails/bursts, you’ll have exposure times for a single burst around 4-8 seconds, This can create some great light trails from other sources but may also create hotspots around street lights. Just be aware.

Reflections of water are generally between 1/2 and a full stop below your normal bursts but are amazing if you can get them just right.

If you’re shooting the grand finale you will see an enormous amount of bursts in a single area and you may experience some blown out areas in your image.

Experiment and have fun. I’d love to see what you shoot for fireworks this season.

Cheers!

~fotodog

A little Raving and Ranting here on B4P today. Just let it all out, lets see how good it can make us feel

Its also means “DO NOT DISTURB”!!!!

Give your employees time to get better, to catch up to their health cause lord knows how much abuse they go through the rest of the year before their vacations and sick days!

Sympathizing in these matters are great solutions towards a well rested employee. I can guarantee to you if your employees don’t fail you the entire year, giving them this break to catch-up to themselves will be greatly appreciated and paid back towards the company 3 times fold.

so remember, when he or she calls in sick…let them rest! They deserve it!

NEW YORK – Illusionist/Daredevil David Blaine has safely finished his latest stunt: hanging upside-down without a net high over Central Park for 60 hours.

The endurance artist began dangling from a wire over a park skating rink on Monday. He kept smiling while describing the "enormous push of blood" that made it feel as though his head was "about to burst."

He celebrated the completion of the wire act Wednesday night by diving from a platform 44 feet to the ground while attached to a harness… Then he disappeared into thin air as the crowd watched him float away past the crane that was holding him up via his harness.

A two-hour ABC television special called "David Blaine: Dive of Death" also showed footage of him catching a .22-calibre bullet fired from a rifle into a metal cup in his mouth. This stunt (or illusion as David said) has been attempted by very few people, and most of them didn’t get to live to tell about it.

People cheered and boo’d David once he jumped off the perch and showed nothing spectacular to the non-believers in the crowd. But the hardcore David Blaine fans cheered on ad the awesome illusionist/daredevil floated away into thin air.

David Blaine – "Dive of Death"