If you do photography in a studio, you probably have a few shot bags laying around. This very small shot bag has a variety of uses.
This is a review of the Impact Light Kit Bag. For my studio lighting, I use a set of four Alien Bees heads along with a variety of light stands and modifiers. When I’m shooting on location, I prefer to make as few trips to and from my car as possible, so the fewer bags I have to carry, the better. For the past few years the bag I’ve been using for my lights has served me well, but I wanted to try something a little bigger and see if I could fit even more into it. Let’s see if this bag from Impact is going to work for my needs.
This is a review for the Impact’s Beauty Dish Reflector Kit with an adapter for the Paul C Buff Alien Bee Strobe. The Reflector kit includes a 20″ Beauty Dish Reflector, Honeycomb Grid for 20″ Beauty Dish Reflector, and a diffuse sock.
I have mostly been a natural light photographer. I believe there is so much beauty in available light. However, I have been playing with studio lighting to have more control over my lighting environment. I am a huge fan of light modifiers that create soft light (like a softbox or this parabolic umbrella). Using a beauty dish was new to me and a little different than what I was used to – it is always fun and beneficial to play around with new tools to give you a new perspective on photography.
As photographers, light is something we are constantly concerned about. We need some sort of light source coming in, but from where and how much is always the question. A soft sun glow during the early hours of the morning or right before sunset is ideal, but often times wedding ceremonies or a client’s schedule does not allow for those prime shooting times. Light can take a normally plain image and transform it into a powerful and exciting picture, but what happens when you are dealing with harsh midday, overhead lighting? Luckily, there are a couple ways of dealing with this problem while still achieving beautiful pictures that both you and your clients will be happy with.
1) Shade – Even Lighting
The best way to avoid distracting facial shadows from midday lighting is to bring your subjects into a shaded area. That shade can be provided by a large tree, a building or really anything that is casting a big enough shadow to fit your subject. What we want to do is create even lighting where no direct sun is hitting the face or body, allowing the subject to be evenly lit. Make sure you are not using patchy shade where spots of light are coming through. This will cause uneven lighting and your subject will have spots of light hitting their face and body.
2) Backs to the Sun – Back Lit
If no shade is available, position your subjects with their backs to the sun. Doing this will block most of the direct light and cause their faces to be evenly shaded. This is called back lighting. This is sometimes easier to do with one subject because you can position them perfectly to make sure no sunspots are making their way onto the face. With two or more individuals it can be more of a challenge. Keeping their faces closer together can help eliminate some of the light spots coming through or you can use the taller subject to block the sun off of the shorter person. Make sure to expose for the subjects’ faces or they will be too dark to see any detail. Something to note is that the background will be overexposed when metering for the face in a situation like this.
Food can be photographed anywhere and anytime, given that a photographer has the right tools for the project. Photographing in a controlled environment indoors like in a full professional studio or a mini self-made studio can take a lot of effort to set up and can be very costly. But what if you do not have the required tools for the job or cannot afford a good lighting setup initially? You resort to using natural daylight, which is free for all, thankfully. And while daylight is available for us every day to use, it can be challenging to work with. In this short article, I will provide some tips on photographing food outdoors and talk about using very inexpensive tools that will make a huge difference when dealing with harsh lighting.
If you are planning to photograph outdoors for a paid gig or as a personal project, your first step is to time the photo shoot correctly. While there are some great tools available that will come to your rescue if need be, selecting a desirable time of the day to photograph the process will always give you more flexibility and quicker results. Generally, food photography calls for soft, less contrasted and very appetizing frames. To achieve such look in a natural environment, pick a time during early mornings or late afternoons, when the light is very soft and the sun is not too direct and harsh. If it is a cloudy day, that’s even better, since clouds do an excellent job of diffusing light (with clouds, you can shoot any time of the day, no matter where you are). Simple and basic, but it works!