More than any other fundamental aspect of photography, light is at the heart of every image you take. Without light, photography cannot exist; it is the foundation of every image, giving shape and meaning to each scene in your viewfinder. Personally, as a landscape photographer, my photographic decisions are shaped more than anything else by the lighting conditions that I encounter. From a soft mist to a dramatic sunset, whether at a mountain or a desert valley, my preferred approach to photography is simple: chase the light.
You know the drill. You pick up a magazine or browse a website and flip through the photos. Most you look at for less than a second, but a select few grab your attention and demand a longer look. What’s different about these select photos? What makes some photos great and others mediocre?
Recently, as part of a photography class at my university, I had an assignment to shoot two rolls of film with the theme “Point of View.” This topic was open to interpretation, but I was encouraged to try something out of my comfort zone. I puzzled over the assignment for a few days – and I almost decided to shoot a roll of typical abstract photographs – but one other possibility began to interest me: With enough effort, could I take realistic landscape photographs from my kitchen table?
So you want to get your flash off camera? If you want to improve your flash lit portraits you need to get your flash off the camera. A great way to start is to use Nikon’s own CLS (Creative Lighting System). Since a lot of people will own one of the Nikon Speedlights, getting it off camera and triggered remotely is a very straightforward and relatively inexpensive task. In this article, we will explore the basics of Nikon’s Creative Lighting System and set things up to photograph an image like this:
LED lights have been a big trend in the last few years in dance parties, Many of us have photographed events where harsh LED light was used on the dance floor, and these LED lights have flooded our images and prevented us from taking available-light photos without them looking over-saturated and alien. One obvious option is to use a flash, whether ON or OFF camera, but you may be losing those moments where the light is causing interesting shadow situations. A second option is to convert the images to black and white, which is also a good solution, however sometimes you want to show certain characteristics, for example showing a party full of people with red-hair :)
Landscape photographers work primarily in natural light, which presents a few problems — for starters, the most beautiful lighting conditions each day last for no more than a few hours. Other times, sunsets will be lost behind cloudy skies, making it impossible to see a landscape at its best. When the sky is gray or the sun is directly overhead, it can be tough to find inspiration for high-quality photography. My hope with this article is to share some tips that have worked for me when I photograph in bad lighting conditions — something which every photographer experiences at some point.
For our readers in the Northern Hemisphere, it’s that time of year again — days are hotter, nights are shorter, and the air is stuffier. With the changes in weather, two different creatures are beginning to emerge from their deep winter slumbers: the insect and the macro photographer. As macro photography grows more popular, a key question arises: what is the best way to light a bug’s picture?
Macro photographers tend to struggle with two crucial variables when lighting their subjects. First, high-magnification macro photography usually involves apertures between f/16 and f/32. To use an aperture this small, you need a high-powered flash — especially if you want to use a diffuser. The second major issue is that many macro photographers work with just one on-camera flash, meaning that the lighting can appear flat and dull, even when diffused. So, when Venus Optics announced their alien-looking KX800 dual flash, I was excited to see that they had put considerable effort into solving these two major problems.
The Impact Soft and Natural 4 Socket 3 Light Kit is a lightweight three-softbox continuous light source for studio shooting. MSRP is $604.90, but it seems to be perpetually discounted at B&H. As I write this it is priced at $348.95. The kit comes with stands, softboxes, heads and bulbs, everything you need to get started shooting portraits except the model and background (oh yeah, and camera and photographer, d’oh).
When I’m not scratching ever upwards toward the pinnacle of the high-stakes editorial bird photography world I find it helps my bottom line to prostitute myself as an HPLS. It’s not a pretty job, but imagine how ugly the world would appear if it weren’t for the services of us Human Powered Light Stands. When were not schlepping monolights, downloading memory cards, witnessing model releases, or checking to make sure the model’s sports bra isn’t wrinkled, we’re usually found holding the Venerable Shiny Disk.