Godox recently revealed their AD200 Witstro monolight on Facebook, and the new monolight seems much different than most offerings out there already. For starters, it’s a giant block–and has a flash head that is rectangular in shape vs the more traditional circular area. The Godox AD200 Witstro has TTL and HSS capabilities for Canon, Nikon, and Sony cameras.
Creating the Photograph is an original series where photographers teach you about how they conceived an image, shot it, and edited it. The series has a heavy emphasis on teaching readers how to light. Want to be featured? Email chrisgampat[at]thephoblographer[dot]com.
Photographer Danny Alexander has tagged us in a number of his images on Instagram and we discovered him and his great strobist work this way. He’s a portrait photographer working in Louisville, KY. “I’ve slowly been turning my passion into a full time job and my work can be found in local and nationally published magazines,” says Danny. “Although I spend most of my time shooting editorial portraits, I do make time to work on creative personal projects. If I had to say I had a style in photography it would be that I take a strobist approach.” That’s perfect for our Creating the Photograph series.
In fact, Danny rarely works with just natural light. “I love the technical side of working with strobes to create interesting lighting in my portraits.” he states.
So that’s where the story of Pink Rose begins.
When I was being briefed on the Sony FA-WRC1M Wireless Radio Commander for flashes before announcement, I couldn’t at all contain my glee. It meant a whole lot to me. It meant that Sony was going to take wireless flash control, strobists, and higher end photographers more seriously. They’re also only the second company to do so–following in the footsteps of Canon in a way. The flash commander also works as a camera remote. That part I didn’t totally understand but know that a whole lot of other units out there do the same thing. When I was working at B&H Photo, their Vello house brand did the same thing.
Overall, it seemed pretty positive. Seemed…
Essentials is a series where we round up specially curated kits for different photographers in different situations. Other items could surely be substituted, but these are what we personally recommend.
Lots of street photographers tend to reach for film these days simply for the aesthetic look and the overall experience of working with it. Plus when you ask a lot of street photographers why they choose to go analog, they tell you that digital just doesn’t do it for them. In some ways you can’t blame them: they’ll play the gear game but they won’t sit there going super crazy over it the way digital photographers do.
If you’re looking to give it a shot, analog street photography is very much a road worth going down. Here’s a kit that we highly recommend.
Obviously, all camera systems these days have become very mature and capable of doing almost everything that a photographer needs or wants. They’re all good and can help image makers in many ways. Working photographers these days need to be able to do a variety of things though not including just photography, but also things like video. Some photographers need to have access to a fully working flash system and find features like WiFi integration to be critical. Plus, they need tough gear that can take abuse in rough weather and do most of what they need to get done easily.
Considering that we’ve used every camera system, we’ve put together an analysis.
All images by Salim Hasbini. Used with permission.
When you were first starting out as a photographer, you most likely knew nothing about flash. Some of you may still know nothing, but you should know that it isn’t that difficult to learn. If anything, it just requires you to be creative and to see light.
Most photographers don’t know anything about how to use a flash. They’ll generally put it on their camera, aim it upwards towards the ceiling (or directly at their subject) shoot, and worry about it later. Nothing could be more incorrect about that unless you’re specifically going for that look. The problem is that most people aren’t going for that look. So instead, they sit there frustrated about working with a flash.
First off, start by considering that a flash isn’t just for adding fill light to a scene. Instead, think about it as a way to creatively elicit a feeling in a photo.
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Think about this really quick: when you go into a room, where does light typically come from. Most people really prefer the look of lamp lighting. But the truth is that most light that we see actually comes from above us in some way or another. Think about the sun, or street lamps, or the ceiling in an office. All of these lights are from above.
So one of the ways that you can make flash output or off-camera lighting look more natural is to place the light source above your subject in some way or another. It could be in front and above, to the side and above, etc. This is just how we naturally see light. So when you place a flash in a scene, you typically shouldn’t light a subject from below. Think about placing your light source kind of like adding light to a room or a scene overall. Think about and consider the shape of it too.
This isn’t just how you’ll make the light look more appealing and flattering, but how you’ll also make it just look and seem more natural–by placing the center of the source above a person you’re photographing.