Photographers have many ways to play and experiment with light, but this featured body of work most likely doesn’t involve the usual methods you have in mind. To create his psychedelic Chromatic sets, New York-based Shane Griffin did a simple experiment with light and glass. The results are really interesting and give a new dimension to playing with light.
If you’re new to photography, one of the most important lessons you have to learn is the difference of light quality from a hard light source as compared to a diffused light source. Knowing this will be useful for a lot of studio applications, from product shots, to fashion editorials, to creative portraits. If any of that is what you intend to do, here’s a LearnMyShot tutorial that should be of help to you.
Very few photographic umbrellas have had me confused like the ANGLER Parasail Parabolic umbrella–but after working with this umbrella, its nuances started to become a bit more clear. I mean, look at the thing. It doesn’t look like any sort of umbrella. It’s shaped more like a Roman Centurion’s shield and has the relative rectangular design of a softbox. In a world where light modifiers seem to be changing, innovating and overlapping, the target audience for the ANGLER Parasail Parabolic umbrella seems to be those that sometimes need an umbrella and sometimes need a softbox. With its convertible design to be a very soft silver reflection type or a thick opaque white shoot through configuration, the ANGLER Parasail Parabolic umbrella’s best feature is its versatility due to being suspended on a rod and its easy ability to turn one way or another.
Much of photography is about telling a story with light. The way light falls on your subject or your chosen setting opens you to a lot of creative possibilities and beautiful narratives. This is why many photographers like Brooklyn-based fine art photographer Kaitlin Rebesco prowl the streets looking for that sweet spot where light hits just right.
If you’re a working photographer that uses studio lighting, then chances are that you’ve been considering a light like the Profoto B1X since first hearing about it. Profoto lights are already at the top of the game and all the studios use them, and what makes the Profoto B1X so special is the added versatility over the original Profoto B1 monolights. For example, the modelling light has 50% more power for video users. Then there’s the ability to do high speed sync at up to 1/8,000 and with a flash duration of 1/19,000. That’s pretty insane! And then you have to remember Profoto’s color consistency assurance, their Air Remote TTL system, and the solid build quality. I can go on and on about Profoto and how great their lights are and how little extra post-production work you’ll need to do because of how good they are, but the truth is that some folks still have no problems with extra long post-production that I sometimes find to be unnecessary.
Whether you work extensively with flash and studio lighting, or have a preference for natural and outdoor light, understanding the quality of light when you shoot is crucial to getting well-exposed photos. To our rescue comes the Inverse Square Law of Light, which sounds very intimidating but is actually one of the photometry concepts that largely governs our work as photographers.
Ohio-based Matt Day has found that whenever people hear of the Inverse Square Law of Light, they are immediately turned off because of the seemingly complicated math involved. That’s an obvious reaction, since we’re here to take photos and not solve equations, right? But as Matt explains in his video below, understanding this concept is very helpful for photographers since it tackles one of the fundamentals of good photography: working with light.
Profoto has been making some very interesting moves lately, and with the Profoto A1 just being announced, photographers have what the company is calling the smallest studio strobe ever made. The Profoto A1 is a 76 watt second flash that can work in the hot shoe and uses its own Li-Ion battery. It’s partially because of this that Profoto says it can recycle up to four times faster than other on-camera solutions. Unfortunately, it’s only coming in Canon and Nikon TTL at the moment–which is a total bummer for those of us who use mirrorless cameras. That battery also helps because there is an Air remote built in–just like there is with every other modern Profoto light. There’s also a massive LCD Screen on the back.
The press release is after the jump; and we’re not quite sure what the official word is on pricing yet.
Screenshot taken from the video.
Albert Watson has been a working photographer in New York City since 1976, where he began primarily as a commercial photographer, before finding his passion and transitioning into a more fine art look. You likely know him for his working fashion, or with celebrity portraits, or maybe one of the over 100 Vogue covers he has shot. Part of what made his work so incredible is his lighting.