When James Quantz Jr. was asked to create a number of promotional images for the University of South Carolina’s 2013 football season, he approached the project from a fan’s perspective. “If I think it would look cool on my wall,” he says of the concept, “I’m hoping I’m hitting on where the fans are coming from.”
In the behind the scenes video, you can see him working with Paul C. Buff Einstein lights with a variety of modifiers, including a large umbrella and a grid. The Paul C. Buff Einstein lights are being triggered by PocketWizard PowerMC2 Receivers. He shoots the athletes in a controlled environment and then composites them into background images of a full stadium that he had shot earlier.
“During a photoshoot like this when I’m capturing athletes in motion, I rely on my PocketWizards to sync flawlessly so I don’t miss any of the action. A lot of times these are day long events so one of my favorite features on the Plus III is a battery level indicator so I always know when power might be running low.”
Photographer Brett Harkness recently shared with us images and diagrams from the book Light & Shoot / 50 Fashion Photos by Chris Gatcum. Here are his thoughts and details behind putting together the images from this shoot.
This image was shot for a clothing company called Love Miss Daisy, which focuses on 1950’s vintage clothing. Taken in the U.K. in July, I decided to end the day long shoot with something a little different. It was around 9pm, the light was fading fast and we were about to wrap up, but I wanted to finish with a bang! I had some smoke bombs with me I’d been looking to use for awhile, so I thought this was the time to give them a go!
Wrapping the model in vintage petticoats I set up the main strobe, an Elinchrom A head with Ranger RX Speed AS pack with a 135cm Octabox. I added a second strobe behind the model to light the fallen tree to the left of the frame and create a rim-lighting effect as it passed through the smoke and across the subject. This head was “naked” to get the most spread from the bulb and had it’s own Ranger pack, both heads on the A channel. It was starting to get dark, but to add further drama I decided to underexpose the scene to give full effect of the strobes.
For the project, Jonathan captured candid portraits of people in their cars while waiting at red lights. He writes, “By highlighting the occupants and interiors of vehicles I bring normally private moments into the public space that surrounds the zone of an occupied vehicle. This is an effort to create portraits of an extensive and permeating culture that has a large group of members but often has little communication, interaction or bonds between individuals.” (Read the full statement.)
To get the images, Jonathan came up with a pretty interesting rig using two cars and a couple of friends. He had his camera mounted on a tripod in the back of his car, pointing out the rear view window. Sitting next to him, his friend manned the MacBook Pro the camera was tethered to. His girlfriend drove the second car, which had one gridded strobe pointing out the back side window. Once everyone was in position, he would use his PocketWizard Plus® II to trigger both the camera and the strobe simultaneously.
Paul D’Andrea is an Indianapolis-based photographer whose work runs the gamut from portraits and events to fine art. He even helps run one of the few photography galleries in the city, M10 Studio and Gallery. Here, he gives us the details behind an outdoor portrait he made with a little help from HyperSync®.
When making a portrait I have to decide how to draw the viewer’s eye to the subject. I might do this with a simplified background, a composition that frames the subject, or it might be with a shallow depth of field or a difference in exposure (making the subject brighter than the backdrop).
For an outdoor portrait, using a shallow depth of field often precludes the use of studio lights and exposure in pulling the subject off the background. With a maximum sync speed of 1/250th of a second for the studio lights, I need to choose an aperture to match the ambient exposure, this might be f/11 or f/16 on a sunny day, which won’t provide a very shallow depth of field. Enter HyperSync, which allows me to have both a shallow depth of field and large light modifiers.
Cy Cyr is an Orlando based photographer who specializes in commercial and editorial portrait work. Golf Digest came to him when they wanted to create a humorous photo slideshow illustrating some all-too-familiar (for all you golfers out there) bad behavior on the course.
We tackled a list of 22 shot ideas generated by Golf Digest staff members and myself. The shoot lasted about ten hours, and my PocketWizard Plus® III radio triggers were there for everything. I was running Profoto Pro-7B’s with beauty dishes because of the portability, endurance, and consistency.
Wedding photographer duo Lin & Jirsa have a new post up on SLR Lounge, showing you how they got a dramatic shot of a couple in a wine room.
The post shows you the shot both before and after they added lighting, so you can really see just how much it added to the atmosphere and mood of the final photo. In the lighting diagram you can see that they used two strobes, triggered by two PocketWizard Plus® II radios, outside the room and behind the subject and one tungsten video light in front. The contrasting color temperatures from the mixed light sources, in addition to the fisheye lens, give the photo style to spare.
Award-winning photographer and fine art printmaker Corinne Alavekios was recently chosen by Epson to be featured in their “Finish Strong” ad campaign.
Inspired by the natural beauty and light of the Pacific Northwest where she lives, Alavekios took her shoot out of the studio and into a cold—and deep—river, where Joe McNally was on hand to document the process.
They used a large, soft light source to keep the natural look of the light fired by PocketWizard radios. When you and your crew are chest-deep in water, it’s a pretty good idea to go wireless.
Chris Crisman continues his behind the scenes coverage of the Heroes of Conservation project with Rod Cross, president of Pennsylvania’s Falling Spring Chapter of Trout Unlimited.
The first shoot took place early in the morning, but on dry land. For this next shoot, Chris takes to the water to capture a portrait of Rod, a fisherman who has raised over one million dollars in grants to protect Pennsylvania’s waterways.
As with the first shoot, Chris masterfully blends the ambient light and strobe, using a small softbox with a grid to light Rod, while taking advantage of the dappled afternoon sunlight.