UPDATE October 2 2017
I have written a post about a dance session I conducted that uses these items. You can view that post here.
I recently created a dance session using a wide range of the Godox strobe system:
- Flashpoint XPLOR 600 HSS (4)
- Flashpoint Portable 600ws Extension FlashHead (3)
- Flashpoint eVOLV 200 (3)
- Flashpoint Zoom R2 Manual Flash (1)
- Flashpoint eVOLV Dual Power Twin Head (1)
- Flashpoint Portable 1200ws Extension Head (1)
My goal was to create the illusion of a stage, a grand hall using light, shadow and atmosphere. This was the very first time I used every single Godox light I have including a speed light. What is wonderful is how seamlessly all of the lights integrate into a system. I could not be happier with this line of strobes.
All shot with a Canon 1DXII, EF24-70 II. Most images shot at 1/500th at various f stops, ISO 100. I have quite a few reviews of the gear I sighted above. The purpose of this post is to simply show how I use the gear rather than update each review. I find actual usage much more helpful for me and hope this helps you as well.
My partner and I went back and forth for quite some time about whether or not we wanted to invest in a long or short term lease on a studio. In the Bay Area real estate is very pricey, much more so than other areas of the country. But that is not the primary reason we opted to NOT put our money into a studio. I think there are photographers who can easily justify a studio which includes much more than just the rent. Sure it would be so much more convenient for me to have a studio instead of lugging gear and assistants to and from locations. But, and this is a BIG BUT for me, I would get bored, completely and utterly in about 2 shoots. Why? I bore easily and shooting against seamless or bringing in props, constantly building sets, etc. would drive me to the point that I may decide to return to a corporate job! (No way really…)
For me the world is the best studio, the absolute best for my work. But sometimes for a variety of reasons my clients cannot arrange to shoot on location so I shoot in rented studios or spaces which are convenient to the client. Flying the talent in, housing them, using Union makeup/hair/wig/prop you name it staff is expensive. Transporting them to a studio far away is inconvenient to many clients. You’d be shocked at how some of the ‘studios’ I work in are crazy cramped or awful from a shooter’s standpoint. But a big part of being a pro is working with what you got.
But there are times when a client wants ‘more’ than just seamless but doesn’t have the budget to house or transport all of the talent to the perfect location. So a rented studio for the day or week, or better yet a warehouse is what I use. This is where light/atmosphere and theatrical type modifiers like gobos can make a scene more effective. Whenever people ask how I create different looks in studio I just say, “Watch movies, look at the light/environment and figure out how to make the scene you’re watching. Imagination is insanely more powerful than any new camera gear. And simply having an idea is not good enough. You need to actually make it happen.”
Recently a client ‘wanted’ to do their publicity shoot on location, but since scheduling of the talent and the availability of the venue didn’t jibe we shot in studio, a rented warehouse. By using atmosphere and special light modifiers the client was pleased.
The whole point of this posting is to help you decide if a studio is something you ‘have to have.’ In my case it is not simply because the type of work I do constantly demands new looks and feelings for my client base. Every shooter has different needs and there are no ‘right or wrong’ answers.
UPDATE: August 2 2017
I have written a separate article about using a Cheetahstand Chop Stick with a Westcott Zeppelin. You can read that article here.
I conducted my first commercial session using only Godox lights and a Cheetahstand Rice Bowl 36″ modified to accept and use my DIY focusing parabolic rod. Since Godox has not yet released the AD600 remote head I used the AD360 on the rod due to its light weight. I am very pleased with the light quality, characteristic and my results. This will be my go to focusing modifier for on location sessions.
I was recently hired to do an on location session for a Seattle Theatre company which needed publicity photographs for “Assassins” which is a play about those who have attempted or succeeded in the assassinations of US Presidents. My primary questions whenever a client asks for imagery is always “What is the mood I’m to create?” In this case the client’s response was “gritty and dark.”
I’ve always been a huge proponent of learning via hands on and have advocated to many on forums or to aspiring photographers to find a mentor. One of the very best ways to learn the craft of photography is to assist a photographer as their assistant.
This is much more difficult than it sounds and for anyone who has reached out to commercial shooters to offer ‘assistance’ you may or may not have encountered resistance and in some cases even reluctance when you’ve offered help. Having been on both sides of the ‘offering’ and the ‘recipient of offers’ I wanted to explain some of my concerns and what I look for in any potential assistant.
This applies primarily to non paid of ‘volunteer’ assistants. Professional paid assistants are invaluable and there is a reason why they can command hi day rates. It’s also very common for me to ask for references from paid pro assistants and meet with them prior to considering them for any session. More on why later….
There are many times when we are thrown a ‘curve ball’ when it comes to professional sessions. Although I try to always come prepared for the unexpected, there are times when I haven’t anticipated every possible scenario which can occur. And besides, my loathing of lugging means I can’t carry every single piece of gear necessary for all occurrences. Such was the case this week during one of my client sessions.
During an arts festival one of my assignments was to do some editorial work of an artist in his warehouse/studio. No one could tell me about the space because at the very last minute the venue had to be changed for legal reasons. My assignment was strictly editorial in nature, no portraits just imagery that would capture his studio and the patrons visiting his exhibit. So I decided to only take two DSLRs and my trusty Fuji X100T along with some lenses of various focal lengths.
I’ve written quite a bit lately about gear, my little inventions and experiences using them. I try to post those tidbits on photography forums in order to help anyone who wishes to try those techniques as a ‘pay it forward’ type of action. I have a love/hate relationship with photography forums or forums of any kind. Why? Because there are trolls who live there and could care less about producing art, but rather reside on those sites ‘to be right’ by showing how much they know. Yet I seldom if ever see a body of work they’ve produced. It’s so easy for them to sit in a dark room eating Cheetos and sharp shooting from an anonymous place. Ever notice trolls never use their real names or don’t have a link to their own images? Don’t get into the trap of listening to what trolls have to say. If they really knew how to CREATE great images, they’d be out doing it instead of having terminally orange fingers and keyboards while just spewing out facts and figures.
UPDATE: June 22 2015
OCD, yup that’s me with light. This summer I have several outdoor dance shoots planned and in my normal way I’ve been obsessing about the light. The Rovelight was an answer to my prayers due to its HSS capabilities, portability and 600WS light output. But just the right modifier has escaped me up until today. I have been researching hard modifiers rather than octas, softboxes, umbrellas and such. You see where I shoot and what I love is wind. Moderate wind that makes hair blow back, wardrobe flow, all of those yummy facets in a photo that suits my shooting style. (Let’s not talk about my portable smoke machine, I don’t want to give any fire department fuel for my future trial…)
This small tutorial has little to nothing to do about camera gear. I’m on a bit of a rant these days about photo forums. The inane banter that goes on there does little to help photographers who wish to improve their craft. In most cases I find the loudmouths are have to be right trolls and there simply to be….right. At least in their own minds.
For seven years I taught men and women how to navigate their motorcycles around California racetracks. I’d hear similar things like “Oh if I buy these pipes/Powercommander/520 chain/blah blah blah it will make me faster.” Invariably those same individuals would leverage their credit cards to buy the latest titanium bits to lighten their bikes. Did their lap times fall….uh not much if at all and why? Because they’d rather BUY and brag about their gear than learn and practice. How about getting in better cardio shape and losing 15 pounds instead of spending thousands on titanium parts to save 5 pounds of sprung weight? How about listening and implementing what your instructor/coach is telling you instead of justifying why your BIKE is holding you down? Oh well….
So if you’re looking for the latest MTF chart or DxO results here, do yourself a favor and close this browser window now. Occasionally I may mention the type of camera I was using and WHY, but beyond that this article is all about improving your imagination and ability to improvise at will. And in my work, that’s what separates the men from the boys. (No offense to women, you often already practice those qualities…but like most things there are exceptions!) There’s a big difference between TAKING or CREATING a photo…