I know there are a ton of online sites that show specific lights/cameras/etc. along with their specs and such. I wanted to write this post about combining all of the tools we all have at our disposal to create an image. FIRST AND FOREMOST the paramount factor in my shooting is NOT the gear, but the concept. Of course the right gear makes my job easier, but without a solid concept and how to execute that concept, no amount of cool gear matters in my world. My clients come to me looking for several solid concepts to create for a final image. Most have ‘some‘ ideas, but they are depending on me to flesh out their ideas. The two most valuable assets I can provide to them are the final concepts and the talent’s expressions. Authentic expressions can’t be created in post processing.
I wanted to share the video my partner created as I was shooting the promotional materials for a small theatre company’s production of “Heathers.” This video shows in detail how the shoot was created for the client. BTW I always shoot wirelessly tethered to my iPad using the Canon WFT-E6A (replaced by the WFT-E8A) through Shuttersnitch. Both the client and I then know when the shot has been achieved and we can then move onto the next shot. Much more efficient for me than taking a break to show the talent and client things on the back of my camera. I still do that when needed, but it is much more the exception rather than the rule.
Here are the items I used AFTER scouting a location for the shoot and conveying my concepts to the client:
- 6 Flashpoint XPLOR 600 HSS Battery-Powered Monolight (Non TTL)
- 4 7″ cone modifiers
- 1 PCB Omni reflector
- 1 Aputure Fresnel Lens Mount for COB 120 Series Light Storm
- 1 Yamaha EF2000iSv2 generator
- 1 Chauvet Smoke Machine
- 1 EGO Power+ leaf blower
- 1 Flashpoint R2 Pro 2.4GHz Transmitter for Canon
- 1 Glow Grand ParaBox Pro Softbox (70″) (for in studio publicity shots not shown here)
- 1 Glow Grand ParaBox Zoom-In Bounce Rod (for in studio publicity shots not shown here)
Using battery powered equipment is key to my on location shoots. Wireless everything has been a godsend in the last 12 years. No more cords which were replaced with remote triggers, remote control over strobes…wow. The only reason I used a generator was to power the smoke machine. In those instances where gas generators are not allowed I use a Goal Zero Yeti 1000 solar generator for my smoke machine when called for in a shoot.
I selected the Ego Power leaf blower because it has variable power, not stepped power. During those times when I need to have a wind machine I need the ability for my assistants to either subtlely or forcefully use wind. As of this posting I cannot show the actual publicity shots the client will use, but can display shots they have opted not to use for the promotion.
What will be of interest is the video my partner Tracy Martin created for the client which has been released. My point of this post is to help others in displaying how combining all of the tools now available to photographers is only limited by your imagination.
Four strobes in various positions including to illuminate the smoke. Key light using the PCB Omni reflector. It’s great in wind and produces the quality of light I wanted.
February 18 2019
I recently used the Flashpoint eVOLV 200 Round Flash Head attached to an AD200 during a professional tango shoot. I like the modeling lamp in the head and find it brighter than the stock Fresnel head in the AD200. I used the light with a ‘voice activated light stand’ (a human) in this instance. Because the Argentine Tango dancers were moving freely a normal light stand just would not be the best tool for the job. Plus the room was filled with haze and the rays of light coming through the doorway made balancing light a challenge.
The quality of light produced by the Round Flash head is very very nice. I won’t ever hesitate to use it when it’s the right tool for the right job. And in this case it was.
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….