I demonstrated how to shoot punchy pictures using just a grey paper background roll, portable Broncolor Mobil flash lighting kit and some coloured gels.
Here are a few of the many pictures I took during the fourth studio lighting workshop. We had a great day being creative, learning new basic and advanced lighting techniques.
We explored the subtle, calm nature of pictures like this taken using just the modeling lights of the Broncolor Pulso heads. This frame was shot at ISO 1000 on a Canon 5D mk2. 1/60th second at f4. The delegates had the opportunity to shoot frames using just the ambient light as well as the full high quality images taken with the flash.
Beauty lighting with a vibrant glow. I shot this frame using four flash heads and a tri-flector.
I used a soft key light, a subtle kick light and a hint of blue light on the Calumet Storm Grey background.
I cranked up the lighting set up used in the picture above to produce this frame.
When you use coloured gel to provide the colour, a near infinite variation of saturation, hue and luminance is available. I used turquoise and lavender gels together to create this shade.
I explored the opportunities of creating punchy portraits using just 2 Mobil flash heads fitted with soft boxes. These were linked to the same battery powered pack. This set up looks great on location too. With a Broncolor Mobil kit just about anywhere can become a studio.
I lit this with just one Mobil flash head fitted with my Bowens Wafer soft box. I bought the Wafer to Broncolor adapter from Warehouse Express.
I shot this frame through the gap in my Triflector using ISO 1250 and just the modeling lights.
Soft directional key lights produce dreamy delicate lighting. I used a pair of hard kick lights and a spot of light on the background to complete the set up.
Another frame lit with just the modeling lights and the glow from an electric heater.
We have total control of contrast and impact in the studio. I deliberately increased the power of the kick lights here to add drama to the shot.
Here's another frame from my favourite set of the day.
Mandy Marshall, one of my rising star Evolve delegates came up with this idea and the surfboard. I lit the scene with a 70s sunset look.
The last shot of the day involved four Broncolor Mobil heads, two Mobil packs, a soft box, my perspex light cube and a bit of secret magic to create the water reflection effect.
Stina and Mark our models were just brilliant throughout the day and I will certainly be shooting with them in the coming months. Please feel free to comment on these pictures below.
If you would like to join me on a Studio Lighting workshop, click here for details. The next date currently available is 1st July.
I have so many good shots from this workshop that I’m having trouble editing them to get a selection for my blog/portfolio etc.
It was an excellent day and I’m already using the techniques to help me shoot some much more creative studio work.
Looking forward to the urban portraits workshop in June.
I love the gels on a grey background, that is a real moneysaver vs. buying all the seprate backgrounds – so thankyou!
Keep up the good work with the website and DVDs. I have 4 of your DVDs now, and in March I won a silver in the SWPP monthly bridal portrait competition with a shot similar to the cover of the Winter Weddings DVD. The bride cried (in a good way!) when i showed it to her, which justified the Canon ST-E2 right then and there.
Can i ask you which online store the white cube came from?
thanks again, John
Hi Dave,
Thank you too for your kind words. I agree with you that the shots that have pronounced kick or side lighting work best. Looking at the black and white images. The one of Mark is all shades of grey with no white or black in the original file while the shot of Stina has bleached punchy burnt out skin tones where the kick lights have done their stuff. This is where camera screen exposure assessment is the right way to go for me. It was easy to see the screen in the studio.
I think all the shots taken on the day were at ISO-200 125th second and f/11 or there abouts.
Regards, Damien.
Thanks Conor and Michael for your kind words.
Connor, You need to put yourself first in the creative loop. Get lighting inspiration from the great master painters, from fashion magazines and music videos. Try to deconstruct the light in the image and work out where it is coming from and what size the light source is. This will give you some clues and hopefully some inspiration to try out a few self taught techniques. You will probably be inspired by the simplest images. Remember these three factors listed here in order of importance.
1. The photographer sees the picture, works the light and in some cases creates the moment before capturing it.
2. The lens converts the 3 dimensional scene into a 2 dimensional image.
3. The camera records the image.
So if you are going to make an investment in your photography of time or money then invest it in number 1.
Excellent shots Damien, particularly like those with stronger side lighting than front. E.g. The black and white.
Regards
DaveBulow
I’m starting out, although 3 years down the line and have realised it’s not about the camera settings but about learning about light and about how it behaves. I just want to congratulate you on your widely diverse photos and your obvious understanding of light., but also to thank you for sharing your skills with us all.I hope someday to be able to afford to come on one of your workshops, it would be a pleasure to learn from you.Thanks again, from Ireland. Conor.
Hi Damian
Many thanks for another great workshop. I have lots of shots that I like and will be on there way to Marko and his team very shortly.
I agree both Stina and Mark were great.
Catch you again soon
Michael