Gregory Heisler Photographs a Crowd of 3.000 People with 3 Profoto Strobes

Written by Fredrik Franzén on . Posted in Commercial Photography

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Gregory Heisler Photographers 3000 People with Profoto strobes 1 600x450 Gregory Heisler Photographs a Crowd of 3.000 People with 3 Profoto Strobes

©Gregory Heisler

For the one-year anniversary of the bombing at the Boston Marathon, Sports Illustrated did a special cover, including 3.000 Bostonians standing united at the site of the tragic event. American Photo has interviewed the guy who got the shot. His name is Gregory Heisler and here is how he did it.

“It wasn’t a technical kind of picture,” Gregory Heisler tells American Photo’s Stan Horazcek. “It was more about being able to get a response from the crowd.”

There has apparently been some debate regarding if the cover image was lit or not. Horazcek, of course, asks about this. Heisler replies:

“All we used to light up that entire crowd were two Profoto heads. They were battery-powered Pro-7Bs. They’re 1200 watt strobes and we had them powered down to about half-power.”

“I had another light about a half a block away doing the same exact thing on the back half of the crowd,” he then adds. “It wasn’t like I had a main light and a fill light. They were both doing the same thing in different areas.”

Heisler also comments on his choice of Light Shaping Tool, which he describes as “the secret weapon in the Profoto lineup.” Can you guess what it is?

Head over to American Photo’s site for the full story.

How to Make a Dirty Car Shine Like a Winner

Written by Fredrik Franzén on . Posted in Commercial Photography

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 How to Make a Dirty Car Shine Like a Winner

Most of us associate car photography with chrome and meticulously polished metal. But the Porsche GT that Richard Dole shot had just won a 24-hour long Daytona race and was far from clean. It was covered in dirt and grit. Keep reading to learn how he got his shot.

The 24 Hours of Daytona is a 24-hour sports car endurance race held annually at Daytona International Speedway in Daytona Beach, Florida. Needless to say, the 24-hour long race takes its toll on the racecars. By the time they cross the finishing line, they are covered in dirt and grit.

This year, a Porsche GT from CORE Autosport in Rock Hill, South Carolina, was the first car to cross the finishing line. This car was also the one photographer Richard Dole was asked to shoot on behalf of RACER Magazine.

“This was an unusual assignment,” says Richard. “They wanted me to photograph the car still covered with the dirt, oil, rubber, grease and grime accumulated from the race. And it had to be photographed not in a studio, but in the winning team’s race shop.”

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Pepper Yandell Shoots a $3.67 Million Car in Just 1 Hour. (Yup, You Read Those Numbers Right…)

Written by Fredrik Franzén on . Posted in Commercial Photography

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If you have the opportunity to shoot a 3.67 million dollar car (of which only three exists in the world), you’d probably want enough time to make the most out of it. Car photographer Pepper Yandell had one hour. Still he managed to nail no less than seven shots.   

The Bugatti Veyron Super Sport Rembrandt Edition is not your ordinary car. In fact, considering there are only three of them in the world, it’s pretty much as far from your ordinary car as you come.

“I’ve always wanted to see a Bugatti up close and personal, but I always seemed to just miss one whenever it was around,” says car photographer Pepper Yandell. “My first opportunity to achieve this desire was better than I could’ve ever expected! I was contacted by Park Place Bugatti in Dallas, TX, informing me that they had one of the rarest editions of the Bugatti Veyron Super Sport’s being delivered – the Rembrandt Edition.”

Pepper instantly began planning his shoot and assembling his crew. But as often is the case, not everything went as planned. Read More

Join Car Photographer Frederic Schlosser on His Epic Road Trip Through Europe

Written by Fredrik Franzén on . Posted in Commercial Photography

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Profoto Frederic Schlosser Roadtrip 1 Join Car Photographer Frederic Schlosser on His Epic Road Trip Through Europe

©Frederic Schlosser

German car photographer Frederic Schlosser is about to embark on an epic road trip through Europe. And you’re welcome to join him.

Part road trip and part photographic journey, the trip sees Frederic combining his two great passions in life: fast cars and flash photography.

Frederic and his friends will be driving through Europe in an Audi R8 and an Audi S3. Packed in the trunk are a couple of B1 off-camera flashesCar Chargers (connected to the car cigarette connector and used for charging the B1’s batteries ) and RFi Softboxes.

The goal: to shoot stunning images of these stunning cars in a number of stunning locations throughout Europe. If you’re familiar with Frederic’s previous work, you’ll have no doubts that he’ll succeed.

Follow him on his journey on his Facebook page and on his Instagram account.

This is not to be missed!

Light Shaping Tool of the Month: Snoot

Written by Fredrik Franzén on . Posted in Commercial Photography

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Profoto Light Shaping Tool Snoot Jonathan Menga cover 600x407 Light Shaping Tool of the Month: Snoot

©Jonathan Menga

Each month we highlight a certain item in Profoto’s rich assortment of Light Shaping Tools. This month we talk to Canadian photographer Jonathan Menga about a simple yet fun and creative tool: the Snoot.

The Snoot is such a simple design that it is easy to overlook the possibilities it brings. The Snoot is basically just a metallic cone that you attach in front of your Zoom Reflector with the help of the Grid & Filter Holder. Unlike most hard reflectors, the Snoot has a black, non-reflective inside and a bunch of angled corners designed to prevent the light from bouncing around inside it. This means that the Snoot prevents any reflected or diffused light from hitting the subject. The only light shining through its opening is the direct light coming straight from the flash tube. This results in a direct and hard light with a very limited light spread.

This can be used for a great number of things. Some photographers use it in a more subtle way. For instance, they might want a certain detail highlighted in their product shot or the darker parts of a portrait, let us say the hair, slightly brighter and more detailed. But there are also photographers like Jonathan Menga who use the Snoot in a way so that its effect becomes directly visible. Check the first image above. Notice something strange? Yeah, how come the stripes are fading away in the guys face? Right, that is the Snoot in action! Read More