Posts Tagged ‘D1’

How Fashion Photographer Rossella Vanon Created Her Smoking Hot Portrait

Written by Fredrik Franzén on . Posted in Fashion Photography

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Rossella Vanon Fashion Photographer Smoking Hot Portrait 2 600x400 How Fashion Photographer Rossella Vanon Created Her Smoking Hot Portrait

©Rossella Vanon

Fashion photographer Rossella Vanon has created a smoking hot, eye-catching portrait. Want to learn how she did it? 

Ask a bunch of established photographers for advice, and many of them will tell you to spend more time on your personal projects. Letting your creativity run free is a great way to remind yourself why you fell in love with photography in the first place. More importantly, you might just come up with some clever ideas that you can apply to your commercial work.

London-based fashion photographer Rossella Vanon’s smoking hot portrait is a clear evidence of that. This particular personal project started when an American model friend who was visiting London and wanted to update her portfolio contacted Rossella. By coincidence, an Australian makeup artist contacted her at the same with the same inquiry. So the three decided to get together and do something out of the ordinary. Read More

While Most Photographers Try to Stop the Kids from Doing Silly Faces, Greg Koch Pushes Them to Do Even Sillier

Written by Fredrik Franzén on . Posted in Portrait Photography

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Profoto Greg Koch 1 While Most Photographers Try to Stop the Kids from Doing Silly Faces, Greg Koch Pushes Them to Do Even Sillier

©Greg Koch

If you’ve ever tried photographing kids, you’re no stranger to silly faces. But while most of us who put these shots in the drawer, San Fransisco-based photographer Greg Koch saves and frames the silly faces only. 

“When I initially approached my son’s school with the idea of doing a photo project for their art class, I hadn’t yet realized the concept of silly faces,” says Greg Koch. “I only knew I wanted to do a studio shoot. I had just purchased a Profoto Pro-B4 pack and was eager to test it before a couple of client shoots I had the following week.

“When preparing for the shoot in the studio with my son, I kept trying to get a smile out of him.  He, in turn, kept making silly faces.  That’s when inspiration struck. Why should I try to get all of these kids to do something as unnatural as posing?  Wouldn’t it be better to shoot them with all their natural charisma and energy?  The idea felt very natural and I decided to push forward with it. The Silly Faces project was born.”

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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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Derek Galon Recreates a Classical Painting with a Clever Use of Flashes and Softboxes

Written by Fredrik Franzén on . Posted in Fine Art Photography

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Profoto Derek Galon Painting With Light 1 600x433 Derek Galon Recreates a Classical Painting with a Clever Use of Flashes and Softboxes

©Derek Galon

Canadian photographer Derek Galon has always been fascinated with classical painting. But it wasn’t until a friend of his had a crazy idea that he realized how to use flashes and softboxes to combine his fascination with painting with his love for photography. Here is the story of how he did it, in his own words.

I love old paintings and have been fascinated with them for many years. But only recently, after decades of photographing, did I feel confident enough to try and recreate the type of light and mood such paintings have. It started with a suggestion by a friend, professional model Michael Ward, who wanted to shoot a Bacchus scene similar to those painted by Titian. At first i thought it may be an overwhelming project, but I decided it will be a fine challenge worth a try. All next shoots followed thanks to this first one being a success.

I’ve been lucky to have access to a large studio necessary for such multi-model setups. The studio is owned by my friend, a brilliant photographer and a lighting wizard: Jon Hoadley. Thanks to his kindness I also have access to high-end lighting system: the Profoto D1 Air and plenty of Light Shaping Tools. Without his generosity, none of these images would exist today. Casting models for this series has been easy for me. I mostly use my friends as models, experienced art photographers along with some younger aspiring models and friends from art industry, a stage makeup artist, costume designer, a fine painter, and so on.

The whole Painterly series is rather diversified, but several images are shot in style of old Flemish paintings. The one we use here as example for my lighting, is my homage to Adrjaen Brouwer – a fine painter who specialized in rough tavern scenes. He was well respected and one of Rembrandt’s favourites. To create image with distinctive feel similar to these paintings, one needs to study them and analyze separate elements. I would use a somewhat simplified list of these elements: styling, the whole scene composition and micro-scenes, plot and interactions, and lighting. Read More

How to Do a High-Key Portrait

Written by Oleg Ti on . Posted in Lighting Tips

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highkey12 How to Do a High Key Portrait

©Oleg Ti

Photographer Oleg Ti knows light. He also knows how to share that knowledge. In this post he’ll use the D1 monolight to show us how to do a high-key portrait. It’s good stuff. Keep reading.

Many photographers just starting to work in the studio attempt to solve the difficulty of a well-lit high-key portrait by increasing the amount of light sources. They keep adding more and more softboxes, reflectors and umbrellas in their quest for a glossy and shiny portrait.

In my opinion, that isn’t the best approach. The main advantage of working in the studio is that you’re in absolute control of the light. You control the amount of light sources, the position of the light sources, the character of the light, etcetera. So rather than just adding more and more light sources, you should divert your focus to getting each and every light source to do exactly the thing you want it to do.

Personally, I always try to use as few light sources possible.  I also prefer using hard lights to get extensive and concise pictures. So, here I’ll show you how to create a high-key portrait using four hard light sources.

Let’s begin!

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