Posts Tagged ‘D1’

How Stefan Tell Created His Smoky Portraits with Ring Flash and Beauty Dish

Written by Rebecca Ahremark on . Posted in Portrait Photography

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© Stefan Tell

© Stefan Tell

How does a smoke machine affect the light on the model? Swedish blogger and photographer Stefan Tell knows. He decided to bring one into his studio for a portrait session of the Swedish music band, A Swarm of the Sun. Here’s the result. 

Stefan Tell considers a smoke machine to be a really cheap and easy way to turn a small photo studio into an infinite one. As a matter of fact, he didn’t change much of the lighting settings at all. The effect of the smoke made the portraits feel totally different.

For main light he used a Profoto D1 250 Air, equipped with a Softlight Reflector White and grid and was placed diagonally from the top left of the camera. He attached a Profoto Acute Ring Flash to his camera, connected to the Acute B600R, and equipped with a WideSoft Reflector. On the opposite side, behind the musicians, stood another Profoto D1 500 equipped with a Magnum Reflector and created an edge light and illuminated the smoke/fog from behind.

“By using three Profoto lights I was able to get a nice portrait light as well as highlighting parts of the haze in the studio so that also became a visible part”, says Stefan.

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Portrait Photographer Stephanie Diani Puts Celebrities in a Different Light

Written by Fredrik Franzén on . Posted in Portrait Photography

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© Stephanie Diani

© Stephanie Diani/Global Assignment Getty Images

Stephanie Diani draws inspiration from some of the greatest, most renowned portrait photographers the world has ever known. But rather than recreating their work, she channels the inspiration to create something that is uniquely hers. Here is how she does it.

Meet Stephanie Diani, a portrait photographer born and bred in LA, recently relocated from the sunny west coast to what is possibly the world’s busiest marketplace for photographers: New York City.

Like many other photographers in her generation, Stephanie is mostly self-taught. She looked at classic portraits by auteurs such as of Richard Avedon, Irving Penn, Helmut Newton, Alex Webb and Henri Cartier-Bresson. She tried to figure out how they did it, and then she tried to do it herself. Finally, she applied that knowledge to create something uniquely her own.

“Arresting,” says Stephanie. “If I could use only one word to describe what it is I try to achieve, that would be the word – arresting.”

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Truthfully Now, How Much Difference Is There Between A White, Silver And Translucent Umbrella Deep?

Written by Fredrik Franzén on . Posted in Portrait Photography

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©  Klara G

© Klara G

How much difference does it really make if you shoot with a silver Umbrella Deep, a white Umbrella Deep or a translucent Umbrella Deep? To find the answer, we asked photographer Klara G to do a little test for us. Here are the results. 

The umbrella is to photographers what the Technics SL-1200 is to DJs. In other words, the umbrella is, by far, the most common and most widely used Light Shaping Tool out there. It is so for a good reason. The umbrella is affordable, very easy to use, and extremely easy to fold and bring with you to an on-location shoot.

But that does not mean you cannot be creative and do a lot of different things with them. For instance, how you position and direct your umbrella has a huge effect on the light character. What size and shape of umbrella you use is also a determining factor.

Then there is the fact that most brands of umbrellas are available in different fabrics. All four sizes (small, medium, large and XL) of Profoto Umbrellas are available in white, silver and translucent versions. In addition, the white and silver versions can be equipped with diffusers, while there is a Backpanel for the translucent one. Adding any of these accessories will also change the light character.

But truthfully now, how much difference is there really between a white, silver and translucent umbrella. And how much difference do the accessory really make?

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Victoria Will’s Moment With Brad Pitt. The Story Behind a Celebrity Portrait.

Written by Fredrik Franzén on . Posted in Portrait Photography

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@victoriawill

©Victoria Will

New York-based photographer Victoria Will faced a challenge. She was in a small room with noting but floral wallpaper, a huge table and some chairs. In a few minutes time Brad Pitt would enter the room to have his portrait taken. Here is how she did it. 

The Shoot

It was 2013 and Brad Pitt was in New York City to promote his new movie World War Z. Journalists and photographers had been invited to a press junket at local hotel. One of them was celebrity photographer Victoria Will. “These kinds of shoots are always a challenge,” says Victoria. “They don’t tell me what kind of room we’ll shoot in, what clothes the subject will wear or how much time we’ll have.”

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How Andrew McGibbon Made a Rock Band in a Parking Lot Look Like a 19th Century Painting

Written by Rebecca Ahremark on . Posted in Commercial Photography

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When Indie Rock band JORDI needed a promo image to coinside with their debut album, photographer Andrew McGibbon was their first and only choice. With total creative control Andrew put them on boat and started to make magic.

“For some reason, I entered the conversation with the idea of a row boat in rough seas and they were all like “no way, we have a song about that!”. So it was pretty obvious that the idea fit from the get go and then it was just up to me to figure out how we would pull it off.” says Andrew McGibbon.

The lead singer of Jordi, Jordi van Dyk, had been a fan of Andrew’s work for some time so when it came to shooting their promo, he insisted it had to be Andrew. With a limited budget, Andrew’s condition was to have total creative control of the image.

“The great thing about focusing on a niche style in photography is that your client will end up giving you much more freedom in a job because they trust you – after all, they came to you for your style. Why would they want to stifle that?” says Andrew.

Andrew’s idea was clear right from the start. The image had to be dramatic, almost like a Turner painting. But he knew that the scene itself would be impossible to achieve on location and in only one shot. “You don’t need to be restricted by the natural or real and can create based on your imagination. There is much more room for magic.” says Andrew.

Andrew ended up playing the role as producer, art director and photographer and Jordi was happy to take his lead.

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