Posts Tagged ‘Phase One’

Using Strip Softboxes To Create A Dramatic Portrait on Location

Written by Andrea Belluso on . Posted in The Light Shaper

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Andrea Belluso is an experienced photographer with more than three decades in the business. Once a month, Andrea takes us behind the scenes of a recent shoot to share some of the knowledge he has gained over the years. This time he brings strip softboxes to a murky hangar to shoot an elegant yet dramatic portrait of an old friend of his.

Flying gliders and taking pictures are two of my greatest passions in life. Being able to combine these two passions is even better! So, needless to say, the day I photographed my old friend and flying instructor Peder Ek (who also happens to be a great photographer) at our flying club was a pretty awesome day at work.

As if that wasn’t enough, I wasn’t just taking Peder’s portrait. At the same time, I was also shooting the finest aircraft we have at our flying club – the two-seated glider Dou Discus. She is such a beauty!

Right from the start I knew I wanted the image to be an elegant and timeless yet dramatic portrait of an experienced pilot and his beloved flying machine. In short, I wanted something that made Peder justice. He is a thoughtful and straightforward kind of guy. The image should be the same.

So how did I do that?

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How Tim Kemple Uses High Speed Flash Sync (1/1600s) to Create Amazing Action Shots

Written by Fredrik Franzén on . Posted in Sports Photography

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Profoto Tim Kemple CF001434 600x488 How Tim Kemple Uses High Speed Flash Sync (1/1600s) to Create Amazing Action Shots

©Tim Kemple

Did you know that using Profoto flashes with a Phase One camera allows you to shoot with flash sync speeds as fast as 1/1600s? Tim Kemple certainly knows it. And he has used that knowledge to create some pretty amazing action shots. Keep reading and learn how.

Tim Kemple got into photography almost by accident. Back in the days, he and his friends were into rock climbing and skiing. They travelled all over the US and even crossed the Atlantic to live out their passion. After doing so for a while, Tim realized that they should probably document their extravagant trips. So he picked up a camera, started shooting his friends in action, and the rest is, as they say, history.

Fast-forward a couple of years, and Tim is a sought-after sports and action photographer. But the things he learned back then is as useful today as it was then.

“When you’re on a shoot and the athlete realizes that you actually get what they’re doing, everything changes,” he says. “At that point the shoot becomes a collaboration. They get inspired to elevate what they do, jump higher or run faster or whatever it may be, which in turn inspires you as a photographer to elevate what you do.”

 

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Shooting a 52 Kilo Koran and 3000 Year Old Sumarian Tablets with the Profoto D1

Written by Fredrik Franzén on . Posted in Product Photography

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John Rylands Library in Manchester is not your everyday library. For one thing, it’s old. Opened to the public on January 1, 1900, the library celebrated it hundredth birthday more than fourteen years ago. But when it comes to age, the building can hardly compete with the stuff that’s in it.

Housing a priceless 52 kilo koran, ancient Egyptian papyrus fragments and 3000 year old Sumarian clay tablets to name just a few examples, John Rylands is not so much a library as a giant treasure chest of historic documents and artifacts.

Moving into the 21st century,  the library has undergone the ambitious task of digitizing all these priceless objects. Photographing objects such as these obviously requires the highest possible resolution and the most consistent color temperature available. To achieve this, the photographers at John Rylands rely on the Phase One 645 DF body, the Phase One iXR body, the IQ180 digital back and the Profoto D1 monolight. The flashes are synced with an Air Sync unit.

The video was shot by our good friends at Phase One, so there is obviously a lot camera tech in it. But keep your eyes and ears open and you’ll get a few pointers on the lighting as well. Read More

Alexia Sinclair Traveled to a Frozen Castle, Left Untouched for Hundreds of Years, to Shoot Portraits That Will Blow Your Mind

Written by Fredrik Franzén on . Posted in Fine Art Photography

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Fine art photographer Alexia Sinclair was given the keys to a frozen castle left untouched since the 17th century. “When you’re given such an incredible opportunity, you have to create something equally incredible yourself,” she says. “Otherwise it’s just a failure.” Keep reading and learn how she pulled it off.

It all started with an email from the Royal Palace in Stockholm. The Royal Armory was preparing an exhibition on Queen Christina and wanted to feature the portrait Alexia had done of the flamboyant queen as part of the portrait series The Regal Twelve. Alexia was also invited to the opening ceremony in Stockholm.

Never one to let an opportunity pass, and with a well-documented fascination for kings and queens, Alexia asked the Royal Palace if she could photograph a real-life princess while in Sweden. The reply she got was: “No. But we do have a castle you may use.”

A couple of months later, Alexia arrived at Skokloster Castle – a 17th century Baroque masterpiece situated just outside Stockholm. She had done weeks and weeks of research and planning. She had rallied people from all over Scandinavia willing to travel to Skokloster to style, model and assist. She was now ready to start her brand new portrait series, which was eventually named A Frozen Tale. Read More

Andrew Link Shoots a $500.000 Car with the D1 Monolight

Written by Fredrik Franzén on . Posted in Commercial Photography

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Andrew Link is a New York-based photographer specializing in shooting expensive cars, celebrities and celebrities in front of expensive cars. A recent shoot involved shooting a $500.000 car with the D1 monolight.

The shoot was done last year in Japan for Rides – a glossy magazine dedicated to custom cars that will make your own wheels want to crawl in and hide under the bed. But Rides didn’t just want one image of one car. They wanted 161 images of 30 cars, of which the most expensive was worth $500.000. That’s enough to make any photographer go nervous. But Andrew pulled it off with style.

The shoot was two years in the planning and involved one Phase One camera with a 80 megapixel back and three D1 monolight powered by two BatPacs. Andrew used 10 & 80 mm lenses for the close ups and a 35 mm lenses for the full car shots and the interior shots.

Head over to Andrew’s website to see more of his work.

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