Posts Tagged ‘Pro-7b’

How Dan Bannister Created His Evocative Portraits of Lighthouse Keepers

Written by Jens-Linus Lundgren-Widén on . Posted in Portrait Photography

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© Dan Bannister

© Dan Bannister

Commercial photographer and filmmaker Dan Bannister matched scenic archive photographs with green screen portraits. The result is a series of ethereal and evocative portraits of lighthouse keepers. We had a little chat with Dan to learn how he did it.

Even though in his professional career, he has focused mainly on portraiture and lifestyle advertising work, when going through his archive, Dan Bannister realized that he had a lot of landscape images – of lighthouses in particular.

Growing up on the east coast of Canada, Dan has always had an affinity for the sea and the characters that live and work on the Atlantic Ocean. Recognizing this, a new idea for a personal project arose.

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Here’s How Ian Ruhter Created His Celebrity Portrait

Written by Ian Ruhter on . Posted in Portrait Photography

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Here's how Ian Ruther Created His Celebrity Portrait3

©Ian Ruhter

In a recent video, entitled The Making of a Celebrity Portrait,  wet plate maestro Ian Ruhter made us question the celebrity culture and how we perceive ourselves. In this post Ian will show you how the portraits were done. Here is the story, in his own words.

The #iamthecelebrity project aims to gain a fuller picture of what we look like today, through our own self-portraits. This idea of creating a self-portrait was presented to me by my friends at Profoto. The idea morphed into something greater, because I was a bit weary of making a self-portrait of myself. We made a video showcasing this journey, entitled The Making of a Celebrity Portrait. The title speaks to the images that influence our own image everyday and how we portray ourselves.

What we wanted to do is to create a tighter photograph than we usually make. This meant we were going to build an entirely new camera. After discussing this with my crew we came up with the idea of turning our office into a camera. This would give us a lot more space to work within.

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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

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.

On Location Portrait Photography at the Back of the Stage

Written by Fredrik Franzén on . Posted in Portrait Photography

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©Adam Krause

On location portrait photography often requires intuitive thinking and fast decisions. But Adam Krause’s portrait of playwright Kwame Kwei-Armah is evidence that doesn’t have to be a bad thing.

New York-based portrait photographer Adam Krause was asked to photograph playwright Kwame Kwei-Armah at the Center Stage in Baltimore, where Kwei-Armah is the Creative Director. The images were to be published together with an upcoming magazine article, but as Adam did not know the angle of the article, he decided to go for a strong portrait that tied together Kwei-Armah with the theatre.

This meant that Adam had to shoot on location. Things were further complicated by the fact that he had only 30 minutes with Kwei-Armah to get his shot. “The biggest challenge was the lack of time,” says Adam. “Since this was an out-of-town shoot, we didn’t have enough time to arrive the day before, do a location scout, and come up with a game plan. So the very second we arrived at the location and brought in our equipment, we had to think as sharply as possible!”


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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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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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