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| Lightning Strike on Florida's Gulf Coast |
Camera: Sony a7R III
Lens: Sony FE 70-200mm f/4 G OSS
Light happens. Be ready. Shoot hard.
Copyright © 2018 Daniel R. South
http://www.dansouthphoto.com
All Rights Reserved
Showing posts with label Lighting. Show all posts
Showing posts with label Lighting. Show all posts
Monday, October 22, 2018
Lightning Strike on Florida's Gulf Coast
A Flash Of Inspiration
Camera: Sony a7R III
Lens: Sony FE 70-200mm f/4 G OSS
Light happens. Be ready. Shoot hard.
Copyright © 2018 Daniel R. South
http://www.dansouthphoto.com
All Rights Reserved
Camera: Sony a7R III
Lens: Sony FE 70-200mm f/4 G OSS
Light happens. Be ready. Shoot hard.
Copyright © 2018 Daniel R. South
http://www.dansouthphoto.com
All Rights Reserved
Monday, January 29, 2018
Lighting Test - High Key With Soft Edges
Creating A Dreamlike Quality
The soft, minimally directional lighting was created with one off-camera flash bounced in a white room.
I opened the lens to its widest aperture to accentuate the dreamlike quality of the image. The subject was placed on a folded bedspread. With most of the bedspread out of focus, it looks like a cloud.
I'm hoping that the subject liked the photo. She didn't say anything about it, either way, but I'm fairly confident. When it comes to lighting, we don't toy around.
Camera: Sony a7R III
Lens: Sony FE 85mm f/1.8
Light happens. Be ready. Shoot hard.
Copyright © 2018 Daniel R. South
http://www.dansouthphoto.com
All Rights Reserved
The soft, minimally directional lighting was created with one off-camera flash bounced in a white room.
I opened the lens to its widest aperture to accentuate the dreamlike quality of the image. The subject was placed on a folded bedspread. With most of the bedspread out of focus, it looks like a cloud.
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| High Key Portrait - Daniel South Photography |
I'm hoping that the subject liked the photo. She didn't say anything about it, either way, but I'm fairly confident. When it comes to lighting, we don't toy around.
Camera: Sony a7R III
Lens: Sony FE 85mm f/1.8
Light happens. Be ready. Shoot hard.
Copyright © 2018 Daniel R. South
http://www.dansouthphoto.com
All Rights Reserved
Saturday, January 31, 2015
Creative Flash 10 - Impromptu Head Shot
Lighting Portraits On Location
Add one camera.
One speedlight.
One modifier.
And one beautiful model.
Result: One classy head shot!
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 85mm f/1.8G
Flash: Nikon SB-910 / SU-800 commander
Add one camera.
One speedlight.
One modifier.
And one beautiful model.
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| Impromptu Head Shot - One Speedlight |
Result: One classy head shot!
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 85mm f/1.8G
Flash: Nikon SB-910 / SU-800 commander
Light happens. Be ready. Shoot hard.
Copyright © 2015 Daniel R. South
All Rights Reserved
Saturday, December 20, 2014
Creative Flash 9 - Film Noir
Emphasizing Drama with Light
Film Noir is a cinematic style that emerged around 1941 and remained popular until 1959. The Maltese Falcon (1941) is one of the earliest and best know films of the genre.
American films became available to European audiences again after WWII. Critics in France coined the name noir after the French word meaning dark or black.
Film noir is dark, both figuratively and literally. Desperate characters navigate dangerous situations and often meet with fateful endings. Cinematographers emphasized the drama of the stories by staging dark, shadowy scenes and emphasizing only selective areas with light.
The film noir lighting style is also used in portrait, fashion, and glamour photography.
The image above uses a simplified lighting setup. Film noir typically uses three lights (key, fill, and rim). I removed key light in this case to boost the effect of mysterious shadows. This fellow looks as though he's up to no good!
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II
Flash: Nikon SB-910 / SU-800 commander
Film Noir is a cinematic style that emerged around 1941 and remained popular until 1959. The Maltese Falcon (1941) is one of the earliest and best know films of the genre.
American films became available to European audiences again after WWII. Critics in France coined the name noir after the French word meaning dark or black.
Film noir is dark, both figuratively and literally. Desperate characters navigate dangerous situations and often meet with fateful endings. Cinematographers emphasized the drama of the stories by staging dark, shadowy scenes and emphasizing only selective areas with light.
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| Shadowy Figure - Film Noir Lighting |
The film noir lighting style is also used in portrait, fashion, and glamour photography.
The image above uses a simplified lighting setup. Film noir typically uses three lights (key, fill, and rim). I removed key light in this case to boost the effect of mysterious shadows. This fellow looks as though he's up to no good!
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II
Flash: Nikon SB-910 / SU-800 commander
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
Sunday, December 14, 2014
Creative Flash 8 - Modern Dance
The Art Of Human Motion
One of the most fascinating shooting assignments of the year was also one of the most challenging.
A modern dancer contacted me about taking some promotional head shots. We arranged to meet one afternoon at his rehearsal studio. As we discussed his expectations, I offered to take some shots of him dancing. He was open to the idea, and what happened next was amazing.
I looked around the studio and picked what seemed a promising location. He agreed, and I set up my lights as quickly as possible. (We didn't have much time left after completing the head shots.)
When everything was ready, I gave him the signal, and he launched into a non-stop flow of acrobatic movement. I watched him closely and released the shutter any time that he seemed to be moving toward an expressive position.
After about two minutes of astounding dance improvisation, he would stop and say, "I think that's enough."
I would look around the studio quickly, spot a new potential backdrop and say, "Uh, how about over here?"
"Okay!"
I'd drag the lights into a new position, rework the exposure calculations, focus, and lock everything in place. When I gave him the word, he'd go at it again for another two minutes while I shot like crazy trying to catch as much of his expressive, improvised performance as I could.
"Okay, I think that's enough," he would say.
It was a demanding and fast-paced session, but the images came out beautifully. The experience underscored the importance of being able to set up my lighting kit in a hurry. Clients have limited time, energy, and patience. Work fast if you want to make the most of your time with them.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G ED
Flash: 2 x Nikon SB-910; 2 x Nikon SB-800
One of the most fascinating shooting assignments of the year was also one of the most challenging.
A modern dancer contacted me about taking some promotional head shots. We arranged to meet one afternoon at his rehearsal studio. As we discussed his expectations, I offered to take some shots of him dancing. He was open to the idea, and what happened next was amazing.
 |
| Modern Dance 1 |
 |
| Modern Dance 2 |
I looked around the studio and picked what seemed a promising location. He agreed, and I set up my lights as quickly as possible. (We didn't have much time left after completing the head shots.)
When everything was ready, I gave him the signal, and he launched into a non-stop flow of acrobatic movement. I watched him closely and released the shutter any time that he seemed to be moving toward an expressive position.
 |
| Modern Dance 3 |
 |
| Modern Dance 4 |
After about two minutes of astounding dance improvisation, he would stop and say, "I think that's enough."
I would look around the studio quickly, spot a new potential backdrop and say, "Uh, how about over here?"
"Okay!"
I'd drag the lights into a new position, rework the exposure calculations, focus, and lock everything in place. When I gave him the word, he'd go at it again for another two minutes while I shot like crazy trying to catch as much of his expressive, improvised performance as I could.
 |
| Modern Dance 5 |
"Okay, I think that's enough," he would say.
It was a demanding and fast-paced session, but the images came out beautifully. The experience underscored the importance of being able to set up my lighting kit in a hurry. Clients have limited time, energy, and patience. Work fast if you want to make the most of your time with them.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G ED
Flash: 2 x Nikon SB-910; 2 x Nikon SB-800
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
Saturday, December 13, 2014
Creative Flash 7 - Juggler In Action
Instant Magic
This was one of the truly magical moments in my photography this year. I enjoy looking at this photograph again and again, seeing the brightly colored batons of the juggler frozen in time and space. I hope that you'll enjoy it as well.
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| The Juggler |
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G
Flash: Nikon SB-910 (handheld) / SU-800 commander
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G
Flash: Nikon SB-910 (handheld) / SU-800 commander
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
Creative Flash 6 - Cover Girl
Lighting In Fashion
After the clothes and the models who wear them, lighting is one of the most critical elements in fashion photography. Dress a beautiful model in a stylish outfit, put her in bad light, and you'll end up with a photograph that no amount of Photoshop can recover.
So, when you get the call to shoot a fashion assignment or a cover girl, you'd better walk into the studio with some mad lighting skills. Because Photoshop doesn't have a filter for boring.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G ED
Lighting: Custom setup
After the clothes and the models who wear them, lighting is one of the most critical elements in fashion photography. Dress a beautiful model in a stylish outfit, put her in bad light, and you'll end up with a photograph that no amount of Photoshop can recover.
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| Wedding Dress In An Old Prison - Daniel South Photography |
So, when you get the call to shoot a fashion assignment or a cover girl, you'd better walk into the studio with some mad lighting skills. Because Photoshop doesn't have a filter for boring.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 24-70mm f/2.8G ED
Lighting: Custom setup
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
Tuesday, November 11, 2014
Table Top Photography
Sophisticated Results from a Simple Setup
There's an old saying: "It doesn't matter what you did. All that matters is what it looks like you did."
In other words, you don't always need expensive equipment to create a high-quality image. Nowhere is this idea more applicable than in table top photography.
If you look at the photo below, you might assume that I used expensive lighting equipment to create it. I have some nice lights and modifiers, but I was in a hurry on the day when I took this, so I opted for a simpler solution.
The Secret Setup
Below and behind the camera are two sheets of white paper from a large drawing pad. The light came from a highly specialized piece of studio equipment called a window. Yes - a window. You might have a few of those in your very own home. If you look closely, you can see part of my coffee table reflecting in the camera's mirror. (Note to self: drape a dark cloth over the coffee table next time.)
Okay, it wasn't a completely el cheapo shot. I used a good camera mounted to a solid tripod. The exposure was close to a full second long, so hand holding was out of the question. Don't expect your cell phone to yield similar results.
Further, there are some limitations to any quick and dirty approach. If I needed to take several shots and have them all look the same, window light would not be suitable because it changes over time. If I wanted to put the camera on a shiny or backlit surface, that would have required more work and resources than a matte white background.
Nevertheless, it's a clean and clear shot that shows the product nicely. I could blow the full-sized version of this image up to six feet wide, and you would see every detail in the machining of the metal lens mount - not bad for ten minutes in the living room on a day when I had a lot of things to do.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 85mm f/1.8G
There's an old saying: "It doesn't matter what you did. All that matters is what it looks like you did."
In other words, you don't always need expensive equipment to create a high-quality image. Nowhere is this idea more applicable than in table top photography.
If you look at the photo below, you might assume that I used expensive lighting equipment to create it. I have some nice lights and modifiers, but I was in a hurry on the day when I took this, so I opted for a simpler solution.
The Secret Setup
Below and behind the camera are two sheets of white paper from a large drawing pad. The light came from a highly specialized piece of studio equipment called a window. Yes - a window. You might have a few of those in your very own home. If you look closely, you can see part of my coffee table reflecting in the camera's mirror. (Note to self: drape a dark cloth over the coffee table next time.)
 |
| Table Top Photography by Daniel South |
Okay, it wasn't a completely el cheapo shot. I used a good camera mounted to a solid tripod. The exposure was close to a full second long, so hand holding was out of the question. Don't expect your cell phone to yield similar results.
Further, there are some limitations to any quick and dirty approach. If I needed to take several shots and have them all look the same, window light would not be suitable because it changes over time. If I wanted to put the camera on a shiny or backlit surface, that would have required more work and resources than a matte white background.
Nevertheless, it's a clean and clear shot that shows the product nicely. I could blow the full-sized version of this image up to six feet wide, and you would see every detail in the machining of the metal lens mount - not bad for ten minutes in the living room on a day when I had a lot of things to do.
Camera: Nikon D800E
Lens: Nikon AF-S Nikkor 85mm f/1.8G
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
Thursday, September 25, 2014
Film Noir Portrait Lighting
Recapturing the Essence of 1940's Hollywood
I was in the studio all night. The camera's batteries were almost drained, and the hot lights were on the verge of burning out. But I pressed on. I had to get the shot - there'd be money in it if I could get the pictures to the newspaper by morning.
I kept a bottle of whiskey as close as I could and still remain sober enough to work. I thought about finishing that bottle as the traffic rumbled on the avenue below.
She walked in looking as though her last chance at happiness had caught the express train to anywhere but here. She had been somebody once, the trophy of a man with a temper and the wrong type of friends, perhaps. Now she needed MY help, which meant that her luck had run seriously dry. She was hopeless, a desperate dame looking up from the bottom of a cold well, wondering if there was still a way out. She didn't have a prayer, but she had me, and I had the one thing she was looking for.
I've always been fascinated by the use of lighting in cinematography. Creative lighting can add a tremendous amount of drama and emotion to a scene.
The film noir genre of the 1940's showcased an intense lighting style with high contrast and deep shadows. The portraits of the era mimicked this lighting style (or perhaps it was the other way around).
This is my interpretation of the classic look of 1940's portrait lighting. It might have come across as a bit more authentic if I had included swirling cigar smoke, but the studio has a non-smoking policy. And I detest smoke.
I had to figure out a different way to "light up" the shot. I hope that you'll enjoy the results.
Thanks for reading, and always keep an eye out for a damsel in distress.
Camera: Nikon D800E
Lens: Nikon 70-200mm f/2.8G AF-S VRII
I was in the studio all night. The camera's batteries were almost drained, and the hot lights were on the verge of burning out. But I pressed on. I had to get the shot - there'd be money in it if I could get the pictures to the newspaper by morning.
I kept a bottle of whiskey as close as I could and still remain sober enough to work. I thought about finishing that bottle as the traffic rumbled on the avenue below.
She walked in looking as though her last chance at happiness had caught the express train to anywhere but here. She had been somebody once, the trophy of a man with a temper and the wrong type of friends, perhaps. Now she needed MY help, which meant that her luck had run seriously dry. She was hopeless, a desperate dame looking up from the bottom of a cold well, wondering if there was still a way out. She didn't have a prayer, but she had me, and I had the one thing she was looking for.
 |
| Self Portrait 2014 - Film Noir Lighting Style |
I've always been fascinated by the use of lighting in cinematography. Creative lighting can add a tremendous amount of drama and emotion to a scene.
The film noir genre of the 1940's showcased an intense lighting style with high contrast and deep shadows. The portraits of the era mimicked this lighting style (or perhaps it was the other way around).
This is my interpretation of the classic look of 1940's portrait lighting. It might have come across as a bit more authentic if I had included swirling cigar smoke, but the studio has a non-smoking policy. And I detest smoke.
I had to figure out a different way to "light up" the shot. I hope that you'll enjoy the results.
Thanks for reading, and always keep an eye out for a damsel in distress.
Camera: Nikon D800E
Lens: Nikon 70-200mm f/2.8G AF-S VRII
Light happens. Be ready. Shoot hard.
Copyright © 2014 Daniel R. South
All Rights Reserved
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