What’s the difference between a white and a silver beauty dish?

Written by Jared Platt on . Posted in Off-camera flash, On location, Portrait photography

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© Jared Platt

© Jared Platt

What’s the Difference? is a series of lighting tutorials. Each articleresponds to a single question. In this post, Jared Platt explains the difference between a white and a silver beauty dish.

In my last post, I showed you the difference between a bare head flash and a white beauty dish. A beauty dish creates a directional, but soft light by increasing the relative size of the light and by blocking the original light source and forcing the light to spread evenly around the entire modifier. You probably already know that the relative size of your light determines how soft the light will be, but there are other factors that change the quality of that light. One of those additional factors is the surface of the light modifier itself.

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What’s the difference between using a CTO gel and no gel at sunset?

Written by Jared Platt on . Posted in Off-camera flash, On location, Wedding photography

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© Jared Platt

© Jared Platt

What’s the Difference? is a series of lighting tutorials. Each article responds to a single question. In this post, Jared Platt explains the difference between using a CTO gel and no gel.

In the past few blog posts, I have been detailing various scenarios where I use a gel to color the light coming from my flash to match the ambient light, or to contrast against it with an opposite color gel. In the first post, we dealt with a cloudy, rainy, cold day where the sun’d ambient light was very blue because it was blocked by the clouds. In that case, the ambient light was at approximately 6500 kelvins, which is very blue in color. In our second challenge, we photographed indoors and battled it out with a 1960s army of 5000 kelvin florescent lights in an AmTrack train car. But in today’s example, we will race the sun for a portrait with an ambient light temperature of close to 1800 kelvins.

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Rising Light: Angelique Ambrosio and the “Language of Light”

Written by Harley Anderson on . Posted in Rising light

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© Angelique Ambrosio

© Angelique Ambrosio

Rising Light is an article series highlighting promising photography students from all over the world. This month we introduce Angelique Ambrosio at School of Visual Arts in NYC.

Part of making it as a photographer is finding a style that sets you apart from the rest of the pack. Some photographers find their stylistic niche early on, some later, and some never. Angelique Ambrosio is the first kind.

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On-location photography in the Alps

Written by Jens-Linus Lundgren-Widén on . Posted in On location, Videos

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Portrait and editorial photographer Francesco Ridolfi is just as acquired with fine art projects as he is with commercial photography. Recently he got commissioned by König to do a campaign shoot in the Alps. So he filled his car with some Profoto B1 Off-Camera Flashes, Profoto D1 Monolights, and the BatPac, headed up the snowy mountains, and shot a behind the scenes video of it all.

The whole shoot took a total of three days. The first day was basically just for the trip and a quick location scouting of the place. Day two and three Francesco and his crew did the actual shoot. Since he was photographing in a pretty rough environment he needed equipment he could rely on.

“You don’t want to have any problem when you are on assignment for a client!” Francesco explains.

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What’s the Difference Between a Bare Head and a White Beauty Dish?

Written by Jared Platt on . Posted in Off-camera flash, On location, Portrait photography

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© Jared Platt

© Jared Platt

What’s the Difference? is a series of lighting tutorials. Each article responds to a single question. In this post, Jared Platt explains the difference between using a bare head and a white beauty dish.

Photographers instinctively know that a soft box creates soft light, it’s in the name for heaven sake! But the reason is sometimes less obvious to some. If you already know the answer to this quiz, don’t worry, we will get a little more detailed in a moment. The sun (less than an inch in diameter in the sky) is a very hard light and creates very hard shadows, but a 4 foot softbox, placed next to your portrait subject will create soft, beautiful light.  Take that softbox a few hundred yards away from the subject (if the strobe was strong enough) and that light would feel a lot more like the hard sunlight you so desperately want to avoid. Simply put, the quality of light (whether a light is soft or hard) depends on the size of the light to the subject.  No matter what light you have and what modifier you are using, the closer you bring the light to the subject, the softer it will become (even if it is also becoming more powerful in the process).

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