Posts Tagged ‘B1 Off-Camera Flash’

Adventurer Charleton Churchill climbs Mt. Everest with the Profoto B1

Written by Charleton Churchill on . Posted in Off-camera flash, Wedding photography

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Profoto b2 lighting for adventure weddings

© Charleton Churchill

Charleton Churchill is an explorer, adventure and a destination wedding photographer. In 2015 he did a series unique weddings shoots on Mt. Everest, just above Basecamp. Here are his own words about the Mount Everest project.

I love to travel to adventurous locations with my couples, from engagement sessions in northern California where I live, to weddings on Mt. Everest. What’s important to me is carrying light and powerful gear, enough to carry on a hike. That is why I use both the B1 and B2 Off-Camera Flashes for my adventures. If I’m hiking or I need less weight, I pack my B2 Off Camera Flash, like I did on this year’s Everest Base Camp wedding. It fits in my bag just fine. For the image above, which was an adventure engagement session, I used the B1 Off-Camera Flash for extra power, just in case my vision morphed into something even darker and more dramatic. I had scoped this location earlier, so I didn’t need to hike but 30 yards down from my vehicle.

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Raising awareness on-location

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

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© Stephanie Diani

© Stephanie Diani

Last year we introduced you to some of Stephanie Diani’s arresting imagery. This year, the awareness campaign Faces of Humanity caught many a photo fans’ eye, and the observant Profoto blog reader also spotted that it was Stephanie providing the dramatic portraits. We had a chat with her to find out how she did the different on-location shoots.

Portraiture photographer Stephanie Diani really has a knack of finding how to tell a tale with her work. In her expressive and vivid portraits she is able to isolate that little something in the poses of her subjects. So when Getty Images asked her to do a shoot for the Canadian Red Cross, highlighting humanitarian field workers, she instantly knew what kind of story she wanted to convey.

“The art director at the Canadian Red Cross and I discussed what we wanted to achieve. Our artistic goal was to create images that engages the viewer and introduced them to the aid workers’ field of expertise. I wanted them to share the feeling of accomplishment that humanitarian work engenders,” says Stephanie.

The photographer explains that in order to achieve the look and feel she was going for, not just light but lighting was essential.

“We lugged 250 lbs of gear across Canada,“ Stephanie claims. Among that were three Profoto D1 Monolights, two Profoto B1 Off-Camera Flashes, and a large variety of Light Shaping Tools.

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Think outside the softbox

Written by Jens-Linus Lundgren-Widén on . Posted in Fashion photography, Lighting tips, Off-camera flash, RFi, The light shaper

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The fact that the softbox is such a common tool doesn’t mean you can’t be creative with it. To prove this we asked Andrea Belluso to do four different fashion setups using nothing but softboxes.

We all know the softbox. When it comes to Light Shaping Tools, it might very well be the most popular and most widely used. But the fact that we see it and use it so often can sometimes make us forget what a versatile and creative tool the softbox actually is.

First of all, there are many different sizes and shapes of softboxes to choose from. Secondly, you can position and direct the softbox in many different ways, which will create very different lighting effects. Put it to the side of your model. Put it above. Direct it straight at your model or feather it and use the fall off. Almost anything is possible with a softbox.

To prove this we asked light shaping guru Andrea Belluso to do four different fashion setups using only softboxes in an out of the box kind of way.

Never one to back down from a challenge, Andrea came up with four unique solutions. He tethered up with his Phase One XF and TetherPro USB 3.0 SuperSpeed and set to work. He used the softbox as side light, he used the softbox as top light, he used it to create a hard light, and he used it as back light to create an even softer light.

How did he do it? Keep reading and we’ll go through each setup one at a time.

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What’s the difference between using a green gel and no gel?

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

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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 green gel and no gel.

In my last post, I detailed the process of using color correction gels to match the colors of various light sources. It that case, we matched the flash (which is a slightly blue light) to overcast daylight (which is much more blue). Then we went the opposite direction and intensified the blue in the sky, by using a warm gel on the flash. If you haven’t read it, take a look, it is worth the read.  Throughout the shoot, we nailed four variations that were are great, so the selection between them would be based on individual preference.

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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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