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.
Posts Tagged ‘Pro-7a’
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.
Martin Häusler was born in Germany, but somehow ended up in L.A., shooting larger than life celebrities in his glossy yet gritty signature style. One of his most recent shoots was with rising teen pop outfit R5, fronting Ross Lynch from Disney superstar factory Austin & Alley.
“The client wanted to show that R5 is a Californian act, so choosing an outdoor location at sunset felt like a natural thing to do,” says Martin. “To make the band look cool and bit more rock, I came up with the idea of shooting them next to a classic old American car. Yes, I know it’s something of a cliché, but teenage pop groups are cliché. You’ve got to give their fans what they want, right?”
In terms of lighting, what did you want to achieve?
“I wanted to have the low Californian sun as my back light, as I think it creates such a nice vibe, plus it looks really cool when it shines through a person’s hair from that angle. I also wanted a hard front light and a couple of highlights and hotspots to emphasize the car, the shoes, and etcetera.” Read more
Using a technique called subtractive lighting, Kenji was able give the glasses black rims using nothing but light and decades of know-how. He used six ProHeads powered by two Profoto Pro-7a packs. Learn how and see the lighting diagram on PopPhoto. See more of Kenji’s work on his website.
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Freezing fast moving subjects can be the most demanding job for a flash because it requires the flash duration to be extremely short. Otherwise we get blurry edges and small ghost trails around the subject.
One way to get really fast flash durations is to use a ProTwin head, a special flash head with two flash tubes inside and two power cords so you can power each tube with a different generator. This splits the work load in half for the generator(s) and you’ll be able to get a much shorter flash duration that with a regular head.
If you want to see the lighting setup and read more about this, Popular Photography did a short article about the picture where you can read more about the setup and the technique.