Location Lighting

Tuesday's Tips: "Live from New York !"

We had a great time presenting my my Location Lighting demonstrations during PhotoPlus Expo 2017 in New York!  Here are images from my ExpoImaging Rogue Flashbender live demonstration using Nissin speedlights at Unique Photo Booth.  

Both are 2 speedlights photographs with Rogue Flashbenders against the same black velvet background on a 4 foot square stage, achieving very different visual effects.


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Main Light: Nissin Flash Di700A with Rogue Flashbender XL
Hairline light: Nissin Flash Di700A with Rogue Flashbender XL and ExpoImage purple gel
The Speedlights were trigged using a Nissin Air 1 Transmitter.
Shot with NIKON D810
ISO: 250
Aperture: 4.5
Shutter: 1/160

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Main Light: Nissin Flash Di700A with Flashbender XL
Hairline light:  Nissin Flash Di700A with Rogue Grid
The Speedlights were trigged using a Nissin Air 1 Transmitter.
Shot with NIKON D810
ISO: 64
Aperture: 5
Shutter: 1/200

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Lighting Demos using Flashbenders at Unique Photo booth during the PhotoPlus Expo 2017.


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This is the view from my hotel room in NYC.

Now it's on my next workshop!   Location Lighting Workshop will part of the Xposure International Photography Festival in Sharjah, UAE!  Nov 22-25th.   I have an exhibit of my presidential photographs at Xposure. This is going to be great festival, come join us!

I'm kicking off 2018 Location Lighting Workshops with a Bahamas cruise and model workshop with my good friend Vanelli.  Jan. 5-8th.  This will be a lot of "Lighting and Laughing"  Join us!  More info about upcoming workshops can be find my workshop page.

 

Tuesday's Tips: Lighting London

This series of photographs is from my one day workshop "Lighting Goes on Location in London", part of The Societies of Photographer's Convention last month.

The group spent the day shooting in Piccadilly, Chinatown and Soho.  We used several different portable lighting kits, and rarely used light stands!  

Equipment & settings under each photograph. 1  Nissin  Di700A Speedlight  Westcott  Rapid Box  PocketWizard  Plus IV ISO: 100 Aperture: 4 Shutter: 1/250

Equipment & settings under each photograph.
1 Nissin Di700A Speedlight
Westcott Rapid Box
PocketWizard Plus IV
ISO: 100
Aperture: 4
Shutter: 1/250

1 Nissin Di700A Speedlight Westcott Rapid Box PocketWizard Plus IV ISO: 125 Aperture: 4 Shutter: 1/125

1 Nissin Di700A Speedlight
Westcott Rapid Box
PocketWizard Plus IV
ISO: 125
Aperture: 4
Shutter: 1/125

1 Nissin Di700A Speedlight Westcott Rapid Box PocketWizard Plus IV Crossfiltering with  Rosco  CTO gel. ISO 64 Aperture: 4 Shutterspeed: 1/250

1 Nissin Di700A Speedlight
Westcott Rapid Box
PocketWizard Plus IV
Crossfiltering with Rosco CTO gel.
ISO 64
Aperture: 4
Shutterspeed: 1/250

2 Nissin Di700A Speedlight  2   Flashbender XL PocketWizard Plus IV ISO: 100 Aperture: 4 Shutter: 1/100

2 Nissin Di700A Speedlight
2  Flashbender XL
PocketWizard Plus IV
ISO: 100
Aperture: 4
Shutter: 1/100

1  Elinchrom  ELB strobe with a Pro head Rotalux Softbox Deep Octa 70cm Skyport transmitter ISO: 160 Aperture: 5.6 Shutter: 1/100

1 Elinchrom ELB strobe with a Pro head
Rotalux Softbox Deep Octa 70cm
Skyport transmitter
ISO: 160
Aperture: 5.6
Shutter: 1/100

1 Westcott Ice light 2 ISO: 64 Aperture: 5 Shutter: 1/250

1 Westcott Ice light 2
ISO: 64
Aperture: 5
Shutter: 1/250

3 Nissen Speedlights,   2 Rogue FlashBender XL 4 PocketWizard Plus IV Rogue grid shot thru Rosco Cinifoil pattern from Rosco Rick Friedman Location Lighting Kit ISO: 64 Aperture: 5 Shutter: 1/250

3 Nissen Speedlights,  
2 Rogue FlashBender XL
4 PocketWizard Plus IV
Rogue grid shot thru Rosco Cinifoil pattern from Rosco Rick Friedman Location Lighting Kit
ISO: 64
Aperture: 5
Shutter: 1/250

Rogue Reflector ISO: 800 Aperture: 4 Shutter: 1/100

Rogue Reflector
ISO: 800
Aperture: 4
Shutter: 1/100

1 Nissan Di700A Speedlight Westcott Rapid Box PocketWizard Plus IV ISO: 200 Aperture: 4 Shutter: 1/50

1 Nissan Di700A Speedlight
Westcott Rapid Box
PocketWizard Plus IV
ISO: 200
Aperture: 4
Shutter: 1/50

1 Nissan Di700A Speedlight Westcott Rapid Box PocketWizard Plus IV ISO: 100 Aperture: 4 Shutter: 1/13

1 Nissan Di700A Speedlight
Westcott Rapid Box
PocketWizard Plus IV
ISO: 100
Aperture: 4
Shutter: 1/13

Most of the time the attendees photographed the models.  I took a few minutes at each location to demonstrate my lighting and shooting style. .  We started at 10 o'clock, with a  lunch stop at the pub between, we finished shooting after 5 o'clock!  All my images were shot on a Nikon D810 with a 24-120.  My camera was set Manual for all the photographs, lights were read using Sekonic light meter.

Come join me at one of my upcoming workshops.  Lots of lighting and laughing!

This spring, I am teaching Unique Photo (NJ), Boston Center for Adult Education CenterHarwin Camera (NYC), Cardinal Camera (Philadelphia & Charlotte NC) CanAM Photo Festival and Pixel Connection (Avon, OH).  I will be back in the UK for a series of workshops this summer.   Please visit my workshop page to see a complete schedule.

Tuesday's Tips: Lighting the Show!

I had a great time at Photoplus 2016 in New York!  I shot this image during one of my 12 lighting demonstrations. To light this photograph I used 3 Nissin flashes. The main light shot through Rogue Flashbender XL, the hairline light was shot through Rogue grid, placed directly behind her head to backlight her.  The background pattern was created by shooting the flash through a pattern cut out of Rosco Cinefoil and colored using Rosco gels (from my Rosco Location Lighting Kit!). I shot this on a Nkon D800 with a Lensbaby Velvet 56 lens at 1/160 second at f4, ISO 100. I later converted the image into Black and White with Adobe Lightroom.  This image was a hard choice between color and black and white.  Each has a very different feel.

 

Equipment Used:
Nikon D800
Lensbaby Velvet 56 lens
3 Nissin 700 A flashes with portable battery
Nissin transmitter
Expoimaging Rogue Flashbender XL
Expoimaging Rogue grid
Rosco Cinifoil
Rosco color gels
Sekonic D478 Light meter
3 Lightstands
3 Manfrotto Umbrella adapters
1 Manfrotto Spring Clamp
1 Manfrotto Super clamp

I used Tethertools to connect to the display during PhotoPlus.

 

 

 

Below is a photograph that shows you what the room looks like without my light,  This was not shot in a fancy studio but in a small space on a trade show floor.   I underexposed ambient light by having low ISO and fast shutterspeed. Without my lighting, the frame looks like a blank empty canvas.  You add and control your light to set the mood and feeling of your photograph.   That, is the magic of lighting!

Tuesday's Tips: Leaping for Light!

I had a recent assignment to photograph ultimate Frisbee Player Tulsa Douglas.  As with most of my magazine assignments the only info I was given was her name, contact info and why they are doing a story on her.  The rest is up to me to figure out.   I knew I wanted photograph her at dusk throwing and catching.  First challenge was the location, I knew I needed at large open space to shoot.  The second challenge was the lighting.  I knew the lighting on this shoot would be a mixture of strobe and ambient light. 

For strobes I used 2 Dynalite Bajas.  These are 400watt seconds self contained strobes. On the main light, I used a Dynaite Beauty Dish.  For a light modifier on the other Baja I used a Chimera strip light and a grid, to create rim light.   To determine my exposure I set my Nikon D810 on manual and using the in camera meter I take a meter reading off the sky and underexpose one stop to get deeper color.  Using my Sekonic light meter, I set my strobes to give me the same f stop as the reading off the sky.  As the ambient light drops, I slow my shutter to keep my exposure the same.  Tulsa would be silhouetted, without strobes. 

Check out the behind the scenes video below! 

Thank you, Colby Todisco for creating the video! 

 

 

  

Tuesdays Tips: Introducing new studio assistants!

Greetings from Lighting Test Kitchen!  Meet my new studio assistants at Rick Friedman Photography, Smoky and Ella!  I adopted these two kitties from Angel Memorial in Boston.  To welcome them, Keiko and I dressed up to make announcement photographs!  (we always dress like this, yeah right!)

This is a 2 lights photograph, One Dynalite Baja B600 with beauty dish on stage left and another Dynalite with Chimera strip light on stage right.  This was shot on a Nikon D810 with a Nikon 70-200 f2.8 lens at 200mm,  1/200 second at  F9, ISO 200 using a Dynalite wireless transmitter.

 

 

This is one light photograph, lit with a Dynalite Baja B600 and a beauty dish on stage left.  The light is angle down  to light the entire body and sofa.  Shot on a Nikon D810 with a  Nikon 70-200 f2.8 lens at 70mm,  1/200 second at  F9, ISO 320.

Come join me at one of my upcoming Location Lighting Workshops:
September 17 at Unique Photo in Fairfield, NJ
Ocotber 8th at Hunts Photo and Video in Providence, RI
October 20-22 at the ExpoImaging and Nissin Flash booths at PhotoPlus, Javits Center, New York
January 11-14, 2017 at the SWPP Convention in London, UK

No cats were harmed during the creation of these photographs!

 

Tuesday's Tips: A Smokin' Workshop!

Recently I hosted a smokin’ workshop at my studio in Boston’s historic South End.   Actually it wasn’t smoke, it was fog from a Rosco fog machine!

This workshop was a 2 day advanced Location Lighting Workshop and everyone who attended had previously taken one of my workshops.  We decided to create a complex lighting job! 

It was a slightly rainy day in the courtyard behind the studio, so all the strobes and electrical connections had to be covered in plastic.  The courtyard is 22’ x 40’  minus the space for the garden, we had about 15’ x 30’ to work in.  The key to photographing smoke is to back-light it.  I will introduce you 2 smokin' lighting set ups from the workshop in this blog.

Set Up 1

Main light was Dyna lite Baja 600 with Chimera strip light with barn doors to control the direction of the light.  We set up another Dynalite Baja directly behind the model with a 20 degree grid anda Rosco blue gel.  We placed 4 Nissin speedlights with different color Rosco gels in ziplock bags on the ground and in the tree.  The lantern was lit with amini optical slave with Rosco yellow gel and a piece of Rosco Toughspun to cut the exposure . A cross screen filter was used to create the star effect. Rosco fog machine was at stage left, just outside the frame. 

Nikon D810 Lens (mm): 46 ISO: 200 Aperture: 7.1 Shutter: 1/250

Nikon D810 Lens (mm): 46
ISO: 200
Aperture: 7.1
Shutter: 1/250

In this photograph we changed some of the filters and removed the cross screen filter.

Nikon D810 with a Nikon 24-120 f4. lens. ISO: 200 Aperture: 7.1 Shutter: 1/250

Nikon D810 with a Nikon 24-120 f4. lens.
ISO: 200
Aperture: 7.1
Shutter: 1/250

 

 

Here is what the courtyard looked like without lighting.

Gear used:

1 Rosco Mini V Fog Machine
5 Rosco gels from my Rosco Location Lighting Kit
2 Dynalite Baja strobes, 1, 400ws and 1 600 ws
4 Nissin Di700A flashes ( in plastic bags to protect from the rain)
1 Chimera strip light with barn doors
1 mini flash with an optical slave
5 Pocket Wizard Plus III
2 Pocket Wizard Plus IV
2 PhotoFlex light stands
1 cross screen filter

 

Set Up 2

This is 2 Dynalite Baja and 1 Nissin speedlight set up.  1 Dynalite Baja with a Chimera strip light as main light and the other with a grid and Rosco blue gel as back light.  There is a Nissin speeslight with Rosco red gel in background as well.

Nikon D810 Lens (mm): 100 ISO: 100 Aperture: 4 Shutter: 1/100

Nikon D810 Lens (mm): 100
ISO: 100
Aperture: 4
Shutter: 1/100

 

Behind the scene.

Gear used:

3 Rosco gels from my Rosco Location Lighting Kit
2 Dynalite Baja strobes, 1, 400ws and 1 600 ws
1 Nissin Di700A flash
1 Chimera strip light with barn doors
1Pocket Plus III
2 Pocket Wizard Plus IV
 

Here is our silly group photograph from the smokin' workshop!  Thank you for everyone attending.  Last but not the least, thank you for good friends at Rosco for lending us the fog machine!

Nikon D810 Lens (mm): 24 ISO: 500 Aperture: 10 Shutter: 1/250

Nikon D810 Lens (mm): 24
ISO: 500
Aperture: 10
Shutter: 1/250

I will be at Unique Photo Expo 2016 on June 24 through 26! Hope to see you there! 

Happy Lighting! and Please Don't Feed the Models!

 

 

 

Tuesday's Tips: What can you do with one light?

What can you do with one light?  The answer is: a lot!  I recently had a magazine assignment to photograph a graduate student who is working on Cape Cod.   The client requested portraits with the feeling of the Cape.   

The time of day and quality of light can make a huge difference when taking photographs. The clouds in the evening sky created a beautiful, warm background for the portraits. The ambient light of the sun is placed right behind the subject. This is what created the wonderful, warm hairline light seen in the portrait below. 

To create a photograph like this, set your camera on manual then using the in-camera meter take a reading off the sky.  Underexpose the sky to give you richer colors.  Set your strobe on TTL.  The exposure on the photo above was f5 1/200 second ISO160.

I shot these images with a Nikon D800 with a Nikon 17-35 zoom lens with a Vu circular polarizing filter and one Nikon SB-800 speed light with a  Rogue Flashbender.  The polarizing filter makes the clouds stand out, while the Flashbender gives a small portable soft box on your speedlight.

 

When the stobe was not used, the subject becomes a silhouette (picture below).   I underexposed the sky a bit more to create deeper, more vibrant colors.. The exposure for this image is f4 1/125 second ISO 160. 

 

Another fun trick to try is zooming the lens while the picture is being taken. The flash is fired and hits the subject, freezing her, and giving the blur/zoom effect to the rest of the image. Your shutter speed has to be slow enough to get the effect f the zoom.  The exposure was f4 1/25 second ISO 320. (picture below)

 

I hope you can join me at one of my upcoming Location Lighting Workshops

January 16
Hunts Photo Providence, RI

January 23
Hunts Photo Manchester, NH

February 27
Unique Photo Fairfield, NJ

March 1
Bedford Center for the Arts, Bedford, MA

March 7-9
WPPI, Las Vegas

March 29
South Shore Camera Club, Quincy, MA

April 5-6
New England Institute of Professional Photography, Hyannis, MA

April 9-10
CanAm Photo Expo  Buffalo, NY

April 15-19
Professional Photographers of Canada Convention, Alberta,

Tueday's Tips: Lighting Science!

Recently I had the honor of photographing Professor Jeff Lichtman of Harvard University for the third time.  In each shoot, I have photographed Professor Lichtman with a microscope. I wanted to continue the theme on this assignment.  His current microscope is one of a kind microscope that produces the most amazing images of the human brain.  However, it looks like a large refrigerator.  To make image more interesting and include a visual of his work, I projected one of his images on his microscope.  

We had 2 hours including set up time to produce three situations requested by the client.  I knew the one with the microscope would be the most difficult. I always start a shoot with the most difficult shot.  The other 2 portraits requested were one in his office and another on the stairs.  

I had the Professor show me his lab and we discussed ideas for the photographs.  I told him we needed about 20  minutes set up time, and suggested he might want to go back to his office to work.  There is no reason for the subject to watch you light.   People have a limited amount of time set aside to be photographed.  The less of their time I tie up, the happier they are in the photographs.

As I constructed the photograph, I had my assistant stand-in for the subject.   The first few test frames were shot available light using a 17-35mm lens at 17mm ISO: 3200 F8 & 1/40.

 When lighting a photograph like this I, add 1 light at a time.  To light my subject  I used 2  Dynalite Baja 400WS strobes. One on his face and one as the hairline light.  The hairline light also gave me separation from my background.  The Baja has a build in battery and no cables for me to trip on!  Both strobes had a 10 degree grids to control where the light was aimed.   To further control my light, I put Rosco FotoFoil on the side of the strobe closest to the background to prevent light spilling on the microscope.

 

To create the background, I attached a projector with a wide angle lens to a computer and projected one of the Professors slides.  The key to projecting images on a background is not having any light from your strobes or any other light source hit the area with the projection.  When I do a photograph like this, I always turn off the overhead lights.  The room was dark when I was shooting.  I had to use the flashlight on my phone to focus.  Make sure your modeling lights are turned off.  

We moved projector and adjusted its hight to project the Professor's research on his large white microscope.  The projector was placed to the right of the Professor, 2 ft off of the floor.

To determine exposure for the background I used the in-camera meter.  With the camera set on manual I set the aperture to the same f stop as the strobe reading and lowered my shutter speed until the exposure from the strobes in the foreground and the ambient light from the projector were the same exposure. The strobe f stop was determined with a Sekonic 478 meter.  The final exposure was 2.5 seconds shot at f11.  Jeff was lit for duration of the flash, while the background burned in.  The image was shot on a Nikon D810, a Nikon 24-120 lens on an Induro tripod and Nikon cable release.  

Equipment Used for the shoot:
Nikon D810
Lens: 24-120mm
Rosco Rick Friedman Location Lighting Kit
2 Daynalite Bajas Portarble Strobes with 10 degree grids
Induro Tripod
Nikon cable release
2 Light stands
Sekonic Lightmeter 478
Projector
Extention code for the projector 

I love photographing academics.  I find it fascinating to work with some of the world's greatest minds!

Upcoming Workshop Schedule: Hope you can join us!
September19 & 20
Hunts Photo, Providence RI

October 10, 
Hunts Photo, Manchester, NH

October 17 & 18
Hunts Photo Portland, ME

October 22-14
PhotoPlus, New York

November 18 
Adorama sponsored by Dynalite

Tuesday's Tips: A One Day Assignment

Happy Summer Shooting!

I  recently worked on a wonderful assignment  shooting photographs to promote a new upscale seniors condo project  located on the water, north of Boston. The main challenge with this project was that  the complex has yet to be built.  My job was to sell a development that didn't exist yet.  How do you do this? You sell a life style.  I had one scouting day and one shooting day to produce the photographs.  The scouting day was spent with the client to determine locations and discuss concepts, create a timeline the shoot and work with a model agency to select models for the projects and shoot.  Most of my work is editorial, this is not!

I shot 14 situations in a  day using a total of 15 models. On a shoot like this, everything has to be scripted.  There is only a limited amount of time for each situation and you try not to keep the models overtime.   It is essential, you move quickly and your lightings has to be extremely mobile as well as produce the look of light you are after.   I worked with a self contained 400WS Dynalite Baja strobe and a Chimera softbox.  The combination is very portable, being hand held most of the time while  giving me beautiful light with a fast recycling time.  On those mid day shots, this combination is perfect for over powering hash summer light. ( you can also read on how to deal with harsh sunlight on my blog; Controlling the Sun!)

When mixing strobe and ambient light, I set my camera on manual and expose for "the element you cannot control" which was often the sky.  I used the in-camera meter to determine my ambient reading and Sekonic 478R Light Meter to determine the strobe output.  I could use the Sekonic to read the ambient light, I just didn't.  I also used a polarizing filter to bring out the sky and an ND filter, to control my choice of Fstop.

 

Be spontaneous! We did not plan for a dog!

 

 

 

During  the final shoot of the day, a cocktail party, we were after the feel of late afternoon light.
The problem here was the back of the house was in shade.  To get the effect of warm light, 
I used a Rosco full CTO (color temperature orange) filter over the two Baja strobes used to light the photograph. I used a 30 degree grid to control the light.  The Rosco CTO filter is one of 26 filters in my "Rosco Location Lighting Kit by Rick Friedman

For 1 day shooting, it is difficult to produce 14 situations and one has to be very efficient and move quickly.  Know your equipment, and travel light. It's a lot of work, but a great way to spend a summer's day.   I got to ride on a boat to celebrate a great shoot and work with wonderful people.  Happy Summer Shooting!

Upcoming Location Lighting Workshop Schedule.  Hope you can join us!

August 8-9
Unique Photo, Fairfield, NJ

September19 & 20
Hunts Photo, Providence RI

September 27-29
Berkshires Workshop, North Adams, MA ( Please email me for registration and more info)

October 17 & 18
Hunts Photo Portland, ME

Tuesday's Tips: The Photo Brigade Video Podcast

Happy Tuessday!  I am excited to tell you I was recently interviewed by Robert Caplin for the Photo Brigade Video Podcast at Adorama in New York City.  The video podcast is now available!  I talked about a bit of my career as a photojournalist, my approach to lighting and my  Location Lighting Workshops.  

Check out the Photo Brigade! Great resource for the photographers! 

 

Here are the behind scene from this interview at and around Adorama in New York City!

Thank you for having me!

Tuesday's Tips: Fun with Lights!

Last week I introduced the new version of the Rick Friedman Location Lighting Kit by Rosco during a 2 hour Location Lighting Workshop presentation at B&H Photo in New York.  The idea for my Location Lighting Kit came from my "must have" in my camera bag: correction filters, color gels, PhotoFoil and Toughspun.  Using a Dynalite Baja B4 Strobe, my Rosco Location Lighting Kit, a few PocketWizards, a couple of Nissin strobes and a Sunbounce reflector, the goal was to demonstrate different types of lighting, starting with a single strobe and end with elaborate lighting with a projected background all in two hours at the B&H classroom.   Please view the video!

Our wonderful model, Hillary Button, is standing in front of a plain white backdrop.  The photograph below is our set up. The main light is a Dynalite Baja B4 400WS strobe with a 20 degree grid.  The front of the strobe is wrapped in Rosco PhotoFoil, to control the beam of light, so the model is lit without any light from the Dynalite strobe hitting the backdrop. The black foam core further prevents white light from hitting anywhere on the backdrop.   Behind the model's head is a Nissin Di866 flash with a Rosco Night Blue gel #74, giving her the highlights around her hair.  To create the background, I took a sheet of PhotoFoil and cut out the pattern, and hung it from a small boom in front of flash.  I used a Sunbounce Flash Bracket to connect a Nissin MG8000 flash to the same light stand as the boom holding the PhotoFoil pattern.  In front of the Nissin flash is a Rosco CalcolorBlue #90 gel.  The PhotoFoil and the gels are included in my Rosco "Rick Friedman Location Lighting Kit."  The photograph was shot with a Nikon D800 and a Nikon 105mm macro lens on an Induro Tripod connected  to my computer with a TetherTool cable.

 

The photograph below is from the beginning of the presentation.  The lighting in this image
is from the Dynalite Baja B4 strobe, which is powered by an internal battery, shot through a Dynalite medium soft box.  On the right side of the model's face is a Sunbounce Micro-Mini reflector.  

To determine my exposure, I use a Sekonic 478DR light meter (photo on right).

 

In this photograph of Hillary, I have added a Rosco Calcolor Lavender 60 gel to the Nissin MG8000 flash behind her head.


And here I am having another rough day at the office!

Thank you to our wonderful makeup artist Kate Easterbrook for a great job and from coming all the way from Toronto.  
I hope you can join me at one of my upcoming Location Lighting Workshops for a couple of days of Lighting and Laughing! This weekend I will be at Hunts Photo & Video just outside Boston.

Tuesday's Tip: Lighting Hyunah

This week's Tuesday Tips is a photograph from my studio.  As a photojournalist and corporate photographer, I do the majority shoots on location, although I do use my studio for some assignments.  Quite often, I use my studio like my test kitchen exploring new lighting techniques and testing new equipment.  All of the light in this photograph was produced using 3 Speedlights and a plant!  Ok, I used some other equipment.

My wonderful model for this shoot is Hyunah Jang.  A superb photographer, now working in Hawaii. 

The main light in this photograph is a Nikon speedlight shot through a  Flashbender XL Pro Strip Diffuser.   The hairline light another  speedlight with  a Rogue Grid  and a 1/2 CTO orange gel on a boom overhead.  For the background we placed a third strobe on the floor behind the screen with a blue gel  and fired it through a plant to give us the pattern on the screen.  We  used a piece of foam core to bounce the light from the Flashbender back on to our model’s face.  ISO 125 Fstop 7.1 and Shutterspeed 1/100.  

This set up works in a really small space and with the exception of the screen and plant is really portable.   The end photograph just does not feel like it was shot in a  really small space.

 

    Gear used in this Shoot:

    Nikon D800
    Nikon 70-200 f2.8 zoom lens
    Nikon 3 Speedlights
    4 PocketWizard Plus III
    ExpoImaging Rogue XL Pro Strip Diffuser (main light)
    ExpoImaging Rogue Grid with gel (Hairline light)
    Rosco Blue gel (background)
    Formcore
    Manfrotto Justin Clamp (to hold a form core)

     

     



    Tuesday's Tips: Happy Chanukah!

    Happy first night of Chanukah!  The Festival of Lights.   For this week's Tuesday's Tips I thought I should light the lights.  Since it 's the first night, I lit the menorah with 1 speedlight. 
     

     

     
    I shot this photograph in my studio in Boston's South End using a single Nikon Speedlight shot through a Rogue Grid with a blue gel.  I put a Rogue Flashbender on one side of the grid to further narrow the beam of light from the Speedlight giving me drop off on the light in the foreground. 

    This photo is a mixture of available light and strobe,  when deciding on exposure for a photograph I always start my exposure with the element I can not control.  In this photograph that element is the light from the candle.  I used the camera's light meter, set on spot meter to read the light from the candle.  Below you can see what the image looked like with no strobe and with strobe, without the blue gel.

     

    The last part of the setup was moving the menorah so I had reflections in the base.

    The photograph was shot with a Nikon D-800 and a Nikon 105 Macro lens, Rogue grid set, Rogue flash bender, Pocket Wizard TT5 & TT1.  The menorah was on a black velvet backdrop.  The velvet did not reflect any light, giving me the total black background.

     

    Shalom, May Peace be with everyone this holiday season! 

    Upcoming Workshop:
    2015
    January 14-18, 2015
    The Societies Photographic Convention.  London, UK

    January 16
    SWPP Lighting on Location. London, UK

    January 17
    SWPP A Day at the Asylum. London, UK

    January 18
    SWPP Location Lighting Workshop Demonstration. London, UK

    February 7, 2015
    Hunts Photo, Portland, Maine

    February 19
    Stonybrook Camera Club Evening Lecture 

    February 27
    Horizon Photography Summit  Wilmington, DL

    March 2-5
    WPPI 2015

    March 21-23
    Can-Am Photo Festival Amherst, NY

    March 24
    Gateway Camera Club Evening Lecture

    March 31 -April 1
    New England Institute of Professional Photography: 2 day Location Lighting Workshop

     

    Tuesday's Tips: A Quick Trip to India

    We had a couple of weeks that “Tuesday’s Tips” was absent, but I had a good excuse.  I flew to India to attend my stepson Michael’s wedding in Goa.  It was a unique intercultural and interfaith 3 day wedding.  There were 2 very different wedding ceremonies.  The first was conducted by my nephew Spike, a rabbi and a close friend of Michael’s. The ceremony the next day was a traditional Hindu wedding.  Each had it’s own unique customs, both had lots of colors.  

    I used a Nikon Speedlight to capture the selfie moment and match the light on Michael and Juhi with the sky

     

    In this image the ambient light in the sky matched the ambient light on the couple.

     

    This photograph was lit  with a Speedlight mixed with the available LED lights 


    I lit this photograph with a Speedlight and a collapsable Chimera  Beautydish.  The Speedlight was triggered by Pocket Wizard Plus IIIs.

     

    When I wasn’t photographing at the weddings, I was out shooting the beach and the market. What do most photographers do to relax on a few days off?  Make more photographs!

    I convented my Nikon D300 into Infrared camera a few years ago.  Although I don't use it much for assignment.  Creating IR images is a great relaxation for me.

     

    Cow and tourists!

     

     

     

    When I packed for the trip I knew much of photography would be available light, so I brought my polarizing filter and 2 ND filters.   I also knew some of the photographs would need lighting.  In addition to my camera and lens, I brought a small portable studio in camera bag and roll on case.   I don't check in my gear.  I use a ThinkTank Urban Disguise bag and a ThinkTank Airport International Rolling Camera Bag and wheel my equipment on to the plane. 

     

    Here’s my equipment list:

    2 Nikon D800s

    Nikon 17-35 f2.8

    Nikon 24-70 42.8

    Nikon 70-200 f2.8

    Nikon 16mm fisheye

    3 Nikon SB900s

    Rosco Rick Friedman Location Lighting Kit

    3 PocketWizard Plus llls

    2 Rogue Flashbenders

    1 Rogue Grid

    1 Chimera Beauty Dish

    1 Induro tripod

    1 Nikon D300s converted to infrared

    1 Lensbaby Composer 

    1 California Sunbounce Sunmover reflector

    I had a great time in India, the people are wonderful!  I wish I could have stayed more than a few days.  I look forward to returning.

    Mazel Tov! Wish you the life time of happiness!  Congratulations Mike & Juhi!

     

    Tuesday's Tips: Chasing Shadows!

    Happy Tuesday!


    For the past two weeks I've discussed how to add color to your background using Rosco gels and Cinefoil from my Location Lighting Kit.  For this week's Tuesday Tips, I want to show you another way to accent your photographs, by adding shadows!  The key to creating shadows where you want them is to have your strobe off camera.  Remember, the smaller your light source the harder the edge.  The angle of your light and the distance your subject is from the background will effect how the shadow is projected.


    1 speedlight :
    In the photo below, shot at a Manhattan costume party, I placed a single speedlight to the left of the camera, lower than the subjects, and shot it through a small Rogue Flashbender fired with a PocketWizard TT-5.  This sent the shadow up and behind the subjects while lighting the subjects with soft light.   I can control where the shadow goes by moving my strobe.  

     

    2 speedlights:
    In this photograph for Harvard University of Professor Robert Lue, I wanted to show the Professor's research on his computer.  The challenge was making an interesting photograph when the only background available was his computer monitor.  The starting point is to read the ambient off the computer, this gives you your base exposure.  When lighting a photograph like this, it is essential that no light from your strobes hits the computer monitor.  This photograph was lit with two Speedlights both with Rogue Grids to control the light on the professors face, while not allowing any strobe light to hit the monitor.   The Speedlight on the right is the main light to light his face:  one stop brighter, (step2).   The Speedlight on the left cast the shadow on the monitor and open up the shadow of his face.   To make sure no light from the strobe hits the monitor, or the shadow I have just created, the strobe on the right has a snoot created out of Rosco Cinefoil.

     

     

    3 strobes:  Two Dynalites and a Speedlight
    The challenge for this shoot was to recreate a photograph that was previously shot in early March, when the sunlight was low on the horizon and casting the shadow on the wall.  The problem was this photograph was shot in July, when the light was totally different.  

    The solution: recreate the original light by placing a Dynalite outside of the door.  To control the direction of the light from the Dynalite strobe, I put a grid over the strobe and added a Rosco 1/2 CTO to warm it.  The strobes were fired through the walls using a PocketWizard Plus lll.   Inside I had a second Dyanlite to light her face, also with a grid and a Speedlight aimed at the dark side of her face.

    I will be traveling next week, so Tuesday's Tips may take the week off.  I hope everyone will have a great Thanksgiving! 

    I hope to see you at one of my upcoming workshops.  The next two stops for my Location Lighting Workshops Tour are at Hunts Photo on December 6th and at the Societies' Photographic Convention in London in January.  I'll be teaching my Location Lighting Workshop "A Day at Asylum with Rick Friedman" (love the title!).  Hope you can join us!  

    Thank you Rick Sammon and Juan Pons for having me on this edition of Digital Photo Experience! Hope everyone can tune in and listen!

    Our friends at Hunts Photo and Video are giving out 20 % discount on Rogue flash benders SM and LG, to our readers, Thank you Hunts!

    “Tuesday’s Tips” Running out of Light, Let’s Make More!

    This week’s “Tuesday’s Tips” features an architectural shoot we did yesterday. Our client was Mark Connor, the architect who designed the Callahan building on the campus of Endicott College, just north of Boston.  Connor requested photographs that were different from the traditional architectural photographs.

    For photographs of building exteriors, the answer was to shoot long exposures during blue hour.  During sunset I started to see wonderful colors behind the building.  As the sun sets earlier this time of year, the blue hour is really the blue half hour. Although the sky was looking great at blue hour, the front of the building was going dark. The solution was to use a couple of Dynalite portable strobes. The blue hour was fading fast, no time for light stands…

    Quick!! Put a PocketWizard Plus III on each strobe and one on the camera.  My intern, Kalin, held a Dynalite Baja strobe over head, my assistant Keiko, ran across the street, laid on the grass and aimed a Dynalite Uni at the building while I stood on a rock with my Nikon D800 with a 14-24 lens on a tripod.  The two strobes filled in just enough of the building to make the brick stand out. The light on the foreground was enough draw your attention to the building.  I waited for a car to drive by to get the effect of the headlights and taillights to come out as streaks.  The exposure was six seconds, f13 at ISO 400.  Don’t forget to use your cable release on long exposures.

    With strobes

    With strobes

    Without strobes

    Without strobes

    Keiko is holdlng Dynalite Uni to light the building, and Nikon Speedlight set on SU4 to light herself.

    My next 2 stops for my Location Lighting Workshops are Hunts Photo on December 6th and at the Societies Photographic Convention in London in January.  I'll be teaching my Location Lighting Workshop "A Day at Asylum with Rick Friedman" (love the title!).  Hope you can join us!

    Tuesday's Tips: "Throwing Colors at the Wall" with my new Rosco Location Lighting Kit

    I'm excited to announce that Rosco is releasing the new version of the  "Rick Friedman Location Lighting Kit" at PhotoPlus Expo in NY this week. Lots of color gels, Toughspun & Cinefoil,  I'll be demonstrating the new kit at the Rosco booth on Friday 10/31.  Booth 165.  

    If you look in my camera bag, you will  find a plastic bag of Rosco color gels, Toughspun and Cinefoil, in various sizes that I use for my assignments. I use the gels to color correct and create interesting light  while the Cinefoil helps me control the light and the Tough Spun helps softens the light.  All these fit in a small bag!  

    The beauty of working with Rosco Cinefoil and color gels is you can make a boring background into interesting one!  The model is leaning against the brick wall outside the studio.  By adding the color gels shot through holes in the Cinefoil, I was able to project the colors on the wall.  Before the cover shoot we cut a pattern out of a sheet of Rosco Photofoil and taped pieces of different color gels over the holes in the Cinefoil.  My background light was a Nikon speedlight blown through the colored cut out to project interesting patterns on the bricks.   I used a speed light for my background because I wanted to have the pattern to come out clear: a smaller light source will gives you harder edge.  My main light was Dynalite Uni with a grid and Rosco Toughspun.  I used a sheet of Cinefoil to direct my main light to create the feeling of a spot light on my model.  The Uni strobe  was powered by a portable Jack Rabbit battery and both strobes were fired using PocketWizard Plus IIIs.

    This is a strobe photograph, with no ambient light.  I used Sekonic 478 Lightmeter to read the strobe output.  My exposure for this shot was 1/250 second, f5 at ISO 80.

     

    Equipment used for the cover shot are:
    Lots of Rosco color gels
    2 sheets of Rosco Cinefoil
    Dynalite Uni with a grid and
    Rosco Toughspun
    Nikon Speedlight
    PocketWizard Plus III
    Sekonic Lightmeter 478
    Nikon D800

    Thank you Eve Eliseeva for being a wonderful model!

     

    I will be doing a series of lectures and live demos throughout PhotoPlus 2014 Expo at Javtis Center in New York City. 

    Thursday October 30
    Noon-12:30 California SunBounce PhotoPlus Show Floor Theatre
    1:30- 2:15 Unique Photo Booth #937

    Friday Oct 31
    ROSCO Booth #165

    Saturday Nov 1
    12:30 – 1:15 ExpoImaging Booth #134
    2:30 – 3:15 Unique Photo Booth #937

    I will discuss "how-to" on my lighting from my photo assignment, a lot of gear talk as well as fun behind the scenes stories. If you are planning to be there, come say hi!

    Tuesday's Tips: Making great light with your strobe sitting on the camera!

    What can we do with flash on camera?  The answer is A LOT!  

    I like using my Speedlights off camera whenever I can, but there are a lot of times as a photojournalist when I don't have time, or space to set up off camera strobes.  Like when covering news events, catching spontaneous moments with politicians and celebrities, and making quick portraits.

    I often bounce the strobe off a white wall or ceiling to direct my light.  I change my shutterspeed to achieve good lighting balance and to add or freeze motion.  The Speedlight is a small harsh light source, by bouncing the light off a wall, the ceiling, or using a light modifier you can take a small harsh light source and make it a much larger and softer light source.  By using one of a few small light modifiers like a Rogue Flashbender or a SunBounce Bounce-Wall with your strobe light, you can greatly improve your speedlight on camera.  I use the Flashbender at events and the Bounce-Wall for quick beautiful portraits.  

    My rule for Speedlight photography (on and off camera) is: set the camera on manual, and the strobe on TTL.   I use a Hoodman Loupe, to study my LCD screen.  It's worth the money investment, especially under bright sunlight!


    I photographed Keith Richards, Chuck Berry and Leonard Cohen at the PEN Literary Awards at the John F Kennedy Library.  In a situation like this always start your exposure with the element you can not control.  In this case it is the blue sky outside the window.   My camera was set on manual and my strobe was on TTL.   I used my camera's light meter to read the sky outside the window, then I used my strobe to fill in my subjects.  My shutterspeed was 1/250 at f7.1.
    I used a small Rogue Flashbender on my Speedlight to soften the light. The Flashbender is a small soft box you put on top of your strobe, that fits in your camera bag for on camera strobe!

    When photographing in a room with windows you have be mindful of your strobe hitting the window (reflective surface). Either make sure the reflection of the strobe is behind your subject or move to the left or right, so you do not see the reflection.  At this event the only gear I had with me due to the size of the room was a Nikon D-800 with a 17-35 zoom, a Speedlight SB-900 and the Flashbender.  The rest of the gear was outside in the hall.


    I shot this during Presidential campaign in NH.  I was behind the bar with President Obama and the Secret Service was standing right behind me.  There was no time for planning, it happened quickly and as a photojournalist you need to capture the moment.   You never know when you are going to be told by the Secret Service to leave the room, so work fast!  My shutter speed needed to be fast enough so that I could capture the President sharp, but slow enough that I would have ambient light in background.  My shutter speed was 1/40 at ISO200 & F 4.5.  I used a dome for this.

     

    I shot this during Chinese New Year at a neighborhood community center.  Strobe was on camera with a small Flashbender.  My shutter speed was slow enough so there is a feeling of motion in the scarf, but fast enough to freeze the dancers, who were standing still as they moved the scarf.  My shutterspeed was 1/5 at ISO 200 & F 6.3 hand held.

     

    Adventurer and author Guy Grieve, was photographed at Walden Pond, in Concord, MA for The Gurdian. This photograph is completely back lit, giving me the highlights on the water on  his hat and jacket as well as preventing a harsh light on his face.  I used a Speedlight on camera to fill in the light in his face.   My camera was set on manual and my strobe on TTL.   I used the light meter in my camera to read the water to give me my ambient exposure.  My shutterspeed was 1/250 at ISO 100 & F10.

     

     

    The light on the model in this photograph is from a Speedlight on camera bounced off one of my favorites light modifiers, The Sunbounce Bounce-Wall.  The background light is available light.   I started my exposure with the element I could not control which was the background and I used the Speedlight to fill in the light on the model.   My shutterspeed was 1/320 at ISO 200 & F4.  I wanted shallow depth of field, so my background was out of focus.

    I shot this photograph in the lobby of a convention center before my presentation for Professional Photographers Association in Atlanta.  There was no pre-planning for the photograph.  We saw the backlight and created the image within a few minutes.   You can see my shoot with Bounce-Wall at Hasselblad Blog!


     

     I shot this photograph in Watertown, MA after the Boston Bombings suspect was captured.  There were large crowds, many photographers and  many police officers.  I shot this photo with a strobe on camera, bouncing it off of a white satellite TV truck parked behind me.  This gave me a large reflector to bounce my strobe off of.  You want to bounce your light off of a white surface.  You will have a color change if you bounce your light off anything other than a neutral color.  My exposure for this was shutterspeed 1/50, ISO2500 & F2.8.

     

    When you walk into a bar and they are hosting a drag bingo, and you only have a camera and a strobe, what do you do?  
    This is a 2.5 second exposure (@ F8, ISO 640),  hand held, while zooming the lens. The strobe only fired for about a 10,000th of a second, so some of this photograph is strobe and some of it is ambient light. The camera is on rear curtain synch (this is a topic for another blog).

    I have many workshops and lectures coming up.  I'll be at the Hasselblad, Rosco, ExpoImaging and Unique Photo booths at Photoplus Expo in New York,  October 29-November 1
    Come stop by and say hi!

    To see a complete list of my upcoming workshop, please visit my workshop page!


    Happy Lighting!

     

    Tuesday Tips: Lighting up the Night!

    Last night I had a chance to work with the brand new Dynalite Baja strobe, the newest addition to the Dynalite line.  The Baja is a self contained battery operated 400 watt second monolight with an internal battery.  I really like the quality of the light coming from the Baja. The recycling time was almost immediate, and the built in modeling light was great.  It's not heavy and easy to work with.

    With the Baja strobe and Chimera Beautydish combination as my main light, I photographed a model, Eddy Twal in the front and back of my studio in South End's Boston.  I used a Sekonic L-478DR to read my light.  All strobes were triggered by PocketWizard Plus III.  My camera was set on manual and the color balance was set on daylight.  When working on location I use a Hoodman Loupe to view the images on LCD screen.

    Shot 1

    This was photographed at the same location as my last week's blog "Strobe on, Strobe off!"  Different strobes give you different looks. This image is a mixture of strobe and ambient light, with a hand held long exposure.  This is a single light photograph, using the Dynalite Baja strobe, Chimera medium beauty dish with an egg crate diffuser, held by my assistant with a 1420 VAL Spigot on painter's pole for the light stand. The VAL Spigot is produced by my friend Ian Pack in the UK.  This is a great adapter to add to your lighting kit.  My camera was set at an ISO 200, 1/4 second and F4.  The feeling of movement is created by shifting my camera from left top to down.  

     

    Shot 2

    In this photograph I used the Dynalite Baja strobe with Chimera medium beauty dish with an egg crate diffuser and Sunbounce 4'x6' zebra reflector.  This is also a single light photograph.  My camera was at ISO 250, 1/6 second and F4.5.  My shutter speed was determined by the ambient light, I wanted to have the yellow door lamp bright, but not overexposed.  I choose F4.5 for depth of field.

    _DSC9292.jpg

     

    Shot 3

    This photograph is taken behind my studio.  My main light was a Dynalite Baja Strobe with a Chimera medium beauty dish with an egg crate diffuser.  The backlight was a Dynalite Uni portable strobe with a Rosco CTO gel, to warm the color,  Rosco Toughspun to soften the light and Rosco Cinefoil to craft the light.  In the set up photograph, my assistant was holding black foam core against Chimera beautydish to shape the light, and produce the drop off of light in the lower right corner.  My camera was set at ISO 200, 1/2.5 second and F 4.5.  

    Due to my training as a long time photojournalist,  I try to do it all in camera.   Less time spent in front of computer is better for my soul....!

    I hope you can join me at one of my up coming "Location Lighting Workshops™" in Telluride, CO and at the Societies Photographic Convention in London, UK.  Please look at www.rickfriedman.com/workshops for a complete list of upcoming events.

    September 29-October 1 at the Telluride Photo Festival, Telluride, CO

    January 16-18, 2015 Societies Photographic Convention, London, UK

    For another post on portraits in the dark, please look at my blog post on "Shooting at Twightlight in Costra Rica" 

    All the Rosco products are included in Rick Friedman Rosco Location Lighting Kit!

    Happy Lighting!