rosco

Tuesday's Tips: Lights, Cameras, Colors!

Guitarist and singer Ken Susi of the band “Unearth” dropped by the studio this past weekend.  Ken is an avid photographer and wanted to work Keiko and I on lighting.  We quickly volunteered him to be the model. 

We did a couple of multi light gelled set ups.

RF blog015.JPG

In the first image, we used 2 Dynalite Baja B6 strobes, one on either side, slightly behind Ken giving us the light on his face.  Both strobes had a Dynalite 20 degree, 7” grid.  The end of both grids were wrapped in Rosco Cinefoil to further control the spread of light.  On the left side we used a Rosco Medium Straw gel from my Rosco Location Lighting Kit and on the right side we used a Rosco Calcolor 30 Cyan.  Directly behind Ken’s head is a Nissin Di700A speedlight with a Rogue grid and a red gel.  Directly in front of Ken is a second Nissin Di700A speedlight with a Rogue grid.  The power to this Nissan was turned down, giving a minimal amount of white light.  To fire the strobes I used a Dynalite transmitter.  The Nissin flash was triggered by using the built in optical slave.

3 light set ups.jpg
 
 
20170902__DSC4906 copy. SM.jpg
 

The second image is lit from below with one Dyanlite Baja 6 with the 20 degree, 7” grid and wrapped in Cinefoil.  The strobe is centered just below the bottom of the frame.  The red backlight is the Nissin Di700A with the Rogue Grid and the red gel.  The prevent the light from bouncing off the white ceiling in the studio, we placed a black foam core on a Photoflex boom arm over Ken.  

Thank you for stopping by the photographic Lighting Test Kitchen, Ken! Cant wait with you more!
 

20170902__DSC1308.jpg
2light set up.jpg

All photographs where shot using a Nikon D810 and either a Nikon 105 Macro or aNikon 70-200 F2.8 with a 1.4 extender.  The gels are from the Rosco Location Lighting Kit by Rick Friedman.

 

Come join us at one of upcoming “Location Lighting Workshops” !

Nov. 4-5, 2017
Unique Photo, Fairfield, NJ.  2 day workshop

Nov 22-25, 2017
Exposure International Photography Festival, Sharjah, UAE

January 5-8, 2018
Lighting Workshop &Model shoot in the Bahamas with Vanelli & Friends
 

Gels and cinefoil are available from my Location Lighting Kit.

FullSizeRender.jpg

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: Lighting a London Asylum!

My destination Location Lighting Workshop held at the Societies Photographic Convention, aka SWPP in London resulted in some wonderful images and was  an event teeming with an abundant source of gear and creative alternatives.   The workshop was held at the Asylum, at Caroline Gardens Chapel in Peckham, London..  The Asylum was built between 1827 and 1833, bombed during WWII and semi restored.  This provided an incredible  place to hold a lighting workshop as it afforded us endless possibilities to create moods and scenes depicting a variety of situations.  We had 2 great models and masses of equipment from The Flash Center, Rosco, PocketWizardChimera Lighting and Rogue Flash Benders

A004A.jpg

The lighting on this image was an Elinchrom Ranger Quadra strobe with a Chimera Strip Light on the right side of the model. On the left side of the model and slightly behind her was another strobe with a Rosco #83 Blue gel.  Placed in  front of the blue gel was a grid made out of Rosco CineFoil to control the light direction and break up the light beam.  The smoke was created using a Rosco Vapour fog machine.
If you back light your smoke, it will  have a greater effect.  This is true when using a fog machine or when photographing smoke from a cigarette or cigar.  This photograph was shot on a Nikon D-800 with a 24-70 Nikon lens at 35mm, 1/100 of a second at f5, ISO 100.

The photograph below is a mixture of strobe and ambient light.  The light on the models face is from a strobe through a Chimera 30" beauty dish.  The light on the left side of the background is ambient light and the colors were from the bright sunlight  shining through the stained glass windows about 20 feet above the floor.  This was shot on a Nikon D800 with the lens at 24mm , 1/125 of a second, at f 4 ISO 1000.  

 

Here are a few more images from the Asylum workshop.

                

 


 

 

 



 

At every "Location Lighting Workshop™" we create our "Silly Group Photo" Here is  the Asylum image.  Thank you to Canna Gray of Rosco and Ian Pack of The Light Side for all their help during the workshop.

Please join me at one of my upcoming "Location Lighting Workshops™"  Click here for the schedule.

 

 

 

 

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: Creating Backgrounds With Cinefoil, Gels And Scissors!

This week's Tuesday Tips is a series of photographs from my studio.  As a photojournalist and corporate photographer, I do the majority of my work on location, although I do shoot some assignments in my studio.  Quite often, I use my studio as my test kitchen, exploring new lighting techniques and testing new equipment.   We were working with the idea of creating unique patterns with color on a plain white backdrop using Rosco gels, and Cinefoil, which is black tinfoil.  What we were able to create, using similar lighting setups, and minor changes in the lighting, resulted in a totally different look in the background. 

Three lights were used with all three photographs below.  A main light on the model, a hairline light, and a backlight on the backdrop.  To create the pattern on the background, we cut holes in piece of Cinefoil and shot a strobe with a blue gel through it. The effect of lighting these images with Speedlights verses Dynalites are vastly different. 

The large light source will give you a softer light, while the speedlght, a smaller light source, will give you a harsher light effect.

Lighting setup and gear used:  
Nikon D800 camera
Nikon 70-200 f2.8 lens
3 strobes (Speedlights & Dynalite)
Rosco Cinefoil
Rosco CTO (orange gel)
Rosco blue gel
Rosco Tough Spun
Reflector
 Pocket Wizard Plus III, TT5 
Light Meter (I use Sekonic 478 DR)
Chimera Softbox
Manfrotto light stands
Boom (to hang a piece of Cinefoil)
Clamps

This diagram shows the basic setup.  I used different lights to achieve different visual effects on my images.  I used Sekonic 478 DR Lightmeter.  All strobes were fired using PocketWizard.  When adding colors to your photographs with gels, it is important that your white light does not hit the colored areas, as the white light will blow away your colors.

Dynalite setup:
My main light was a Dynalite with a Chimera Softbox.  My hairline light was another Dynalite head with a grid and a Rosco full CTO gel.  The background light was shot through custom cut Cinefoil with a Rosco blue gel.

set up

set up

Speedlights and softbox setup:
All lights for this setup were Speedlights.  The main light I used was a Nikon SB900 with Chimera Softbox as a light modifier.  The background light on the white backdrop was Nikon SB900 with Rosco blue gel with a custom cut Rosco Cinefoil.  For the hairline light, I used another Speedlight.  I put Cinefoil around the Speedlight to make a snoot, so that I can direct the light to only illuminate her hair.

Notice the drastic difference on the background pattern between the Speedlight setup and the Dynalite setup. This is because of the size of light source in relation to size of Cinefoil.  The smaller the light source, harder the edge of the shadow.  
I prefer to use a Chimera Softbox for the high quality of a light, for easy set up, and for its compact size for easy travel.

Speedlight and Cinefoil
You can create a very nice hard light with Rosco Tough Spun and Rosco Cinefoil.  This is an all Speedlight setup.  The main light on the model's face is a Speedlight with Cinefoil to control its direction, and Rosco Tough Spun to soften the light.  If you compare this light with the light through a Softbox, the edge of shadow is much harder.  I also rotated the sheet of Cinefoil to change the background pattern.

 

My assistant, Keiko, created this heart shaped pattern cut out of Cinefoil.  This is a Dynalite setup.  My main light on the model's face is a Dynalite with grid.

1406668181995.jpeg

Thank you to Hyunah Jang, who is also a wonderful photographer, for being a model for this shoot!

The Gels, Tough Spun, and Cinefoil I use, are all included in the Rosco Rick Friedman's Location Lighting Kit available for purchase at my Location Lighting Store here.

To learn this lighting technique and many others, come join me for a three day Location Lighting Workshop at Telluride Photo Festival in beautiful Telluride, CO on September 29th - October 1st, 2014. It will be fall foliage time!  

A Day at the Asylum in London!  This will be a very fun workshop to be sure! I am teaching during the Societies Photographic Convention in London, UK on January 16th trough 18th, 2014. ( The Asylum workshop in on January 17th)

The workshops will cover use of Speedlights and Studio strobes with various light modifiers and gels.  We hope you can join us for one of the hands on workshops.  

Please visit my website for a complete list of upcoming workshops.