speedlight

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: Happy Halloween!

Happy Halloween!  Every Halloween the area around my Boston studio is filled with hundreds of trick or treaters.  I am not really sure where they all come from, but it's great fun to stand outside my studio with a bowl of candy, a camera and a strobe. 

Here are tips to shoot Halloween!

Drag the shutter!
I love shooting  photographs that are a mixture of ambient light and strobe. Start your exposure with the element you can not control, that being the available (ambient) light.  Set your camera meter on manual exposure and your strobe on TTL.  Meter off the available light and use the strobe to fill in.  Due to darkness and very little available light you will be able to hand hold your camera at a much slower shutter speed than you normally would.  That slow shutter speed enables you to record what little there is.  The speedlight will fill in where you want it. 

This is a strobe on camera camera image. I used a slow shutterspeed and moved my camera from right to left.  The Green light is from glow sticks which the kid was holding while trick or treating.  My settings for this image was 1.6 seconds,  f4 ISO 200.


Speedlight off camera!
I held my speedlight lower left.  Light coming from lower angle gives you eerily feeling, perfect for Halloween!  My camera was set on manual to read the ambient light (candle in this case) using the in-camera meter.  My exposure for this shot was  2.5 seconds, f4. ISO 200.  I used a Pocket Wizard Plus III to fire my strobe. 


Get Low!
Get low and use your foreground!  I used in the camera meter to read the  exposure from the sky.  I  held my speed light off to the left and triggered it with a Pocket Wizard Plus III.


Get High! 
Get high and use your foreground!  


Wait for dusk
Wait till dusk to start shooting!  This was strobe on camera, with the head of the strobe at a 45 degree and bounced through a cube.  


Play with focal length of your lens

Shot with a 16mm fisheye.


Shot at 50mm

 

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Shot at 70mm


Don't be afraid to get close.... I'm sure they won't bite...

 

Happy Halloween! May everyone have a safe and fun Halloween!  

This image is from my hands-on Location Lighting Workshop! 

Come join me for lighting and laughing,  upcoming workshops info here

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.

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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.

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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!
 

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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.

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Unique Photo Location Lighting Workshop Feb 25, 2017

We had a great workshops at Unique Photo, Fairfield NJ last weekend.  My workshops are a mixture of lighting, shooting, creating and sharing ideas.  Everyone gets to shoot every situation, working  with speedlights, studio strobes, light modifiers and color gels.   Unusual spring weather in NJ let us shoot outdoor and indoor!  

Here is a recap of the workshop!

Equipment used during the workshop:
Elinchrom ELB Qudra strobe
Nissin Di700A speedlight & Nissin transmitter
Dynalite Baja strobes
Rogue Flash Benders
Rogue Grid set
Chimera Lighting Light modifier
Sekonic Lightmeter
Pocket Wizard
Rick Friedman Location Lighting Kit by Rosco

I'm teaching a 1 day workshop in Boston on March 8 at Boston Center for Adult Education and Herwin Camera in NYC on March 25!  For the full workshops schedule, please visit www.rickfriedman.com. Hope you can join us!

Thank you everyone for joining us at Unique Photo! Happy Lighting!

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: A Slice of Orange!

I always carry a slice of orange in my camera bag.  Don't you?  

You do realize I am talking about an orange gel, better known as a CTO, (Color Temperature Orange). Similar to the other orange, this orange has several uses.

It’s amazing what a little orange can do!  You can bring out high lights in your subject’s hair and change gray skies to blue.

This photograph was shot during a lighting demo at Photo Plus 2016 in New York.  The main light was Dynalite Baja B6 with a Dynalite Grand Softbox. The hairline light was a Dynalite Baja B4 with a 20 degree grid with a Rosco CTO color gel. The shooting space was about 10 ft x 7 ft., proving you can work in a really small space!   Main light was about 2.5 feet from the mode while the backlight was about 2 feet behind.  The orange light give her a halo!  I used the Dynalite Baja dedicated transmitter to fire the strobes and a Sekonic L478DR light meter to read my light.

 

 

 

This photograph was shot during my Location Lighting UK Tour sponsored by SWPP. (I'll be leading 3bworkshops at their convention in London this January).  So... It was a rainy grey day in Caerphilly, Wales, UK, what are the odds?  Have you ever set your camera on tungsten and gone outside to shoot? What happens? Your photograph turns out blue!  So use this to your advantage on a cloudy day. Set your camera white balance to tungsten, and place a Rosco CTO orange filter over the flash. A CTO filter is a color correction filter, converting your speed light, which is balanced for daylight, to tungsten. You color correct the skin tones of your subject while your background turns blue.

The model is lit by a speedlight with a CTO gel in front of it, shot through a soft box on the right side, with a reflector on the left.  The output of the speedlight is tungsten, which matches my camera setting.  Because of this, the model has proper skin tones and the background is now blue.  To determine the exposure, the camera is set on manual and use your camera meter to read the "Element you cannot control":  In this case it is the ambient light on background.  

 

Rosco CTO gels and Cinefoil, along with 22 other gels are included in my "Rosco Location Lighting Kit" (wink wink!) 

 

Here is my upcoming workshop schedule for the next a few months.  Come join us!

December 9-11, 2016
New Jersey Camera Show at Unique Photo

January 11-14, 2017
SWPP Convention in London, UK

January 28, 2017
Location Lighting Workshop at Unique Workshop

February 7-9, 2017
WPPI, Las Vegas

March 4, 2017
Boston Center for Adult Education

March 25, 2017
Harwin Camera, New York City

March 31-April 2
CanAm Photo Expo, Buffalo, NY


 

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: 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,

Tuesday's Tips: Lighting Science: 4 Situations, 2 Hours

Recently, I had an assignment to photograph Professor Joshua Sanes of Harvard University.  The client requested an environmental portrait. I alway try to give the client several choices.  This helps with layout and often leads to additional photographs being used in the story.   I had one hour to set up and one hour shooting time.

Set up1)
At 9am, I walked into his office to meet him. It was hard to not notice the incredible light being cast through the window shades, onto the bookshelf creating a cool pattern. This had to be the first photograph of the day and done quickly, as at this time of year the light coming through the window shade, at that angle would not last long.  

I wanted to keep the pattern on the background, but prevent it from hitting the professor.  To accomplish this I had my assistant hold a piece of black foam core blocking the light on the professor without blocking the light hitting the background.

My lighting was a Dynalite Baja 400w/s strobe with a small Chimera soft box with silver interior and a recessed front panel.  The Dynalite was triggered with a PocketWizard PlusIII. The softbox was aimed at the Professor so it would not to spill it onto the background.  The Baja was placed on the stage left, so the light from the strobe would be in the same direction as the pattern from the window. I used a Sunbounce silver reflector on a stand on the opposite side, to fill in the shadow area.  To determine the exposure I used a Sekonic 478 flashmeter to read both my ambient light coming through the window and match it to the strobe output. I exposed for the highlights coming in through the window and matched to store out to the ambient light. 

The photograph was shot with a Nikon D810 and a 105mm lens the shutter speed 1/160 sec at f3.2 at ISO 100.  I tend to shoot my portraits with a shallow depth of field. 

Set up 2)
We moved to a staircase near his office, one side has a wooden wall and the other a wonderful grey stone wall.  Two different backgrounds in one location.  Opposite the camera in both images is a floor to ceiling window.  The side with the wooden wall, had a shadow pattern from the stairs.  I asked the professor to stand in the shade and used my Dynalite to match the highlights in the background with the light on the professors face. Similar to the last setup.

 

Set up 3)
We then moved to the other side of the stairs for a totally different look.  3 portraits done in a short period of time.

 

Set up 4)
For the last photograph of the shoot we went to his lab for a completely different photograph.   It was dark white room with bare walls.  To make it more interesting, I projected one of the professor's research images on the wall.

My lighting of the professor consisted of two Nikon SB-800 speedlights with Rogue grids, one from the right side and the other from left side.  I added Rosco Cinefoil to one of the speedlights to help prevent light from spilling onto the foreground.  I used the speedlights, because of tight space.  

For the background, the projector was set up with the professor's image.  An important note on projecting images on a background:  make sure no light from any of your light sources hits the projected image. White light hitting your projected image or added colors will diminish the vibrance to the projection.  I added a Dynalite Roadmax 800w/s strobe with Rosco blue gel to fill in the background.  All the strobe were fired with Pocket Wizard Plus IIIs.

I had to balance my exposure from 5 different light sources. 3 strobes and the available light from the microscope and the projected image.  The exposure was 1.3 second f5.6  ISO250.  During long exposure it is essential to turn off or block all ambient light.  I shot this on a Nikon 17-35mm f2.8 lens at 17mm an Induro tripod with a cable release.  Even though the exposure was quite long, the subject is sharp because there was no light on the professor.


Here is a list of my workshops, please come and join us!

December 5
Hunt's Location Lighting Workshop, Melrose. MA

December 11-13
Unique Photo Show Fairfield, NJ

2016 Schedule

January 9
Hunts Photo Providence, RI

January 16
Hunts Photo Manchester, NH

March 1
Bedford Center for the Arts, Bedford, 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,






Tuesday's Tips: Happy Halloween!

Happy Halloween!  Every Halloween the area around my Boston studio is filled with hundreds of trick or treaters.  I am not really sure where they all come from, but it's great fun to stand outside my studio with a bowl of candy, a camera and a strobe. 

Here are tips to shoot Halloween!

 Drag the shutter!
I love shooting  photographs that are a mixture of ambient light and strobe. Start your exposure with the element you can not control, that being the available (ambient) light.  Set your camera meter on manual exposure and your strobe on TTL.  Meter off the available light and use the strobe to fill in.  Due to darkness and very little available light you will be able to hand hold your camera at a much slower shutter speed than you normally would.  That slow shutter speed enables you to record what little there is.  The speedlight will fill in where you want it. 

This is a strobe on camera camera image. I used a slow shutterspeed and moved my camera from right to left.  The Green light is from glow sticks which the kid was holding while trick or treating.  My settings for this image was 1.6 seconds,  f4 ISO 200.


Speedlight off camera!
I held my speedlight lower left.  Light coming from lower angle gives you eerily feeling, perfect for Halloween!  My camera was set on manual to read the ambient light (candle in this case) using the in-camera meter.  My exposure for this shot was  2.5 seconds, f4. ISO 200.  I used a Pocket Wizard Plus III to fire my strobe. 


Get Low!
Get low and use your foreground!  I used in the camera meter to read the  exposure from the sky.  I  held my speed light off to the left and triggered it with a Pocket Wizard Plus III.


Get High! 
Get high and use your foreground!  


Wait for dusk
Wait till dusk to start shooting!  This was strobe on camera, with the head of the strobe at a 45 degree and bounced through a cube.  


Play with focal length of your lens

Shot with a 16mm fisheye.


Shot at 50mm

 

007.JPG

Shot at 70mm

 

Don't be afraid to get close.... I'm sure they won't bite...

 

Happy Halloween! May everyone have a safe and fun Halloween!  

This image is from my hands-on Location Lighting Workshop! 

Come join me for lighting and laughing,  upcoming workshops info here

Tuesday's Tips: Capturing Santa!

Merry Christmas!



The Challenge in this week's "Tuesday Tips,  Capturing Santa"  is balancing the strobe light, the ambient light in the sky and the holidays lights in the wagon.  I shot this near my studio in South End neighborhood of Boston.  The key to making this photo work, was waiting until the ambient light in the sky dropped to the point of being almost dark and matching exposure on the sky to the tungsten light in the wagon. At that point, the side of Santa's face nearest the camera was underexposed.  The solution was a Speedlight on camera, the flash compensation was  -1 stop with a small Rogue Flashbender.  To determine my ambient light, I used the in camera meter.  The exposure was ISO 400, 1/30 second at f2.8.  My camera was set on manual and my strobe was set on TTL.  This was not a set up shot, so I had  to make the photograph in a very short period of time, like 3 frames.

It's getting cold in Boston. Stay warm for the holidays season, and Merry Christmas!

 

 

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: 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's Tips: Lighting the Parade

For this week's "Tuesday Tips",  I photographed the Betances 2014 Puerto Rican Festival Parade in Boston's South End, in close proximity to where my studio is located.  I have photographed the parade numerous times over the years and this year I wanted to do something different, so I lit the images.  In the photo below I asked Keiko Hiromi, whom I work with, to  stand on the opposite side of the car and hold a Nikon Speedlight with a PocketWizard TT5 to light the beauty queens.  I underexposed the ambient light by a stop.  There was still plenty of available light, while the strobe gave the light direction and pulled the viewer into the image.

Gear Used to cover the event:
Nikon D800 camera
Lens:  Nikkor 24-120 
Nikon Speedlight SB 800 
2 PocketWizard TT5

My camera was set on manual and the Speedlight was  set on TTL.  The photograph was shot at  ISO 200, at F 5.6 & Shutterspeed 1/250.  The Speedlight was fired using a Pocket Wizard TT5 on the camera and a second TT5 on the flash.  
The flash compensation was dialed up 1/3 of a stop, to give it a bit more light on the subjects.

Tuesday's Tips: Making Gray Skies Blue

How do you create a dramatic photograph on rainy cloudy day?  Easy, Have a beautiful model with a red dress, a castle and a Rosco CTO gel on your strobe. This photograph was shot in Caerphilly, Wales,  during one of the 10 stops on my Location Lighting Workshop Tour of the UK sponsored by SWPP.   

In this week's "Tuesday Tips" I'm going to talk about cross filtering technique with strobes.  When this photo was taken, it was raining and the sky was muddy ( See the workshop group photo below). 

Have you ever set your camera on tungsten and gone outside to shoot?  What happens?    Your photograph turns out blue!  So use this to your advantage on a cloudy day.  Set your camera white balance to tungsten, and place a Rosco CTO orange filter over the flash.   A CTO filter is a color correction filter, converting your speed light, which is balanced for daylight, to tungsten.  You color correct the skin tones of your subject while your background turns blue.

The model is lit by a single speedlight with a Rosco CTO gel in front of it, shot through a 24x30 soft box on the right side, with a reflector on the left.   Now the output of my speedlight is tungsten, which matches my camera setting. Because of this, the model has proper skin tones and the background is now blue.   This filter is available as part of the Rick Friedman Location Lighting Kit .  Fun fact, my favorite soft box brand is Chimera Lighting, it makes beautiful light!

To determine your exposure, use your camera meter to read the "Element you cannot control":  In this case it is the ambient light on background.  My strobe is set on TTL and fired with a PocketWizard and if you want your background darker blue, under expose the sky.

 
 

Tuesday Tips: Mixing Strobe and Ambient Light

I had this wonderful assignment to photograph a French Musician, Lulu Gainsboro, in Boston.  The assignment was to photograph "his day in Boston".  At the end of the day of reportage,  I did a portrait of him in front of Boston skyline at dusk.

The lighting in this image is a mixture of ambient light and a single Nikon SB900 Speedlight with Chimera small soft box, fired with a PocketWizard TT5.  My camera was set on manual. To determine my exposure, I read the light on "the element I cannot control".  In this image I used the camera meter to expose for the sky.  I underexposed the sky to get it to be deeper blue. I used a Speedlight to light my subject.  The placement of the strobe and Chimera softbox gave me different effects with my light.  It was early summer in Boston, around 8 o'clock.   My exposure was ISO 640, f4.5 and Shutterspeed 1/8 second.

In photograph 1 (above), I placed my light on the far side of his face so the light drops off on the near side of the camera. In photograph 2, my light was placed closer to my camera position so the near side of his face is lit.

Which lighting style you like, is subjective.  I prefer the lighting style in the first photograph.  Having the light drop off on the near side of the face is more dramatic.  There are many stylistic choices to light your subject. Play around, place your light source at different angles, in relation to your subject to see the different effect.  

Happy Lighting!