It’s just a deeper understanding…
It well know that I’m a little “Old school”, for example there really is no substitute for the empirical measurement given by an independent meter, I LOVE the new touch screen Sekonic – very Star Trek!
Its a little of a dilemma then when one of your clients wants you to produce images for them with speedlights… in truth no problem there, I do that all the time but I generally do it with radio triggers, at work I’m a belt and braces type of a guy… I’m quite fond of the new Flashwave 3’s at the moment – real cool styling and they’ve not missed a beat – but the job was to use IR!!!
Now I’ve not been a fan of IR since I had a bad experience with it in Spain in 2005 but time and technology move inevitably on…
Those that follow the blog will know that I’ve been dallying with this technology for a little while, truth is when I started to analyse my work at the end of the year I was frankly amazed by how much of my 2012 work could quite simply be described as “strobist” – it made the dyed in the wool pro inside me feel a little dirty!!! Now thats obviously a comment made with my tongue firmly in my cheek but thinking about it it is diametrically opposed thinking to how I learnt my craft… but after much thought, soul searching and analysis the penny finally dropped…
As long as what you use is up to the task, I hate false economy, and you KNOW how to use it, what its CAPABLE of and how to get the BEST out of it… what you actually use is IRRELEVANT!!!
The first image in this two-parter is really as simple as it gets… please forgive my child like, impressionistic scribbles… I always sketch my shoots out and would encourage all to do the same… but I’m trying to lighten my load and ease my workflow by dumping note books and going straight to IPad! I’m using a by0 pen and noteself to do this and so far I’m pretty impressed!
Any how on with the photography! This is an easy a set up as it gets. Both the “key” and the “FX” light are simple straight forward “bare faced” flash. In other words they are straight out of the bag with no modifiers.
Its the position of the flash, how its feathered and how its zoomed that controls the distribution of the light and ultimately how the subject is sculpted.
As you can see from my picaso-esque scribbles the “key” is slightly forward of the subject to camera left. The total face of the flash tube is not directly pointed at the subject but feathered to glance past her. Now here is the important bit as far as I’m concerned… The zoom feature built into the flash is used a little like a snoot. In other words its used to constrict the beam of light thrown. In this image the head was zoomed to about 70mm, from the distance the flash was placed from the subject this meant that the light was concentrated into the face, upper body and dress, falling off the further down her legs it travels. This is represented by the blue lines in the diagram.
The accent or “FX” light as I like to call them as I’m coooool!!! again is an unmodified bare faced flash… The difference here is the head is zoomed to about 50mm. This way the accent runs down the subject virtually from head to foot. This is represented in the diagram by the red daubs!
So in reality the equipment used is as simple as it gets, as I say in my classes though the intent and the knowledge to execute are key.
IMPORTANT: When working with IR you HAVE to remember that the “commander”, when it fires, can see the speedlights you wish to control… no line of sight – no flash… period, remember this and all will be fine.
The “key” was set to group “A” channel 1 with the camera in manual set a a 60th of a second (to use a little of the ambient to control the density of the shadows) and f4. The camera then cuts the flash when the appropriate illumination is achieved.
The second light was set as group “B” so I could control its out put independently off the back of the OM-D… I’m all for saving my leg ;0) The camera told the 2nd FL50r to deliver 0.7 of a stop more light… job done!
As long as you don’t treat this technology as “fire and forget” and you realise it CAN”T make the creative decision for you and YOU have to drive the ship so to speak… its real cool, time saving tech!
Why speedlights for this studio shoot though???
Its a real simple answer that you may not know… the flash output duration on a good speedlight is often much faster than cheaper studio lights so in situations like the creation of this pic the ability of the speedlight to freeze movement is often greater than other units.
OK part two will come shortly but for now we have to prepare for the SWPP International convention next week in London… Lots and lots to do… If your one of the 14,000 delegates come and say HI… I’m looking forward to presenting on members day with Jerry Ghionis – should be a blast!!!
here’s what I’m doing:
This year we are “Walking the talk”…
So please take this as my personal invitation to YOU to come say hi, enjoy some time together, shoot something cool and Learn!!!
If there are any places left join me, my team and the beautify and amazing Miss Ulorin Vex (who’s flying in again from LA especially for me) and Charlie March onboard HMS Belfast for a really cool fashion inspired days location shoot
OR…
Come see me and the Team at the members day on Thursday… I have a few surprises in store, so don’t miss out
OR…
Catch me at one of the SIX Masterclasses I’m presenting with the emphasis firmly on giving you the skill (very simply) to elevate your photography and grow
OR…
Come see me in the Olympus lounge where we will be weaving a little magic, chatting and chill in… IF we are not “popping up” throughout the hotel committing RANDOM ACTS OF PHOTOGRAPHY…
don’t miss out you’ll regret it if you do, my schedule can be found “HERE”.
best to you all
McGillicuddy
Oh… here’s the finished image ;0)
PS: COMMENTS WELCOME!
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