I recently received this awesome lighting kit, available exclusively from B&H. It is inspired by the gear used on Scott Kelby’s Light It, Shoot It, Retouch It tour; a fabulous learning experience. Thus far, I think it works very well.
I made a couple of unboxing videos of the kit. You’ll notice in the shooting part that I’m not in a nice spacious studio, but in a home that looks a little crowded and messy due to the lighting equipment in place. This is due to the fact that I intend for my business to be an on-location sort of thing. I will shoot portraits in homes and place of business and will rent studio space when that is a better option for some compelling reason.
I made two versions of the video because there is so much stuff in the kit. There’s the full length video of the unboxing then a shorter version with just me shooting with it.
First the full length.
Then the shortened.
I’ve mentioned before, although not often enough that I’m sure all my readers know, but I am going to get into portrait photography very seriously soon. I am going to acquire some serious studio lighting equipment and make some portfolio images to promote this part of my business.
I thought today I’d write about some of what I learned with my first real experiment with this sort of photography. In this instance I had used a softbox on a Canon speedlight.
With the photos of the young woman, I went with clamshell lighting. The speedlight was mounted in the softbox above and to the front and we used a reflector below, with a second speedlight in a Lastolite Backlight to provide the white background. The mistake I made here was positioning the softbox too much above and not enough forward, shadowing her eyes more than I’d like. This problem might have been stopped if I was shooting tethered, making it easier to see that it was a problem while I was still shooting.
With the photos of the young man, the idea was to create an edgy photo of him playing bass with a balanced ambient exposure from the street scene. The big mistake I made here was that I did this too late at night and it was impossible to balance the street’s ambient light. I now know that the best way to pull off this look is to do a composite with the portrait being lit in the edgy three light method; two gridded flashes behind for rim light and a beauty dish above and to the front for fill. I’ve started shooting backgrounds for trying it again this way.