For a story on two women who created a rock-spiral labyrinth, I was faced with a large area to photograph under harsh 1 p.m sunlight. This was going to need a ton of strobe light to overpower the ambient sun. Anticipating this, I had my Profoto B1 wireless strobes with Magnum reflectors ready to go in my car.
I set up the strobes with reflectors attached just outside the rock spiral camera right and set them to full power on manual. But before I shot with the strobes, I set my camera on manual and came up with an exposure of the scene that was about two stops underexposed, but still preserved the highlights on subject from sun shining on them from behind. My ambient exposure setting at this point is F/8, 1/400th of a second shutter at ISO 100.
Now to add the strobe light. I fired off a frame on my Nikon Z6 mirrorless camera and the strobe light was too hot. From my on-camera Profoto Air Remote trigger, I adjusted the strobe power down until I had the perfect balance of ambient and strobe.
Without adding off-camera strobe light in this shot, the contrast of the harsh sun from behind the subjects and shadows on their faces would be too great. If I expose for the shadows, the highlights would blow out. Expose for the highlights and the faces would go dark. Adding off-camera strobe light balanced out the harsh, high contrast ambient light, giving the shot a warmer, pleasing dramatic look. Look closely too at the pleasing side-lit light pattern on the subject faces. That would have never happened if with out the off-camera strobes.
Some days at the newspaper I work for, I get what I call the eye-roller assignment–also known as the building mug drive by. Traditionally it is one of those photo assignments that does not take a bunch of brain power or skill to shoot. Just drive by and snap a few frames of the exterior and move on to the next assignment.
The story I needed to illustrate here was about five “zombie” abandoned houses in a neighborhood that were being slated to be rehabbed by the city for low-income housing.
When I pulled up in front of this house, I saw a mix of shadow and highlights on the front. I started to wonder what would happen if I tried to light the exterior of the two-story structure in broad daylight? Hmmm…
I pulled out the strongest lights I had with me—two Godox AD200 wireless strobes. These small but powerful strobes put out 200-watt seconds of power–about three times that of a traditional speedlight.
I placed one strobe with no modifier in the front yard next door, camera right pointed toward the center corner of the house. For the second strobe, I needed to put some light in the shadow of the front door, so I hid it behind the weeds in front of the house, camera left.
I went across the street and did some test exposures with my Nikon Z6 paired with a 24-70mm /f2.8 lens. I found by underexposing the ambient light about a stop and a half, it balanced the nice blue sky with the front of the house, which was lit by the sun behind me. I shot the strobes at full 1/1 power. My camera exposure was set at to f/14; 200th of a second shutter at ISO 125.
As I was shooting, I noticed a flock of birds circling the house. I started to shoot the birds when a young girl, who lived next door, ran by. Perfect!
I love how the strobe light added a spooky feel to the photo. I had a lot of compliments from readers about the photo. I love being able to take a boring photo assignment and make something engaging for the reader.
My adventures in off-camera lighting has allowed me to push some of my traditional photojournalism boundaries. The hard-core photojournalist in me of a few years-ago would never of attempted to light a daily general newspaper assignment. The rare times I used a speed light would have been for a quick one-light formal portrait of a subject.
While my personal investment in my own wireless strobe kits has allowed me to stretch my creative vision in my daily photojournalism, it has not been without some teeth gnashing by some fellow photographers and management. That is ok with me. Fifteen-years-ago, I did the same thing with video storytelling. Few photojournalists at newspapers were doing video. When I went all-in, it freaked out many of my fellow photojournalists who had no interest in doing something different. No matter. I embraced the video wave and now, if you work as a newspaper photojournalist, you are expected to have the skills to shoot and edit video stories. I am beginning to see the same trend in off-camera lighting happening at newspapers.
In this photo, I had an assignment to make a picture at Westview Elementary after it had been named a School of Distinction by the state superintendent. After arriving at the school, the principal gave the reporter and myself a tour of classrooms. When I came to this kindergarten class and saw the kids with their tablets working, I knew that is what I wanted to shoot. Problem was, the classroom’s light sucked big time. The kids were off in a dark corner of the room doing their work.
I had my portable light kit bag and one light stand. I quietly set up a Godox 860II strobe with a two-foot octabox camera right. For a second light, I used another Godox strobe with a Magmod grid attached aimed at the back of the girl camera left. Because I didn’t have a second light stand, I had the reporter (human light stand) hold the speed light. I shot in TTL mode which gave me this beautiful exposure.
I love the look of the lighting in this shot. The light is crisp, but not hard. Highlights abound and shadows are softened.
The key here is that I did not set this scene up. I never asked to kids to move. I just shot what was there. The problem I faced when I turned this photo in, is that it looked too clean, almost like an ad for iPads. Too corporate, not enough editorial some would say. I kind of agree, but should an adherence to the traditions of available light documentary photography keep me from adding some light to a dark corner of a room?
I feel caught between the hard ethics of photojournalism and the draw of new technology that with just a bit more effort, can make a boring photograph more engaging for the viewer. I figure it will all all iron itself out as more photojournalists add wireless strobes to their kits. Some in my photo department have now embraced shooting their own location portraits with Godox speedlights. Resistance is futile I guess.
Why shoot a portrait of somebody in crappy light when you came make them look good with off-camera strobes? Can the same be said for newspaper daily assignments? Let me know in the comments below how you feel.
For this Sportrait, I only had a few minutes to figure out a location in the Gonzaga University baseball stadium and set up my lighting. Seeing the stairs leading up the the sky, I figured I could make it work. The stairs were mostly in shadow, which is a good starting point for adding strobe. When shooting a portrait in bright sunlight, I always look for a shadowy spot to add my own light. It makes it easier to balance the strobe light with the ambient.
For the lighting set up, I placed a Profoto B1 wireless strobe paired with a Westcott 36-inch Octabox on camera left. Knowing the big octa would give me nice soft light, I added a kicker light aimed at Troy’s shoulders from above, which added some contrast and gave Troy some separation from the stairs. Sunlight from behind also added dimension by highlighting the edges of the steps.
When Troy arrived fresh from baseball practice, I was ready for him. We played around with different poses and settled on this one with the bat over his shoulders.
I set the strobes on TTL and true to Profoto’s good name, nailed the key light exposure with just a minor adjustment to the Air Remote’s exposure control on top of my camera. I bumped up the kicker light one stop to give more exposure on the back edge of the subject’s black shirt.
Key concepts: I needed to hold detail in the sky. If I had shot this without strobe, I would have exposed for the subject in the shadow, which would have washed out the sky. By adding strobe light, I balanced the ambient light with the strobe, which gave the photo much more dynamic range.
I was waiting for a group of cyclists to start their SpokeFest ride on Sunday. The sunlight was high in the sky and pretty harsh. I decided to grab my Profoto B1 with Magnum reflector out of my car and set it up on the sidewalk on camera left. I was not sure what the effect would be.
The Profoto Magnum reflector added about two stops of light, which is perfect for over powering the bright sunlight. I dialed down the ambient exposure by a stop and a half and set the B1 on manual and at full power. After a few test shots in high-speed sync (1/1250 of second), I just blasted away as the riders came forward. I tried to pace my shutter clicks to the 2-second recycle time of the strobe.
When I downloaded the files, I was surprised at how great the color was. The light was subtle, with the faces of the riders nicely side lit. The sky, which would have been washed out without the strobe, was blue and saturated. A much better look than if I had just shot it with natural light.
Takeaways: I like to use strobes in situations other than just portraits. Wireless strobes make it easy to put lights in places where cords would just get in the way.
Settings: Nikon D5 70-200 2.8 (at 125mm) f/14; ISO 80 at 1/1250 a second shutter
At an experimental orchard near Prosser, Wash., WSU researcher Tom Collins and I enter a smoke-filled tent. He and his research team are studying the effects that wildfire smoke has on grapes used in making wine. The light was pretty good in the tent where about 80 percent of the direct sunlight was being filtered out by a black covering. I made some unposed photos as Collins explained how “smoke taint” affects the flavor of wine. The photos were ok, and in my pre-strobe days, I would have said they were fine. But now, with a SUV full of Profoto gear, I had to make one more photo.
I started by placing a Profoto B-1 strobe with a Magnum reflector about 25-feet behind Collins and pointed at his back. I wanted try and backlight the smoke in the tent, which was pretty faint. I set the strobe on group B (so I could independently adjust exposure versus the key light.)
For my key light, I used a Profoto B2 head with a OCF beauty dish on camera left set to group A. I placed it there because the sunlight was reflecting off of Collins’ shirt on camera right, which gave it some nice separation from the darker background.
I shot a quick photo in TTL of Collins’ face, then switched to manual on my Profoto Air Remote trigger to lock in the settings. I then bumped up the exposure of the rear light by two stops and the key light by a half of a stop to get to look I wanted.
The strobed photo, compared to the non-strobe photo, was much cleaner and pleasing to look at. This is definitely a magazine-style portrait. Maybe not what readers would expect from a newspaper. I like it, and am glad I took the time to shoot it.
My key take away here is to use the ambient and bright sun to your advantage. Try to balance all your light sources to get the dramatic look you need.
Settings: Nikon D850 17-35mm Nikon lens; 1/250th of a sec. shutter; f/5 at ISO 125; White balance: 5200 Kelvin
This was a fun lighting setup to do for the cover of a college football special section for The Spokesman-Review newspaper I work for. It was a chore for my photo editor to find the perfect time where all three local colleges mascots’ could be available for the photo shoot. Once they arrived at a local movie theater, all three went into mascot mode–where they didn’t speak. It took some patience on my part the get them all to settle down and into the front row seats. Popcorn was all over the place after one mascot started to throw kernels at the rival mascot.
The projector room light was too high to use, so I placed a Profoto wireless B1 head with a blue gel at the top row of the seats. My key light was placed camera left, with a B1 wireless strobe head and a Westcott Switch 3-foot Rapidbox. One more light, a Profoto B2 head and 1 x 3 foot strip light with a soft grid, was placed about four rows back at camera left. This helped add some needed separation light behind the subjects
After the shoot, the scene descended into madness as a bucket of popcorn ended up on the head of the one of the Mascots. I kept shooting and the moment ended up being used in the table of content page.
Settings: Nikon D850; Nikon 24-70mm 2.8 lens at f/3.5; 1/160th of a sec. at ISO 400. White balance set to 5200 Kelvin.
I shot this portrait of a local high school football quarterback just after a night practice. I used the school stadium lights in my composition to add some drama.
For lighting, I used a Westcott 3-foot Rapidbox Switch with a Profoto B2 as a key light on camera right. For the edge lights, I used two Profoto OFC 1 x 3 stripboxes with B1 heads camera right and left and slightly behind.
The pose was pretty organic. As Connor took off his helmet, it looked kind of iconic in my mind. I just had him hold this pose. I only had a few minutes to work, as the coach said he needed to turn off the lights on the field. My first frames I shot had the key light straight on to the subject. The light was flat and uninteresting. After I moved it more to the side, it gave me a pleasing short light pattern on his face. The little Rembrandt triangle under the left eye made all the difference in this portrait.
I had shot a different photo before this one where I needed the ambient of the bleachers to show. In my hurry to get this shot, I forgot to lower my ISO back down. To cut the flare of the lights, I just raised my shutter speed in high-speed sync mode up until is was tamed.
The wonderful thing about off-camera flash is that you do not have to be a slave to the ambient light. Photographers that shoot only available light portraits have limited options when it comes to the time of day where the light is perfect. Golden hour, when the sun is low and warm, is fleeting and if there are clouds, well, forget about it.
Open shade is the other go-to for available light photographers. The light is super soft– to the point of being flat and uninteresting. Sometimes I wonder if that is why so many photographers are relying on Lightroom plug-ins to make their portraits more visually interesting.
In this photo of Elaine, age 10, I wanted to shoot a simple location portrait that captured the spirit of who she is today. Elaine and her family met me in a local park and after a few group family portraits, I repositioned my main light, a Westcott Rapidbox 3-foot octabox. By moving it in close, just out of frame, camera left, gave me some beautiful soft (but not flat) light to work with.
The early evening ambient light was pretty flat. The air was filled with smoke from local wildfires. To create a golden hour look, I put a second strobe with a Profoto Magnum reflector and full CTO filter (color temp. orange) behind Elaine on camera right. Actually, I had her dad hold the Profoto B1 strobe on a light stand high and aimed down on the back of her head. The warm light brought out the texture and red in her hair. The background was grass and cattail reeds, which at /f2.8 on my 80-200mm lens (at 200mm) made for some nice creamy bokeh.
Settings: Nikon D5; Nikon70-200 2.8 lens at /4.5; ISO 125 at 1/400 sec. shutter speed in high-speed sync