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.
This is a portrait of my musician brother who wanted something he could use on social media. I set up my Profoto B1 and B2 wireless strobes in my neighbor’s backyard because they have a nice red fence I like to use as a background.
For this portrait, I wanted to try and surround Burke with soft, pleasing light. The rule I have learned is this: The closer my light is the subject the softer it will be. The same goes for the light modifier. The larger the modifier in relation to the subject, the softer the light will be.
I started with my key light, a Profoto 2 x 3 OCF softbox on a Profoto B1 monolight on camera right. For a fill light, camera left, I used a 1 x3 foot stripbox with grid to soften the shadows. Just for fun, I used my 2-foot beauty dish (gridded) as a kicker light behind camera left and another stripbox camera right, aimed at the fence in the background.
I put my camera on manual and set my ambient exposure to about a stop under exposed. I set my Profoto Air Remote to TTL mode and took a tight shot of Burke’s face to get a correct flash exposure. I then switched to manual mode on the Air Remote (it locks in the TTL settings) and made exposure adjustments to each light.
Here is the great thing about wireless strobes. I can set each strobe on its own group setting. From the Air Remote, I can then select a group–in this case my key light was group A– and make an exposure adjustment for just that strobe.
Once I got each light (group) dialed in, I shot with my Nikon D850 and 85mm Nikon /1.4 lens set to f/4; ISO 100 at 1/250 of a second shutter. White balance was set to daylight.
The cool thing here is that you don’t need all this expense Profoto gear to make a portrait like this. A cheap set of wireless speedlights, a controller, and some inexpensive umbrellas would have worked just a well.
For this editorial portrait of a former political prisoner who was recently reunited with his family in the U.S., I wanted to use strong, dramatic lighting to reflect his resolve he used to resist his captures. I set my Profoto B2 strobes up in his daughter’s living room while Bekjanov was being interviewed.
The background was a light brick wall above the fireplace. I placed one B2 head with a 1×3 stripbox ( vertical) camera right and slightly behind as my key light. For the rim light, I used my Profoto OCF beauty dish camera left. This is the opposite of what I usually do. My standard is to use the beauty dish as my key. There was some ambient window light in the room, which I overpowered using high-speed sync at 1/400 of a second, Iso 125 at f/2.8.
From this camera setting I took a close up shot of his face in TTL, then kicked my Profoto Air Remote over to manual to lock in the setting. I made a plus half-stop adjustment to key light and dialed the rim light down 1 stop to keep the subject’s gray hair from blowing out. This is the first time I’ve used the strip light as a key. I’m liking the look! Nikon D850, Nikon 70-200 2.8
As part of our annual football preview special section, I was assigned to shoot portraits of local quarterbacks. I brought out my big guns for the shoot, two Profoto wireless B1s and a B2 location kit to light my subjects on their school’s football fields. At the University of Idaho Kibbie Dome, I faced a different lighting challenge in that I was shooting inside a medium-sized domed stadium. The other portraits I had been taking were all shot outside at dusk. Now I had stadium TV lights filling the space with bright tungsten (warm color) ambient.
Arriving a half hour before the shoot, my assistant Liz helped me set up my lights. In the far end zone I noticed a large Vandals team logo on the wall. During my test shoot using Liz as a stand in, I found the wall went dark and muddy.
One of the great features of Profoto wireless strobes is that you can put them anywhere– up to 800-1000 feet away and trigger them right from your camera.
I placed a B1 with a magnum reflector at about the 15-yard line and pointed it at the wall logo. After shooting a frame using TTL on my Air Remote trigger, I switched to manual setting and balanced my key and edge lights to be about a stop higher than the background. I found the white wall with black letters needed some color, so I added a 1/2 CTO gel (color temperature orange) to the magnum background light. This was an important step in that I was able to use this yellow light to make a better picture a few minutes later.
In next shot, I had Liz bring the background yellow-gelled light just so the reflector peaked into frame from camera left. When fired, it created a warm streak of light that looked like the setting sun. It added something special into the photo that I wasn’t expecting. I kept the other lights the same. A two-foot octabox as my key light and two edge lights (the Profoto B2’s ) to add of kick.
Things I learned:
Again, give yourself time to set up and test your lighting so when your subject arrives you are ready to go.
Don’t be afraid to experiment as you are setting up. This was the first time I had used the Magnum reflector and I’m glad I put it to use. Gel are also a great way to give your portraits a fresh look. Think out what colors work best with your subject. I chose a yellow color because it worked with the black and gold of the Vandal’s team colors.
Balancing the background light in TTL didn’t give me the look I needed. It wanted to balance all the strobes the same, making the background too light. By switching to manual on the air remote it allowed me to dial in the exposure to my liking.
Sometimes simple lighting with one light source is best, but not in this case. I had just bought a Profoto B2 location strobe kit to go with my Profoto B1s. My assignment for my newspaper was to produce strobe-lit portraits of four different quarterbacks from around the region. I wanted to push my lighting skills and really work at shaping the light using a mix of hard and soft sources. Adding the Profoto B2’s gave me a chance to use four strobes on my subject.
I really like to use edge lighting with my 1 x 3 strip softboxes for sports portraits. When you look at the photo above you will see how the strip lights help separate Ian from the background, These are the lights I start with first, as they can be tricky to find the best angle to edge the subject. I did a few tests flashes to get them placed, then moved on to my background light, which I placed about five-feet behind with a small reflector and a warming gel. This gave me a nice rim light on his head.
For my key light, I placed my strobe camera right, parallel to Ian’s face. At first, I had a two-foot octabox on the B1 head, but I felt I needed a harder light on his face. Using the bare bulb of the B1 head gave me the hard light I was looking for.
I started shooting my first shots with my on-camera Profoto Air Remote set to TTL, then switched to manual to lock in the settings. I used three groups of light settings. “A” group was my strip boxes, “B” group was my rear light and “C” was my key light. I adjusted each group’s exposure to dial in the look I wanted and then fired away. My settings were 250th of the sec., f/4 at ISO 100.
I really liked how the Profoto B1s and B2s worked together flawlessly.
Some takeaways and tips:
Arrive early, set up and test your lights before the subject shows up. I was lucky in that my boss came with me to help assist. Having her be a stand in made the final shoot go quickly without a lot of trouble shooting.
Soft grids on the strip lights are really helpful in focusing the light where you want it, but also they prevent flare from hitting your lens.
Be willing to experiment and try something different. I started out with more of a ridged pose, but then had Ian go through the motions of throwing the ball. That motion really helped bring the photo to life.
When I arrived a Jackie Pederson’s home, it had only been a few days since she found out her son Jason had been shot and killed in a downtown Spokane Alleyway. My photo assignment just said get a photograph of Pederson. I’ve been to a dozen or more of these types of photo situations in my career. Someone has died and the only (and easiest) way is to have the loved one hold a picture of the deceased.
Before I started to incorporate wireless strobes into my photojournalistic work, I would have just used the window light and called it good. Now with speedlights I have far more visual options.
I walked around Pederson’s kitchen and living room, but struggled to find a clean background in a house filled with knickknacks and wall ornaments gathered over a lifetime.
I glanced in the large living room mirror and solved my lighting dilemma. I positioned Pederson looking into the mirror. A minor problem of her not being tall enough was solved with a kitchen stepladder. Now I have to figure out the best way to light her and the room. I want to shape and focus my key light just on her, so I chose my Westcott Rapid Box 12 X 36” Strip. with a soft grid and a Godox 860II speedlight. I fire off a few test frames and like what I see, but I think the background needs some color.
I place another Godox 860II wireless speedlight in the back corner of the room and attach a Magmod blue gel to the strobe. I aim it up and toward the back wall. I felt the blue light would reflect the sadness of the situation.
To be clear here, I am staying very connected to my vulnerable subject. I do not want to push to hard, considering what had happened to her son. I work quickly on the set up. I start to shoot into the mirror and the TTL flash exposure of the main light is right on. The background speedlight is a bit bright though.
One thing I have learned using gels is that if you underexpose them a stop or so, you get more color saturation. On my Godox X1n hot shoe-mounted wireless trigger, I dial down the background flash one stop and shoot away. I played around with my composition , tightening it as I shot.
A few minutes later I was packed up and headed to my next assignment. Total time from arrival to completion was 32 minutes.