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.
For this portrait, Joel, age 7, wanted to be photographed in this tree. He climbed up and struck this pose naturally. I told him not to move as I placed my key light on camera left. This strobe, a Profoto B2 with a Westcott 3 -foot Rapidbox Switch attached, provided broad soft light on the subject. Behind Joel, I had his father hold a Profoto B1 above his head. The wireless monolight had a Magnum OCF reflector with a warming gel attached. This edged the tree and Joel in warm light that mimicked golden hour.
To get my exposure, I shot one frame of Joel’s face in TTL, ( through-the-lens auto metering) then switched the Profoto Air Remote over to manual and fine-tuned the exposure. Even though I recently bought a Sekonic flash meter, I struggle finding a need for it on location shoots like this.
Settings: Nikon D5 with a Nikkor 50 f/1.8 lens; iso 125; 1/320/sec. at f/2 White balance set to 5400 Kelvin
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.
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.