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Thursday, 11 January 2018


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FYI - Sean Tucker has another YouTube video on how he edited the portraits in Photoshop.

Video lighting is far more difficult. At least with stills, you only need one shot, so you can adjust and re-shoot. With video, one mis-step, and you have to redo the whole take.

One reason I never liked shooting video.

When I first starting using lights, I was struck by how reactive my photography had always been. It was like I had to learn a completely new skill set, one that not only included the lighting, but also location, posing and props. A long way from ‘f/8 and be there.’ I did - and do - love that challenge, even though at heart I’m still the guy who just goes places to see what he can shoot there.

Still glad you liked it Mike. And yes, Sean is good - I was like binge-watching his content there on Youtube once I saw the first (or better: one of his last), which was about street shooting with the XT-20 or so.

I even like his approach to gear. Buying used 5D2 cameras because they're cheap, and, well, enough seems like a very clever thing to do. A 5D2 body in good condition is less than the latest Micro Four Thirds. And less that a GH5s even when combined with a fine Sigma "Art" lens... it was a good camera yesteryear, and as the examples show, it's still a good one. When you get that lighting right...

Let me guess that this Sean Tucker is not the aerobatic pilot Sean Tucker?

As a former Wisconsin-ite, have you ever gone to the annual EAA Convention in Oshkosh. Sean Tucker (the pilot) is a regular at that week-long event.

So, how's the book coming? Or going?

Is a watt-second a unit used by photographers who use flash? Because a watt-second is a joule, so it's a mad unit. At least the other common unit like this, the kilowatt-hour, has the advantage of being some inconvenient number (3600,000) of joules.

If you run or work in a studio where people pay handsomely to have concepts brought to photographic life you quickly learn that you have to be attentive to every detail and anticipate every possible glitch. Lots of money in props stylists , art directors time all rely on getting it right.
Do overs are not only expensive but sometimes impossible.
In essence you are being paid to make all those things happen, but also to ‘press the button ‘
But that doesn’t mean that when you are not in the studio you don’t enjoy a much more relaxed approach. You quickly learn that both methods can produce good work or bad work. Knowing how to work with love lights actually helps your ability to see good natural light — or position yourself appropriately
It’s a big tent

Thank you, Mike, for recommending Sean Tucker's video. It was so compelling to be hearing about photographic technique that was being put to use in expressing a part of the photographer's life story. I'd never seen anything like it before.

I enjoyed that Sean Tucker video as well. I really enjoying listening to the mindset with which various photographers approach their work. I loved his honesty and empathy and how it is so genuine. (As opposed to how we can often see that someone is TRYING to sound honest and empathetic!) This is so much better than watching the mechanics of setting up lights for a certain look.

I am a total control freak when it comes to my lighting. But the most I learned was from mistakes I made. That's irony of life for ya.
In the words of master Yoda, "the greatest teacher, failure is."

Could someone please tell me what is the use of multiple channels on the triggers? Thank you

While not simple, his technique editing the photos mentioned in the above article produce superb results. Here is the link to Sean Tucker (whom I have admired for some time now) editing the photo. https://youtu.be/MvwFIZX3y_k

In macro photography I prefer the full control of light, even in the nature. For holiday photos I hate dull overcast grey sky, but it's my friend for macrophotography (wind is the enemy). In such weather the whole sky is a big soft box, but with flash I can control the light, which can result in dramatic effects or just "freeze" the subject. My favorite lighting is extreme side-lighting surrounding the subject, which brings out more details. Forget the lens test focusing on the extreme corner sharpness at fully opened aperture (which you never use for macro). The proper light is hundred times more important. Some examples if you're interested, what I mean (mainly taken with a cheap, according to most of the tests mediocre macro lens):

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