When shooting portraits on location, you’re dependent on ambient light – unless you bring your own. I decided to use a flash to overcome the ambient light. This approach allowed for more variety during this portrait session. Let me explain how.
Many beginning photographers do not realize how much control they can have over lighting by using a flash, even during a daytime portrait session. Even night-time photos are not necessarily shot at night.
while reviewing Sony FE 85mm f/1.4 GM II, I asked Sonny to join me for a portrait session at the location. i used two Profoto B10 Lite and a remote trigger designed for the Canon system. By changing the trigger to the X-Sync setting, it became usable with sony a7cr, You can find a review of the Sony FE 85mm f/1.4 GM II by visiting this link,
I want to describe the decisions and choices I made during this portrait session. This may help people who want to try something similar but don’t know where to start. More experienced portrait photographers may take different approaches or choose other options. Feel free to share your methods in the comments below. We can all learn from each other.
place
Since the location I chose had many tall buildings, I knew there would be limited sunlight in the afternoon. However, I found a spot with a white wall, with a few spots of sunlight visible from nearby windows.
This wasn’t the most ideal situation, but by setting the camera to slightly underexposure, the reflection could be adequately exposed. I used a Profoto B10 with a translucent umbrella as the main light, which overpowers the ambient light. Since the flash was used to get the proper exposure of Sane, I could dial in almost any desirable exposure for the surroundings.
Unfortunately, I couldn’t use the umbrella for long as it acted like a sail in the wind. Since I didn’t bring a sand bag the wind almost knocked the light stand over – a valuable lesson for next time. i switched to a Profoto OCF Magnum Reflector Instead, Joe won’t be able to catch as much air. However, this will produce light that is harsher in appearance. It also improves efficiency slightly, providing about one stop more light.
turning day into night
The second location showed a darker brick wall. My idea was to make a bright light on the wall, with Sunny’s picture in front of it. The second flash will add directional light to lift up the shadows.
With almost no ambient light I rejected the exposure. Then, I placed the first Profoto B10 against the wall behind the sink. However, this didn’t give the effect I wanted, so I set the camera’s white balance to tungsten. This adjustment bluened the image, somewhat simulating twilight colors.
I added a second Profoto B10 to the left of the lens. To prevent light from spilling onto the wall, I used a grid. Since the camera’s white balance was set to tungsten, this light also appeared blue. A full CTO color gel counteracted color shift, resulting in a more balanced color in the image.
I made a variation on the same spot by rotating the backlight 180 degrees to face Sanne’s back. It worked like a rim light. The second flash was positioned at a 45-degree angle in front of the camera. There was enough light to slightly illuminate the wall behind him.
Flash power and white balance
It’s easy to underestimate the impact of flash. After the dark brick wall where I turned day into night, we walked into the corridor for the next session. The sun was about an hour away from setting, casting a warm light on the tall buildings in the background. Although the corridor itself was not illuminated by sunlight, it provided a promising atmosphere.
I used the flash to add extra light as Sonny walked down the aisle. It took a few attempts to capture the exact moment where she was exactly positioned in the flash light.
Since the buildings in the background were bathed in bright sunlight, I wanted to make them more prominent as a backdrop. I underexposed the ambient light to darken the corridor and cabin a bit. The flash, placed on the left, mimicked the direction of sunlight and was equipped with full CTO gel to match the warm tones.
Next, I chose a different angle, incorporating the structure lines of the corridor into the background. I set the camera’s white balance back to tungsten, leaving the background blue. This time, I didn’t overexpose the ambient light as much, but made sure that Sunny stood out.
Using existing light and reflections
The final space was another corridor, with large window panes with vertical lights behind the window pillars. I used the same technique with ambient exposure, relying on the flash to light Sonny correctly. Challenges arose with this setup due to the reflection of the flash in the windows. I also had to avoid getting distracted by surrounding reflections.
To manage this, I placed the camera almost in front of the glass, and captured San’s reflection between the vertical lights. Other issues also arose, such as distortion of his body and face by the reflection. Patience is required to find the right position to obtain the best images while minimizing unwanted reflections.
What would you do differently?
This article describes the process and decisions behind the photographs I take. This isn’t the only way to use flash on location, and some things could probably be done differently or better. However, it is the end result that really matters, not the technical process. The best way to improve technically is simply to practice. Go out, experiment, try new things and don’t be afraid to make mistakes. Just take your time to figure out what went wrong and fix it if possible.
Perhaps you can also help in this process. How would you do things differently? What can be improved? Please share your experience in the comments below. I am waiting for your thoughts.
