Colorful Lighting with Gels
Saturating your photos with colorful lighting can be a showstopper. When blindly scrolling through Instagram or quickly flipping through a magazine, it can instantly catch the eye of the viewer and make them pause.
Saturating your photos with colorful lighting can be a showstopper. When blindly scrolling through Instagram or quickly flipping through a magazine, it can instantly catch the eye of the viewer and make them pause.
There’s something about low light that draws me in. Maybe it’s the romantic atmosphere it exudes, or the depth it can give an image to make it look three-dimensional.
A huge part of what we do as photographers is nothing more than capturing different subjects by means of all sorts of unique light sources.
As a freelance commercial and editorial photographer, you never quite know what the job will bring you. Today you could be inside a state of the art studio, photographing the CEO of a Fortune 100 company.
I’ve often said that digital photo editing is the other half of the equation to artmaking through photography. Yes, the pure art of photography is incredibly important to learn and master.
When Ellie asked me to write for the annual “Lighting” issue, she suggested “Lighting Patterns.” My first thought was dark, gloomy closeups with sad people and of course Rembrandt.
As someone who shoots with any kind of light available to me, I’m pretty resourceful when it comes to incorporating external lighting within my shoots. A lot of my photoshoots are spontaneous, so I don’t like to weigh myself down with heavy gear or props.
We know that weddings can be extremely unpredictable. You can do all of the preparation in the world, but as the famed fighter Mike Tyson once said, “Everyone has a plan until they get punched in the mouth.”
I love the challenge of shooting on location with wildly varying lighting situations and environmental conditions between sets. It can be an exciting way to exercise blending ambient light and existing light sources with your speedlights or OCF systems and modifiers.
There are two main approaches you can take in the studio or on location. And which lane you choose will have a huge impact on the outcome of your images. You could choose to emulate window light, or you could choose to simulate sunlight.