Posts By Brad Moore

PhotoRecipesDramaticLight

Photo Recipes: Dramatic Light
Discover a cool recipe for a dramatic lighting look with Scott Kelby! Join Scott as he shows you, step-by-step, how to configure your camera, arrange the lighting, position the subject, and create a very nice, yet dramatic lighting look. You’ll learn the full process, from the initial setup to the subject direction to the retouching of your best photos at the end, and all throughout the class Scott shares additional tips and tricks to help you nail the shot when you try it on your own. This look can be achieved with studio strobes or speedlights, and Scott discusses the gear you’ll need for both situations, so there’s no reason not to add this recipe to your bag of tricks.

Leave a comment for your chance to win a free 1-month KelbyOne membership!

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Brad pulls up a photo on his phone from the previous night’s secret show to show Chris Dudley during tech rehearsal. Photo by Chris Dudley

The Rebirth of Underoath
A few years ago, the band Underoath played what was then to be their final tour ever as a band. They did their farewell tour, made a documentary about the whole thing, and then each of the members moved on to the next phase in their lives, but they all remained friends after this.

Christopher Dudley, Timothy McTague, Spencer Chamberlain, Grant Brandell, and James Smith of Underoath perform their final show on January 26, 2013 at Jannus Live in St. Petersburg, Florida

Fast forward to late last year, and they’re all on a group text joking about what it would be like to tour again. Then the joking turned serious and, after much discussion and figuring out logistics, they decided to reunite to tour once again and play their two most popular albums, They’re Only Chasing Safety and Define The Great Line, back to back on the Underoath Rebirth Tour.

The first official show of the tour is tonight in St. Petersburg, Florida at Jannus Live, the same venue where they played the final show of their last tour. And the band has allowed me to document some behind the scenes images of the events leading up to this show.

Last week, they invited me to come out to their practice space and document one of their final practices before taking the stage once again. The space is a storage unit, lit solely by one fluorescent light inside, and some typical parking lot lights outside. Thankfully, I had two Canon 1DX bodies at my side, coupled with the 70-200mm f/2.8 and 16-35mm f/2.8 lenses, to handle the high ISO situation.

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perform on at in

perform on at in

perform on at in

perform on at in

As the band practiced, I tried to cover them from every angle I could think of while staying out of their way as best as possible. During this time, they’re focused on making sure they remember how to play the songs and are all on the same page with everything rather than performing. So while they’re into it, it’s definitely a lower energy situation than a live performance.

perform on at in

perform on at in

perform on at in

perform on at in

For post processing, I prefer converting behind the scenes/documentary images to black and white. I just think it gives them a more timeless feel, and helps differentiate the images from my live concert work. In this particular case, I used Macphun’s Tonality Pro plug-in to do the black and white conversions. I started with the software’s Bold Contrast preset, then tweaked it to best fit these images and created my own preset. Once I had that in place, I did a batch process of the images and ran my preset at 50% so the images didn’t look over-processed. This gave the shots a nice but gritty look that almost made them feel like they were shot on film.

perform on at in

perform on at in

While many of the band’s shows on the tour are already sold out, including their first show tonight at an approximately 2,000-person capacity venue, they announced a “secret show” at a 400-person capacity venue in Tampa on Sunday night. This show was $10 at the door on a first come, first serve basis; and once it was full, it was full.

The venues they normally play at have big stages and a barricade/photo pit between the crowd and the band. Not so at this one, as you can see in the video below:

This crowd is INSANE!! No fans like @underoathband fans! #underoath #uorebirth #UØ

A video posted by Brad Moore (@bmoorevisuals) on

This time I was armed with the same Canon 1DX bodies and 70-200mm f/2.8, but this time I had the 11-24mm f/4 and 24-70mm f/2.8 lenses as well. The latter two ended up being the only ones I used during Underoath’s set since it was such a small venue. I started off right in front of the stage in the crowd during the opening bands and was fine. But once Underoath took the stage, I only lasted for two songs before I escaped the flying bodies and pummeling from the fans to try to catch my breath and make my torso cease feeling pain.

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Canon600EX-RTSpeedlites

Canon 600EX-RT Speedlite Basics with Michael Corsentino
Learn why the Canon 600EX-RT is a quantum leap forward in speedlite technology! Join Michael Corsentino, a portrait and fashion photographer based in Florida, as he takes a deep dive into the Canon 600EX-RT speedlite system. He’ll get you up and running with the key features and functions that will enable you to get the most out of this flash. In this class you’ll learn about the key buttons and dials, how and why to use the different exposure modes, the importance of shooting with the flash off the camera, how to take advantage of high speed sync, and so much more. All throughout the class Michael shares his insights, tips, and tricks to help you get the most out of your flash and enable you to create the images you’ve been dying to create.

This class will be available today on KelbyOne.com. Leave a comment for your chance to win a free 1-month KelbyOne membership!

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Hey guys, the release of my upcoming Canon 600EX-RT Speedlite Basics class is right around the corner and I’m getting excited! I can’t wait to share with you how easy this speedlite system is to use and how truly amazing it is. It’s a game changer in so many ways and I’ll cover them all. I’ll walk you through the buttons, dials, menus; teach you how to set up wireless communication between the camera and off camera speedlites; work with ETTL and manual; set up groups; share my must-have tips and techniques and sure fire lighting patterns; explain why you need artificial light in your bag of tricks; teach you how to use and understand high speed sync; give you a live studio shooting demo, and so much more! With any luck you’ll leave this class as amped as I am about light and shadow and chomping at the bit go out and put everything you’ve learned into practice.

If you’re like me, you may have found handheld flash intimidating at one point or another. Maybe you decided right then and there to leave well enough alone, put the flash down, and call yourself an “available light shooter.” Maybe you even have a speedlite or two sitting on your shelf collecting dust or languishing unused in your camera bag. Well guess what kids, your speedlites are “available lights.” In this new class I’ll strip away the fear and mystique surrounding these powerful tools, and flash in general, and give you the simple, straightforward info you need to get up and running with your new speedlites.

I’ll show you why the Canon 600EX-RT Speedlite and its companion ST-E3 controller represent a quantum leap forward in handheld flash technology. They have easy to use interfaces, easy to understand menus, and a first of its kind built-in radio based communication system. Simply said they just work! And there’s more good news, the 600EX-RT Speedlite and ST-E3 controller both share the same interface, so once you’ve learned one, you’ve essentially learned the other. Thank you Canon, we love that!!

It’s not just speedlites that can strike fear into the hearts of the burliest of men, but flash in general can have this effect too. So I’ll simplify that too! In a “teach a man to fish” approach, I’ll show you how to think about light and understand the why, when and how behind the choices you have available to you. Together we’ll look at the 4 key components that make up flash: quantity of light, quality of light, direction of light and distance of light. It doesn’t get more complicated that I promise, and after this class you’ll understand why. So come along with me on this journey of light and technology, things will never be the same!

I’ve included a selection of images I created with the Canon 600EX-RT system below to whet your appetite. I want to get you as excited as I am about this incredible system. In the captions for each image I’ve described the techniques I used, how they were lit, and why the 600EX-RT system was the perfect solution. See you guys in class!

First let’s start my two favorite, no fail, location lighting patterns, Cross Light and Wedge Light! These two lighting patterns are quick, easy, work every time, and form a solid foundation to build upon with additional techniques and light modifiers.

Cross Light by Corsentino

Cross Light is a simple but very effective lighting pattern that quickly adds a polished, sculptural, dimensional quality to your subjects. It’s created by aiming two speedlites at each other along the same axis and placing your subject between them. By doing this you’re creating a key light on one side and an accent light on the other. This arrangement can then be rotated around your subject so you can light them using either Broad Light or Short Light. Your bases are covered with this one simple pattern. You’ll see Cross Light used a lot in the images below, give it a try!

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Here’s Cross Light in action! I’ve hidden one speedlite behind the gritty column camera left. This is my accent light. It’s been fitted with a half cut of CTO gel to create a warm tone and replicate the look of setting afternoon sun on my model’s hair. Like my key light placed camera right, both flash heads were vertically oriented and manually zoomed to 200mm. Doing this creates tight vertical beams of light that not only provide a natural looking in-camera fall-off of light but also more closely match the vertical shape of the body.

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More fun with Cross Light. Here the key light is placed camera left and the accent light is over the model’s right shoulder providing a punchy highlight on her hair and shoulder. Bare speedlites, vertically oriented and zoomed to 200mm do the trick here delivering dramatic, specular light. I’ve underexposed the ambient by 2 stops using my shutter speed to get that killer blue sky! I explain this in detail in my class.

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Just as I used my shutter speed in the image above to create one effect, in this image I’ve used it in another way to create a completely different look. Dragging the shutter (using a very slow shutter speed) along with a high ISO and Cross Light allow me to balance the beautiful shimmering lights of Chicago’s evening skyline and the strobe illuminating my model. The key light here is modified with a Chimera collapsible beauty dish and the accent light is bare flash with a 1/2 cut of CTO gel to warm things up a bit.

Wedge Light by Corsentino
Next up is something I like to call Wedge Light. This is another super flexible and easy to use location lighting pattern. It gets its name due to the pie slice shape in which the key and accent lights are placed. Like Cross Light, this pattern can be rotated around your subject, in this case to introduce more or less shadow. The distance between each light can also be widened or shortened to create different effects.

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Here you can see the results of Wedge Light positioned to the side, exactly like the diagram above, to create directional, shadowed, dramatic light. Both speedlites are bare bulb delivering a punchy, specular quality of light with rapid transitions between shadows and highlights.

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In this image I’ve taken the same Wedge Light pattern used in the image above and positioned it in front of my model to create an even, almost shadowless lighting effect. Each speedlite is modified with a 24×24” Lastolite EzyBox Softbox and the harsh light from the midday sun overhead is being diffused with an 8×8’ scrim.

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Wedge Light is also great for 2 people! Here I’ve got both speedlites camera left in a in pie slice arrangement, each inside a 24” Lastoilte Ezybox Softbox aimed toward each subject. I’ve also got an 8×8’ scrim overhead to diffuse the harsh sun above.

Now let’s talk about why you need speedlites with built-in wireless radio communication! The next two images demonstrate perfectly why the Canon 600EX-RT/ST-E3’s built-in radio communication is such a game changer. Optical based systems require something called “line of sight.” Meaning both the speedlite and controller need a clear visual path to see one another in order to communicate. When it comes to placing speedlites behind walls and inside soft boxes this line of sight is broken and communication is lost. Not so with radio based systems. Obstacles are no problem and the line of sight requirement is gone! Optical systems are also prone to problems in bright sunlight. In other words, radio rules.

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This image like the others was made using the 600EX-RT and ST-E3’s wireless radio based communication system. It’s a perfect example of radio’s superiority over optically based systems. Note the position of the accent lights in this Cross Light setup… It’s behind a wall camera right. There’s no line of sight between the controller on my camera and the speedlite behind the wall, if I were using an optical trigger system there would be no way to trigger the flash. Plus not only can I trigger hidden lights but I have full control over their power and exposure modes. This is all huge!

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Here’s another practical example of the many ways radio based communication makes things much easier. Here I’ve got a speedlite inside a soft box placed camera right. Again the controller and speedlite have no line of site, so optical is out of the question. Additionally the speedlite is inside the softbox, meaning that without radio communication, every time I wanted to make a power adjustment I’d need to open the softbox and dig inside to get to the speedlite’s controls. Trust me, that gets to be no fun real quick! Again, radio rules.

Last but not least I’d like to talk about direction, direction of light! I’ll cover all of this in class, but I want to encourage you to start thinking about directionality. The more direction or angle at which you have your light in relationship to your subject, the more shadow you’ll introduce. For me shadow equals drama and mood; I’m a big fan. Think about it… At its essence photography is nothing more than highlights and shadows, so embrace them! Shadows can be infinitely controlled, using distance, source size, and the modifier used to control the speed of the transition from highlight to shadow.

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Placing my lights to the side of my model introduces shadow and drama. Think about how different this image would be if it were produced using flash on camera! Did somebody say flat? If you did you’d be right on target! Throw some direction into your lighting, you’ll be glad you did.

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There’s nothing like a little side light when it comes to creating mood and drama. Here I’m using Cross Light Light again. My key light is a bare speedlite, camera left, and my accent light is another speedlite placed outside the widow camera right.

Clearly I’m passionate about light and I can’t wait to share what’s possible with Canon’s 600EX-RT and ST-E3 speedlite system! Hopefully the images above have stoked your creative fires and gotten you ready to dust off your speedlites and explore new ways to create with light. My class will be live tomorrow, I hope you’ll join me. Together we’ll get you all dialed in and up and running!

You can see more of Michael’s work at MichaelCorsentino.com, and follow him on Facebook, Twitter, and Instagram. And his new class Canon 600EX-RT Speedlite Basics will be available tomorrow at KelbyOne.com!

SonyA7RII

Get Up To Speed Fast On The Sony a7R/S II with John McQuiston
If a Sony A7R II or A7S II is in your future or already in your camera bag, then this class is for you! Join John McQuiston as he gets you up to speed on everything you need to know to get started on the right foot with your camera. From getting oriented to all of the buttons and dials to changing exposure settings, and from explaining the focus modes to how to shoot video, John steps through the features and functions you need to know, while explaining its purpose and showing you how it’s done.

This class will be available today at KelbyOne.com. Leave a comment for your chance to win a free 1-month KelbyOne membership!

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Thank you Scott for another opportunity to share my photography adventures on your blog.

Few television shows ever achieve the 300th episode milestone. On February 9, 2016 NCIS not only accomplished it, they did so while being the most viewed television show in the world 2 years in a row!

3 Slates

My name is Mike Kubeisy, and I am humbly honored to have been the photographer for 301 of those episodes. 301 you ask? I was involved with the spin off from JAG also. I have been involved with many shows that have achieved the 100th episode, and a few that reached the 200th milestone. 300, that’s a first for me. Allow me to share some thoughts and statistics with you.

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The U.S. viewership on a Tuesday night for a new NCIS episode, on average is 17 million viewers. The average worldwide viewership is around 52 million. Now that number is not for Tuesday night alone, our international viewers watch NCIS on different nights and also depending on the country, they may be watching an earlier season. Then you have syndication, you know USA Network every night. That’s a lot of viewers enjoying “Gibbs” and the gang.

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Scott Bourne from Photofocus acclaim has said No Photographer’s work is seen by more people than Mike’s work worldwide.

Alright here are some fun statistics: I have shot as many as 2000 images in one day, as few as 30 images in a day and an average of 400 images on one day of production. I have been on set as long as 16 hours and as little as 30 minutes, depending on what it is scripted and needs to be shot. It takes the cast and crew 8 days to shoot 1 episode, when aired is 43 minutes long with titles and credits.

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Think about this for a moment…12 hours a day times 8 days equals 96 hours on average to shoot 1 episode. We will shoot for 2.23 hours to capture 1 minute of what you’ll see on TV.

Crew

Then there’s another 20 days of Post. Editor gets about 3 days, then the Director’s cut gets about 4 days, then you have sound, dubbing, foley, music, spotting, colorizing and all that stuff they do in dark rooms. The shortest turnaround from completion to airing was 9 days, the longest was 60 days all depending where we are in the season. There are about 100 members of cast and crew on the set when shooting on average.

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Now allow me to share some more of my photos over the years. This is probably my favorite shot of Mark Harmon.

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He knew my camera was on him, and he kept the horse still till I got the shot. One of the most lovable characters is “Abby”. She is always a blast to shoot, she brings such energy to the set.

Abby

She is also a super friend and prayer warrior with me.

Michael Weatherly who plays “Very Special Agent Dinozzo” is so witty you need to have your camera set and ready. You never know when or what he’s going to do.

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When my boys are visiting the set, Michael will always make time for them and make them feel special.

David McCallum is a fine Scotsman who loves my camera and allows me to shoot anytime.

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We have shot a few personal projects together.

Let me share some of the F/X shots with you.

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These guys keep you on your toes with the toys they bring to the set. The show is shot in Santa Clarita, California and takes place in Virginia. It could be 85° outside and we need snow, call in F/X.

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NCIS has had a lot of awesome special guest stars. Here’s a shot of Mark Harmon and Jeri Ryan chatting for a moment while the crew “turns around”.

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Ralph Waite played “Jackson Gibbs”, the dad of “Jethro Gibbs”, when I took this shot. It was fun because the 2 of them were just horsing around so much it was playful watching 2 established stars having such a great time together.

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I was blessed they used my photo to honor Ralph Waite on his passing back in 2014.

Another powerful image that received a lot of comments on social media was this image of a homeless vet and his dog.

Homless Vet

The show wanted to feature the photos of photographer Lee Jefferies on homeless vets. So I needed to match the look of our character to Jefferies’ work. The episode was very powerful.

Let me share this final image of real soldiers turned stuntmen/actors with me.

Soldiers

I’m the one with the Canon ;).

My next milestone will be on NCIS: Los Angeles’ 200th episode next season.

Thank you for the opportunity to share my milestone with you, Brad and Scott. Livin da Dream Boyz!

That’s a wrap, fade to black.

You can see more of Mike’s work at 4Stills.com, and follow him on Facebook and Twitter.

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