He spends his career on the other side of the fence, so I thought it might be cool to shoot him sitting up in the stands (the view he usually sees of the spectators). I like how clean and simple the look is, and I especially like all the numbers on the seats—it just adds something. You can’t tell from this photo, but Corey is acting as a VAL (Voice Activated Lightstand) just to the right of Miguel, one seat over–just out of frame. (Scroll down for one more photo, and below that for the Thursday News Update post).
I’m on an email list from PhotoJojo.com (a very cool site) and today they had a story about George Lange’s photography “flipbook” and they were raving about his work, so I went to check it out. They were right on the money. His people photography is just brilliant, and his presentation is cute, clever, sometimes funny, sometimes weird, but always interesting. Even the music is interesting, and the way it’s all put together makes you watch it again and again. In short; you gotta see this guy’s stuff: Click here to watch his online flipbook.
I’m pretty darn psyched (and totally honored) to announce that B&H Photo has put together a “Scott Kelby Location Kit”
with all the cool location lighting stuff I’ve been talking about here in my blog, and in my live sessions (as seen above–of course, you have to provide the flash and I use two Nikon SB-800s because I shoot with Nikon gear, but the kit works with any off-camera hot-shoe mounted flashes).
The kit includes two Lastolite tri-grip diffusion panels, two lightweight (yet surprisingly sturdy) 8′ light stands with two regular Bogen/Monfrotto clamps for holding the diffusion panels; and two of their “Justin” clamps, which let you mount hot-shoe flashes and position them in any direction using the built-in ball head, and two of the same lightstands come with that. Plus, it comes with a Westcott 6-in-one reflector and a very slickly designed Impact boom stand with clips so you can position the reflector right where you want it. The kit assumes you already have a flash, so it’s everything but the flash (it’s all the gear shown above) and the whole package is just $495, which is an incredible deal for the results you can get (you can see this package in action by going back to my post on February 22nd). Click here to jump to B&H page on this kit. (Don’t forget; if you call B&H, NAPP members get free shipping, which saves you $27.65. Well, it does if you’re shipping to Tampa anyway).
Although it’s called the “Scott Kelby Location Lighting Kit,” I have to give credit to the amazing Joe McNally (master of the wireless flash, and one of the most talented and gifted working photographers/instructors in our industry today), because I learned the whole technique (of shooting the on-camera style flashes through the Lastolite Diffusers with Justin Clamps) from him. Many thanks to Joe for turning me onto to this amazingly light, portable, and easy-to-use system that’s changed everything for me. My personal thanks to Joe for all he’s taught me, and all he continues to teach me. (If you’re going to Photoshop World, make darn sure you catch Joe’s amazing sessions. He will change the way you approach a lot of things, and he’ll inspire you with this amazing images from his years shooting with National Geographic and Sports Illustrated, to name just a few.
Also thanks to the wonderful folks at B&H Photo (Gabe, Steve, Manny and crew) for putting this location lighting kit together. I’m so honored, and can’t thank you enough for making it so easy for NAPP members to get their hands on all this cool gear. You rock!
I ran across Patrick Hoelck’s brilliant photography portfolio after I saw it discussed (OK, debated) in an online forum (I wish I could remember which one). I really, really like his style, but beyond his cool photography, what peaked my interest was how the forum participants were arguing back and forth about whether his “look” comes from his technique in camera, or after the fact in Photshop. Now, as a guy who really loves Photoshop, I have great respect for him either way (because digital photography in the 21st century is two things; the photography and the processing in Photoshop), so if he’s getting this look in Photoshop, all I can say is “Please teach it to me!” If he’s doing it all with lighting (as apparently he is quoted in a magazine article), then all I can say is “Please teach it to me!” Either way; take a look at his cool images and see what you think (and post your comments as to whether you think it’s mostly done: “In the Lighting” or “Later In Photoshop”).