Mastering Light with Phottix
My camera and I have journeyed together for the past decade, chasing the elusive 'perfect' light. As a professional photographer, I've come to understand that light is not just a component of a photograph but the very essence of it. While a vast array of equipment plays a role in my photography, today, I want to focus on a particularly important element: lighting modifiers.
My camera and I have journeyed together for the past decade, chasing the elusive 'perfect' light. As a professional photographer, I've come to understand that light is not just a component of a photograph but the very essence of it. While a vast array of equipment plays a role in my photography, today, I want to focus on a particularly important element: lighting modifiers.
Navigating the world of photography equipment can be a complex task. More expensive doesn't always mean better, and cheaper options may not provide the longevity you need. There's a sweet spot in the middle where cost, durability, and functionality meet, and finding it is key.
In my quest for this balance, one brand consistently comes out on top: Phottix. Their lighting modifiers have stood the test of time, offering a blend of affordability, durability, and performance that truly enhances my craft.
I first started using Phottix's lighting modifiers ten years ago. The quality and versatility of their products drew me in, and their resilience has made them a steadfast companion on my shoots, whether in a controlled studio environment or out in unpredictable natural settings.
Recently, Phottix unveiled their new G-capsule series, an innovative line of lighting modifiers that have been nothing short of game-changing for my work. The G-capsule series is designed for ease and versatility, boasting revolutionary features in the field of photography lighting.
One standout feature is the interior gel holder, which is magnetic. This design makes it incredibly easy to switch out color gels, a tool I frequently employ to add depth and drama to my photographs. The holder eliminates the time-consuming process of fiddling with clips or adhesives, making color changes swift and seamless.
Another ingenious upgrade in the G-capsule series is the dual-purpose interior baffle. The baffle has a silver insert that transforms the softbox into a beauty dish, creating a more focused, contrasty light. This ability to switch between different lighting effects without changing the modifier has made my workflow smoother and more efficient.
Here are a few shots where I've leveraged the power of the G-capsule series.
These innovative features of the Phottix G-capsule series have allowed me to push the boundaries of my creativity. Whether it's the vibrant hues from the easily interchangeable gels or the enhanced contrast achieved with the beauty dish effect, Phottix's innovation has opened new avenues for me to explore and create as a photographer.
In conclusion, my journey with Phottix over the last decade has been one of growth and exploration. Their consistent innovation and expansion of their product line keep me excited about the endless possibilities that lie ahead. I realize that this post may sound like an advertisement for Phottix, but it's only because I truly believe in their products and stand by them. It's the brand I put my reputation behind because it has consistently delivered the balance of affordability, durability, and functionality that I need. Whether you're a seasoned professional or a budding photographer, I highly recommend exploring Phottix's range of lighting modifiers. Here's to another decade of capturing the perfect light with Phottix!
Run Cover
A few months back, we went on location for a cover shoot, for a special Sacramento magazine supplement.
A few months back, we went on location for a cover shoot, for a special Sacramento magazine supplement. The day we chose ended up being the only day that week that was overcast and dreary, which worked in our favor. There was a bit of moisture which gave higher saturation to the surrounding plants and also made it easier for our model to function. The lighting for the shoot was Phottix Indra 500's. These lights are so ideal for location work. They offer very durable batteries as well as high-speed sync, which was crucial for a running shoot my other the lights would not have performed so well. It's so important to have a solid crew to help on these types of shoots. I've worked with all of these individuals before, and they're genuinely talented and good at what they do.
Thanks to a great crew!
Model: Arionna Morales
Makeup: Ernesto Robledo
Art Direction: John Facundo
Production: Christine Alward
Assistant: Skip Jones
Color Test
I received an assignment, and in the description, the art director requested super-saturated colors for all the images. The one thing about gels and colors there are a million different combos and saturation levels. So glad I tested, his version of saturation was WAY more than mine. These are the test that got us on the same page..
I received an assignment, and in the description, the art director requested super-saturated colors for all the images. The one thing about gels and colors there are a million different combos and saturation levels. So glad I tested, his version of saturation was WAY more than mine. These are the test that got us on the same page..
Light setup Phottix
Camera Nikon Z6
Lens Sigma 105
I am now shooting the assignment for the next two weeks.
Model: @trinwoodward
Photo Day - Early Session
Sunday marked another great outing at the Preston Castle this was the first of three photo days this year. This one took full advantage of early morning light which is always spectacular.
Sunday marked another great outing at the Preston Castle this was the first of three photo days this year. This one took full advantage of early morning light which is always spectacular.
For this session, I was joined by model Julianna Steel. She and I have been friends for many years, and she’s always wonderful to work with, she also provides a vast collection of vintage outfits. For this outing I had two goals, one was to take full advantage of the existing light in the morning and the second was to make images at midday which is the hardest time to photograph.
Another challenge was one that Julianna brought forth. She said she could provide three different outfits for under $25. Sure enough, she came up with fantastic looks that came in at about $24.50.
All of the interior shots I used my Nikon D810 and switched between my Sigma 35 mm and my Sigma 85 mm. These lenses are so sharp and have such excellent color rendition.
Here are some of the sample images from the morning.
Indra in action
After we finished, we went across the street from the castle and photographed in an old abandoned house. It proved to be a perfect setting for the looks that Julianna made. For my lights I used my Phottix Indra 500 with the wide angle diffuser. These lights operate on a battery pack and take advantage of high-speed sync. Most of the time the light was at full power or just under that. I’m so pleased with how he’s like to perform. We shot for about an hour, and I still had full power on the battery pack. Average setting: ISO 100, f3.2 and 1/4000 sec
I’m looking forward to getting out and making more images this spring with a similar style.
More of the natural light images below
Portrait Shoot Progression
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
I receive many questions regarding my workflow in photographing new models and faces, so I thought I would address some of them. This post is only about photographing models from talent agencies or bookings directly with a model.
Over the years I've developed a rhythm which allows me to get to know the model, as well as what type of lighting works best for them. This week was a prime example; Emily was in my studio for a portrait session, and while I've worked with her in the past, this was her first portrait session with me. My normal progression is what I like to call, “no make up, makeup, and lighting.” For the no makeup look, I normally just use natural light from an open door. Typically I shoot these on a black background. This allows me to really focus on the subject’s face and learn what lighting and lenses are a good match for them. Once I get these shots done, I have the makeup artist begin the model’s first makeup look. By the time I get the last image, it's typically something a little more complex with the lighting.
First image made with no makeup. For this I used the Sigma 35mm.
In the progression of Emily's images, I photographed her with no makeup for the first set. I loved how her freckles showcase the natural beauty she possesses. Next, I have the makeup artist add to her look while still keeping it simple. I work fairly rapidly throughout all the different looks. For each set up, I may only spend about 10 minutes. My goal is to get 3 to 4 really strong images from each look.
During last round of makeup, I normally let the makeup artist do something they've been dying to try. It's always good to allow collaboration with your team. Having the hairstylist or makeup artist use their creative juices can inspire me as well. There are times that this collaboration has produced some of my best images. All the looks put together in this type of session typically take about a three and a half hours.
For this image the makeup artist did minimal makeup. I want these as close to there real look as possible.
Finally, the equipment I use stays pretty consistent. I use my Nixon D4 & Nikon D810. The lenses I shoot with 85% of the time are the Sigma 35mm f1.4 Art Lens and the Nikon 85mm f1.8. For the lighting I use Phottix Indra 500 with various modifiers.
If you have any questions, I’m always open about how I do, what I do, so please drop me a note.
Happy Clicking!
Tim
Afternoon At The Preston Castle
We had another wonderful outing at the Preston Castle last Sunday. This session was from 12 noon to 4 in the afternoon. During other sessions I found that the light streams through the windows, and is constantly changing. With midday light most of the windows act like large soft boxes. With the age and deterioration of the windows it makes for some beautiful light.
We had another wonderful outing at the Preston Castle last Sunday. This session was from 12 noon to 4 in the afternoon. During other sessions I found that the light streams through the windows, and is constantly changing. With midday light most of the windows act like large soft boxes. With the age and deterioration of the windows it makes for some beautiful light.
Window light: I used the Nikon D4 with a Sigma 35mm
For this session there were a few goals I set for myself. One was to work with existing light from the windows in different locations. Another was to use a strobe light in different areas in a way that I haven’t done before. And then the last goal was to use a strobe outside to balance the sun with high-speed sync.
I was very pleased with how the images came out. The light that I chose to use was is the Phottix Indra 500. I added the wide angle reflector with grid and diffusion attached.
I have been working with this light for about a month now and I am very impressed with its versatility as well as its ease of use. I’ve worked with extremely high end systems in the past, and these definitely are on par with those.
The last 2 images take full advantage of the Indra's High Speed Sync ability. It has been such a huge add to my kit!
XL Pro’s (Part 2) Outside
Once again I am very impressed with how the XL Pro’s worked. They’re so easy to deal with! They now have a permanent place in my lighting kit.
I’m continuing to explore the possibilities of the The Rogue FlashBender 2 XL Pro’s. This week we decided to take them outside.
Firstly, it’s so nice to not have to carry big bulky gear! For this shoot I had:
Nikon SB-800
Nikon SB-700
Phottix - Odin Transmitter with Two Receivers
2 Rogue FlashBender 2 XL Pro’s
Nikon D-810
85mm 1.8
It took me about 5 minutes to get set up for the first shot.
The flash in the back was set to manual at full power. The front flash was set to TTL.
Camera settings
ISO 100
f2.2
1/200 sec
Once again I am very impressed with how the XL Pro’s worked. They’re so easy to deal with! They now have a permanent place in my lighting kit.