Tim Engle 6/24/23 Tim Engle 6/24/23

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.

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!

Tim Engle 6/12/23 Tim Engle 6/12/23

The Timeless Art of Black and White Portraiture

Introduction: Photography is an art form that never ceases to evolve, yet there's a profound depth in the simplicity of black-and-white portraiture that color sometimes obscures. This article explores this timeless medium, with my collaboration with model Morgan and makeup artist/stylist Ernesto Robledo serving as our guiding narrative.

The Beauty of Monochrome: In the realm of monochrome, distractions are stripped away, leaving us with raw basics: light, shadow, texture, and form. It's not about removing color but about revealing a different kind of depth, a different kind of beauty. Every wrinkle tells a story, and every gleam in the eyes is a poem.

Our Creative Team: A photoshoot isn't a solo endeavor - it's a collaborative process that brings together diverse talents. I've had the privilege of working with Morgan, a model whose presence in front of the camera is truly captivating. Complementing her, the creative eye and meticulous attention to detail of makeup artist and stylist Ernesto Robledo have been instrumental in creating unforgettable images. His work enhances the model's beauty and adds layers of depth and meaning to each shot.

My Experience with Morgan and Ernesto: Our recent photoshoot exemplified the timeless quality of black and white portraits. Ernesto's stylistic choices brought out the raw emotion in Morgan, transforming her into a timeless figure within the frame.

Collaborative Art: Photography is a collaborative art - particularly black and white photography. As a photographer, the monochrome challenges us to see and capture the world in different terms. As a viewer, it invites us to fill in the gaps with our own colors - our experiences, emotions, and interpretations.

Final Thoughts: The next time you come across a black-and-white photo, take a moment to see beyond the monochrome. There's a whole world of depth waiting to be explored. And as photographers, we have the privilege of bringing that depth to life, thanks to our collaboration with models like Morgan and creative partners like Ernesto.

Tim Engle 11/24/19 Tim Engle 11/24/19

Grid Iron Gladiators

For the past four years, I have been making (end of season) stylized images for some of the Casa Roble (Orangevale, CA) Varsity football players.

For the past four years, I have been making (end of season) stylized images for some of the Casa Roble (Orangevale, CA) varsity football players. I started making high contrast images on white and expanded to some on-field images two years ago. My goal was to make the type of images I wish I had as a player. These guys work very hard all year and it means a lot to me to make an image of this part of their life.

This year due to a scheduling conflict, I couldn't use the school's field, so I moved the shoot to my studio.

I wanted to continue with the white background style and didn't want to give up on the field look so after a quick trip to home depot and a purchased 12 by 8-foot section of artificial grass, I had a field style look in the studio.

I made two sets with two cameras. Set 1 had a white background, while Set 2 had the artificial turf. I wanted to be able to shoot them against the white background and then go straight to the turf set.

Set 1 was designed with four alien bee lights. For this set, I used grids and snoots to highlight different parts of the players. This style translates well with the high contrast black and white.

The camera for this set was the Nikon D810 with a Sigma 105 art lens.

For field set lighting, I wanted to replicate the look of a stadium light, so I started with 1 Indra 500 with a wide-angle reflector with grid high and directly behind the players. The second and main light was to camera left for that I used the Solas Strip Softbox with Grid. That was positioned fairly high and angeled down to minimize the spill on the ground. For the 3rd light, I used a 7inch dish with a 20dgrwe grid to camera left; I wanted that light to skip across the front of the players.

The last part of the look was a little smoke from the fog machine; it just seems to give it the depth I like.