The fi­nal word

Joe goes crazy with Speed­lights, us­ing no fewer than seven to light an en­vi­ron­men­tal por­trait

NPhoto - - Contents -

So, how do you get from the stan­dard, point ‘n’ shoot of­fice shot on the right, to the cool, of­fice pro­fes­sional of the main im­age?

Light! The above shot shows off, I think, the strengths of ‘small’ flash (as op­posed to ‘big’ stu­dio flash), and why you would use one over the other at any given time.

Flash power ain’t the is­sue here. Con­trol is. I needed to drive a main light to the model, and then just ac­cent cer­tain ar­eas of the photo with lit­tle splashes and pools of warmish light. The dom­i­nant light in the room is the blue of the win­dow, so I wanted to go warm on my lights, to a de­gree, to get some cool/warm vis­ual vi­brato go­ing.

This ‘of­fice shot’ photo in­volves seven SB-5000 units, all ra­dio-con­trolled. I am di­rect­ing their be­hav­iour via the WR-R10 trans­ceiver plugged into the ten-pin on my D5. The lens is a 105mm f/1.4. The main light, from the di­rec­tion of the big computer, comes from the new Ezy­box Soft­box from Las­to­lite. It’s just out, and the pro­to­types I’ve been work­ing with have been giv­ing off a won­der­ful con­trol and qual­ity of light, es­pe­cially con­sid­er­ing it is a small light shaper.

Three warm-gelled Speed­lights are against the far wall, on the floor, cre­at­ing a lit­tle glow off the brick. Two oth­ers are pretty much bounced off the sur­face of the desk, near the two com­put­ers, to give them a touch of de­tail. An­other gelled light lightly car­oms off her dark hair. A bunch of small lights, each do­ing just a lit­tle, adding up to the whole­sale shift of the look of the room. Shap­ing light is kind of like a puz­zle. There are small pieces and big pieces.

No flash? No white bal­ance con­trol? No gelling on the flashes? It looks like this

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