Photo Blog
Joe Mcnally reveals how a pop-up softbox for a Speedlight can change everything
Joe Mcnally shows what a pop-up softbox can do to flash photos
There’s a level of trust, and respect, that I feel translates into good frames. The same, but different, each time out
Ican’t tell you how many conversations I’ve had with photographers who want or need to work super simple, fast, carry very little and still have a good result with flash work. Being at the The Photography Show recently in Birmingham, UK, I had the pleasure of conducting a couple of photo walks with fellow shooters, and creating a couple of scenarios that are of the aforementioned ‘super simple’ type.
I’ve really come to revere my little Ezybox Speed-lite 2 Plus softbox… Let’s just call it the Speed-lite 2, okay? It’s selfserving to say, as I had a hand in designing it with Lastolite, but it is the best damn little light shaper I have ever used. Witness Amber Tutton [Before], in the deep woods – okay, it’s a nature trail near the Birmingham NEC and next to the Hilton Convention Centre Hotel. Add the handheld Speed-lite 2, and this happens [After]. All it consists of is one Speedlight placed into a box that stuffs into your camera bag. Sorted. Shot with a Nikon Z 6, 35mm lens, at f/1.8, ISO400, with hi-speed sync at 1/640 sec.
Next day it was raining, of course it was, so we went to a tunnel connecting the properties out there at the convention complex. Then I had a thought: as much as I’ve raved about the evils of straight flash over the years, we were in a tunnel and, well, it seemed perhaps the easy way to go. So, I put one raw flash in the background, green
gelled. It was on the ground with the little plastic floor stand that comes with the SB-5000. The other light is an SB-5000 on camera. Hard, edgy look. Let it blow out a bit. Fun, and done.
Now, for the flash look [far right]. If I’d had styling control, I probably would’ve asked Amber to wear a torn T-shirt, ripped jeans and slung an electric guitar over her shoulder… Anything besides a baby blue jacket. But, as always, Amber makes the light work.
Familiar faces
That’s one of the many reasons I enjoy working with Amber (@ambertutton). I’ve probably photographed her over the course of maybe a dozen demos and sessions. I’ve actually written about this occasionally, how photographers – often rightly – always seek the new face; the new thing, and to push for difference on a continuous basis. All good instincts, for sure, but I’ve photographed certain people in my career time after time. They are familiar to me, but I can always find a new nuance of expression, or something novel in how they might inhabit a location, however impromptu. The scene is different, the light is different, and they embrace the camera differently in turn. There is tremendous value in the always new, but I also find wonder and excitement in a partnership; in a level of trust that gets built-up over time and again of working together.
Amber has, in a real way, become part of our studio family: she knows our crew chief Cali; has been helped and styled by my wife Annie; and has corresponded with our studio manager Lynn. There’s a level of trust, and respect, that I feel translates into good frames. The same, but different, each time out. I just shot her with straight flash in a tunnel. Next time, maybe, a big softbox in a studio. The adventures continue!