User Profile Fields Own View
Softlight with Shoe Mount Flash
Summary:
In this workshop professional photographer Martin Krolop shows viewers how to get the best results using a window as starting point and a key light source, while using a shoe mount flash to illuminate his model to create a fantastic studio like atmosphere.
Using several photographic and style techniques Krolop explains easily, step-by-step how viewers can recreate this type of shooting using very few options such as a camera and white wall, along with a shoe mount flash. Krolop discusses the importance of keeping the light from directly falling onto his subject as well as listing all the types of situations that could ruin his portrait shooting. The key here, as we learn is that the flash should never fall directly onto the subject being photographed to yield good results and a neutral looking lighting scene. True indirect lighting can have some very interesting results that can change the whole feel of the shooting. When the model has a line of sight to the shoe mount flash, or when some of the light falls directly onto the subject the reflection or spark of light will change in the models eyes, either the light source, or light spark will be higher or lower in the eyes respectively.
Shooting in a room with just a window and white walls is easy to find and they are practically everywhere to be found, giving all photographers an equal starting point. Just add flash--as most photographers have a shoe mount flash to accompany their cameras. Bare rooms and white walls are everywhere, and are waiting for photographers to recreate a small portrait studio wherever they are.
Indirect Lighting
Summary:
In this FotoTV workshop, photographer Martin Krolop explains to viewers how to get the best results when using a shoe mount flash as an indirect lighting source.
Krolop shows viewers how to avoid the most common mistake a photographer can make when using an indirect lighting source by bouncing the light source off the ceiling. First Krolop sets the camera setting so that the only light source to reach his model is the light from the shoe mount flash unit. He starts off by directing his flash to illuminate his subject full frontal, and then he shoots another example with indirect bounce light from the ceiling. Most photographers do not realize they are still shooting with direct flash to subject light. If the model still has a line of sight to the flash, then it is not indirect lighting. This will result in off cast shadows and unpleasing tones when shooting portraits.
Since the flash is near to the camera’s axis when shooting the flash directly, the shadows fall toward the rear of the subject. When changing that to whereas the flash is first bounced off of a surface, the subject is illuminated predominately from above, which is distinguished by the top half of the photo being brighter as the bottom half.
Krolop further goes through several calculation scenarios to help photographers more easily understand the distance light travels from the bounce surface to the subject, changing the lighting distribution but not lighting characteristic.
Complementary Color Contrast
Summary:
In this FotoTV workshop Dirk Wächter, Director of the renowned D-Forum is here to discuss and explain another spectacular color shooting. Today Wächter is going to show viewers a premium color workshop that can easily be recreated, not only in the studio.
The most important aspect we learn today is how the color wheel is a great tool to study for creating premium photo shoots. Using the basic primary colors of red, yellow and blue and mixing any two primary colors will yield a color that is a complementary color contrast with the color opposite it on the color wheel. Wächter explains all of this while working not in a studio, but in a room that can easily be recreated, giving all photographers the opportunity to create high end results.
Using a complementary color contrast from the color wheel, Wächter chooses blue and orange as his set-up. Blue in the background and orange from the foreground using a Lee #204 orange color filter to place over his shoe mount flash. Working with color temperatures can be daunting for some photographers, but learning to work with color temperatures is a must for any photographer looking to expand his knowledge of color photography techniques and Wächter does a fine job explaining his methods and techniques in easy understandable terms that will give photographers an extra edge when preparing for an upcoming shoot.
Understanding the basic camera and flash setting are the only prerequisites for this workshop. It will give photographers a look at how to create special effects, from beginning to end. Wächter also gives viewers an insight on the make-up applied to the model to best complement the lighting situation.
Using the Pop-up Flash
Summary:
In this workshop with Martin Krolop, Krolop will discuss and demonstrate how to make the best photos using a pop-up flash pre-installed on a camera.
The pop-up flash has the reputation of ruing photos because of the position in which one shoots with it. Mainly people are photographed vertically because they look better lengthwise and the face comes out better. But when shooting with a pop-up flash ugly asymmetrical shadows appear and it makes the photos look amateurish and unprofessional and as if the photo is lit from below.
Krolop show viewers several tips how to remedy the ugly side lighting that comes from using a pop-up flash. He simply shoots horizontally and crops off the image from both left and right sides. He also adds contrast by changing the settings on the camera to monochrome and adjusting the flash to overexpose the areas he would like to be burnt out. All this trickery makes a professional looking photo. Just by changing a few settings and shooting horizontally the photos come out looking like high-end photography.
One Light Shooting
Summary:
Photographer Martin Krolop gives FotoTV viewers a step-by-step studio set-up on how to photograph beauty or portrait lighting using one light.
Often photographers are used to the lighting set-up with a soft-box above the subject and a soft-box below the subject. The space between is where the photographers normally shoot from in a typical situation like this. But most photographers also know that this can be an annoyance, shooting from in between the soft-boxes and somehow always in front of the camera.
Krolop begins by explaining it does not always have to be this difficult and sets out to demonstrate the best method, position, and studio equipment to use to achieve the finest studio portrait lighting with just one light, and actually standing right in front of the soft-box itself—imagine that.
Focusing on all the most important technical aspects, Krolop delivers a winning tutorial and guide for any photographer wishing to create and offer clients the best work possible while keeping his finances in mind. What Krolop accomplishes in a few short moments is very easy and the costs are very economical. The setting is easy to set-up, easy to light, and easy to modulate and make mobile if necessary. It actually doesn’t get any easier than this, so if photographers are looking for a great way to enhance or improve their style and very cost effectively, then this video tutorial is the perfect way to get started.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Using Multiple Gray Filters
Summary:
Photographer Martin Krolop returns with another informative hands-on learning video on how to get the most professional looking photos possible in a bright light situation using multiple gray filters and a portable fill in flash.
Krolop begins his shooting at midday, a time when most photographers would be either indoors in the studio or at a cafe waiting for the sun to lower a bit. Most photographers and style aficionados know that this time of day produces a consistent, perfect afternoon lighting effect look. But that does not stop Krolop; he has put together a comprehensive learn-by-doing video for photographers to see just how versatile they and their camera equipment really are. Armed with a few gray filters and a portable flash, Krolop offers many tips and tricks on how to get the best out of a bright light situation and make professional photos.
Focusing on portraiture, Krolop covers important topics from lens selection, exposure time, aperture setting and proper ISO values, leaving nothing out. Any photographer, amateur or professional, looking to update his database of knowledge, or looking to add a different style to his portfolio, is definitely in the right place.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
photokinaTV - Speedlights 2.0
Summary:
Paul Peregrine is with us in the studio today to talk about mounted flash. In this area most recently some giant steps in development have occured. The system flashes have become stronger, more dependable and easier to use. Paul shows us first hand a few examples of the effects that can be achieved in different situations. He is quick to show us that the greatest benefit of the new generation of flash equipment is that it is lighter and therefore easier to pack! Bring your best effects with you!!
You can download a podcast of this photokinaTV show at:
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=346566809
When the Second Curtain falls
Summary:
In this film, photographer Martin Krolop covers the exciting topic entitled, "Flashing during the second shutter curtain". After receiving email from one of his viewers looking for advice on a problem he had producing the train of light in a photograph appear as if it were moving backward, not towards the front.
Being the professional photographer that he is, Krolop dives right into the problem and realized that shooting during the second shutter curtain could solve the fellow photographers dilemma. Krolop explains the basic requirements how to create such a shot, such as movement, actual movement of the object in order to capture the movement with the camera. Second, a longer shutter speed is needed in order to actually capture the movement on the sensor or film. Third, a flash is needed to freeze the image.
Putting all these elements together should ensure a spectacular professional looking image. But Krolop does not stop there with just mere simple information. He continues by giving several elaborate demonstrations, including tips and techniques how photographers can achieve their own stunning picture. Most valuable are the technical aspects as well as having your idea in planned what you'd like to create. Indeed, sometimes photographic idioms and jargon is tough enough to make anyone’s head wobble, amateur or professional; such as the term freeze an image. Even today the laws of physics and pendulum talk became part of the film. FotoTV strives to give the most information to educate photographers around the world to create their own good quality photography. And Krolop continuously dedicates his knowledge to do that. Today even proving sometimes two curtains are better than one. Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography.
Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Frontal Fill Flash
Summary:
In this film, photographer Martin Krolop covers the exciting topic of fill flash. Using a fill flash is not only for use at night or during low light situations, but it can also be used on a bright sunny day. In this basics course, Krolop gives us practical information on how to achieve professional looking photos using a built-in flash.
Most photographers have at one point or another run into a problem when they are photographing outside using a fill flash. The most common dilemma being either the main subject, model or friend is underexposed, or the sky is underexposed. One way to remedy the problem is to use exposure compensation and dictate the camera to underexpose the subject and let the flash do the rest.
As we look at Krolop's test photos we can see that this easy little trick results in a correctly exposed sky as well as a correctly exposed main subject. In conclusion, Krolop's demonstration photos and useful information will help photographers get better pictures simply by using the flash in manual mode.
Based out of Bonn, Krolop comprises half of the creative team at Krolop & Gerst photography. Combining traditional photography techniques with the latest technology and software, Krolop and Gerst specialize in editorial, fashion, location and wedding photography, providing excellent visual solution services to many satisfied clients.
Indoor Camera Flash
Summary:
In this practical FotoTV tutorial photographer and blogger Dirk Wächter demonstrates how to achieve better flash photos in indoor areas.
Most photographers know that shooting indoor flash photos can be at times quite challenging and some photographers are even often shocked at their results of overexposed people in the foreground and dark undistinguishable backgrounds. Weddings, corporate functions and birthday parties are just some of the situations where an additional light source is needed to achieve great indoor photography results. Today Wächter discusses numerous manual and AV camera and flash settings and useful techniques for indoor portrait photography, as well as a few special effects that will more than satisfy your expectations. The settings and techniques he demonstrates result in great lighting on people in the foreground and still have the impact of the room lighting and features in the surrounding shot.
Wächter does not stop with producing fantastic portraits; he also shows several special effect techniques. Although using slow sync flash is for more complicated exposures, Wächter uses it to compose an impressive and creative shot using blurry long exposures. Your photo will definitely stand out of using this technique.
As we watch Wächter, we learn the best way to become better at flash photography is to analyze the photos and try to figure out what could have been done differently in order to create a better flash-filled exposure. Simply follow his tips and techniques, and you too will be creating stunning indoor flash photos.