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Intimate Moments
Sensual Light
Shine on You Gleaming Skin
Photographing Silhouettes
Summary:
In this film, photographer Steven van Veen delivers once again, with the assistance of FotoTV founder Marc Ludwig, another spectacular sensual shoot. Specializing in erotic photographic scenes, van Veen gives FotoTV viewers an effective and satisfying demonstration with top-model Anette, including tips and techniques on how to effectively photograph a high key setting by simply using 3 portable flash units.
Van Veen's passion, coupled with his light set up and highly aesthetic results are likened to those of a complex classical painting as opposed to a simple digital photograph. His attention to detail and skillful play with light, texture, tones and lines are without fail and excitingly beautiful. He also shows the viewers how, with a few tricks, to work around the limitations of working with a portable flash unit by using a magic arm on a tripod with a soft-box attached and several radio transmitters. These simple, but ingenous and creative ideas from van Veen deliver the highest quality information that FotoTV viewers can learn the most from.
Based out of his studio in Schwanau, Germany, Van Veen has worked for a multitude of clients in television, advertising, periodicals, fashion and media. He also leads his own workshops for fellow photographers as well as being a regular contributor for Van Veen is a master of numerous photography techniques and has presented several of them to FotoTV viewers, but he is equally highly skilled when working with his models to bring out that special moment when everything joins perfectly, working together in harmony; lighting, model and photography.
The Black Wrap Effect
Summary:
In this film, photographer Steven van Veen shoots a semi-erotic shooting using shoe mounted flashes set up on tripods connected with wireless receivers, known a s pocket wizards. While giving us effective tips and technical aspects, van Veen points out the need to work in manual mode as opposed to TTL mode.
The technique “black wrap” is a special material used around the world by camera teams to direct their lights. It is a special technique different from using paper snoots because the light from black wrap becomes more organic in form.
Van Veen stresses the importance to making many test-shots before beginning to shoot in order to get the most optimal desired result. He also gives us all used apertures, shutter speeds, distances, interesting perspectives and lighting schemes in order to get the best results from his model. His resulting photos are not only sensual, but also truly aesthetic. His photos are indicative of his great passion for the human form, paired with his imaginative uses of light. It is clear that van Veen is a master of numerous photography techniques, but he is equally highly skilled when working with his models to bring out that special moment when everything joins perfectly, working together in harmony; lighting, model and photography.
Based out of his studio in Schwanau, Germany, van Veen has worked for a multitude of clients in television, advertising, periodicals, fashion and media. He also leads his own workshops for fellow photographers as well as being a regular contributor for FotoTV.
FotoTV.News 3
Summary:
The News highlights from the third English edition of FotoTV News Show:
- Larry Sultan has passed away
- The Imago Camera in Berlin
- The Yongnuo RF-602 Flash Trigger
- Webtip: Depth of Field Calculator
- FotoTV Preview
- Portfolio
You can download a podcast of this news show at
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=346566809
Mounting Systems
Summary:
In this segment, photographer Martin Krolop covers the topic of mounting system for portable flash. Most photographers have at one point or another run into problems as soon as they remove the flash from their cameras. The most common dilemma being that the flash will not stand up on its own and is otherwise not very manageable with the factory foot-stand it comes delivered with, making a flat and level surface almost always necessary.
Krolop covers an assortment of possible solutions to remedy the many different application needs of today’s photographer. Two essential mounting systems, the foot-stand, which is ideal for flashing from under beds, in shelving units, or any other place with a flat and level surface, or places with little space to mount or place a flash, and the second system, the tripod and umbrella method, which is more appropriate to be used in average day-to-day flash situations.
An unconventional mounting system can be constructed by using gaffer’s tape and as Krolop points out, gaffer’s tape is an absolutely indispensable component when it comes to photography applications and he himself has often used this practical solution to mount flash heads. Another special mounting system Krolop discusses is a super clamp from Manfrotto, in actuality a mounting system for backgrounds. It relatively simple to use and is very good when setting up a tripod would not be possible, for instance, on the rim of a basketball net, or on ledges of structural framework.
By far the most talented mounting system that offers the most creativity has to be the gorilla pod. The magic arms can be wrapped around all sorts of objects, such as a tree branches. This allows photographers to create unique lighting situations in places that would generally not be accessible with a super clamp or tripod flash mounting system.
In conclusion, Krolop shares several brilliant photo examples depicting the different mounting systems he discussed in the segment, giving photographers innovative ideas on how to create mounting systems for portable studio-light effect flash best suited for their needs.
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.
Light Modulators
Summary:
In this film, photographer Martin Krolop gives photographers a better understanding of the wide spectrum of light control by demonstrating useful practical examples in light modulation photography. Krolop places a strong emphasis on portable flashes, as well as the effective and creative use of light modulators.
Krolop details the comparisons and advantages of using soft boxes vs. umbrellas, in addition to his previous topics on diffusers, snoots, grids and reflectors. To demonstrate some of the concrete differences in the applications of light modulators and umbrellas, Krolop conducts test shootings using several types and sizes of umbrellas.
After completing his test shots Krolop recommends using translucent umbrellas as part of a photographer's standard equipment. Being that reflective umbrellas cost a little more power-wise, with translucent umbrellas there is hardly any difference in the light characteristics in comparison to the other umbrellas.
Although adding a large umbrella later on to standard equipment for situations requiring soft light is always a possibility, Krolop notes that a translucent umbrella has the best combination of even light dispersal and light power. The price will always be affordable, and with the even quality of light it practically can be used for most all types of shooting applications with portable flashes.
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.
Construction of Light Part 2
Summary:
In this film, photographer Martin Krolop builds a small self-made snoot using familiar techniques that rely on studio flash systems and snoots.
Krolop designs the snoot for a portable Canon 580 EX flash, so that the light can be shielded and a spot-like effect created. Keeping the construction and materials simple, he uses a DIN A 4 sheet of silver construction paper, scissors, a cutter, a marker, a ruler, and most important, gaffer’s tape.
The snoots are sturdy enough to be folded and stored in a back pocket. Although they are not completely indestructible, they do become weaker with age, nonetheless they are extremely portable and very easy on small budgets. In addition, Krolop demonstrates practical uses of the self-made snoot construction, as well as comparison to a diffuser built in previous FotoTV segment.
Also worth noting are Krolop’s professional tips. He suggests constructing a second, somewhat larger snoot, to slide over the first one. This is a simple technique to create a zoom effect through the sliding snoot. It is a very effective way to regulating effects, light direction and intensity. Most photographers know that time and again it is necessary to create special lighting situations and effects and Krolop gives FotoTV viewers realistic custom solutions to expand their knowledge, creativity, and wallet.
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.
Construction of Light Part 1
Summary:
In this hands on film photographer Martin Krolop covers a very interesting topic, while constructing a basic useful tool in photography: the diffuser. Using various simple materials and tools Krolop craftily constructs an economical handmade alternative in lieu of diffusers, snoots, spots, and the like used in studio photography.
After a short introduction Krolop demonstrates exactly how to build your own diffuser and briefly discusses the materials needed to build such a diffuser for various flash models. Using basic items available at most art supply stores Krolop efficiently and methodically constructs a sturdy diffuser. All the items necessary to start are a DIN A4 thick sheet of construction paper gaffer’s tape, glue, thick black straws, a cutter, a knife, scissors and a pen.
Although most photographers are familiar with being crafty or inventive when it comes to a photography situation where something hard to find or very special is needed to create a perfect picture, Krolop thinks out of the box and focuses on the basics in this film. Many photographers spend a lot of money on their equipment, even for one-time use or rarely used items. This film teaches photographers to find perfect tapered solutions right from their studio or home— definitely an instructive incentive for photographers and their future projects.
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.
Flash Systems
Summary:
This film is a further installment from the series “Off-Camera Flash”. Photographer Martin Krolop discusses an important topic; the question which flash – when – how – where to use it, and what flash is best suited for your specific needs in photography.
Krolop lists the most important criteria; the power of the flash, its strength, how long is the recycle time between shots, and the operability and how well can the settings on the flash be regulated.
Beginning with a presentation of several flashes, Krolop subsequently tests each one, giving complete information on the Canon 580, the SB-28 from Nikon, then a small old 580 EZ from Canon, proving just how useful and relevant old flashes can be when we simply just need light. Furthermore, Krolop demonstrates practical examples, demystifying all those charts, tables and such so we learn the simple logic behind working with portable flash units.
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.
Flash Trigger 2
Summary:
In this film, photographer Martin Krolop continues where he left off in the film "Flash Trigger 1". So that we may learn from his practical experiences he gets right to work, demonstrating different ways and remedies to effectively trigger your off-camera flash unit via electronic cable or wireless systems.
Krolop thoroughly discusses the pros and cons of electronic cable transmission versus wireless device systems to trigger portable flash, as well as triggering portable flash using the same studio-based lighting methods.
With cable system triggering, the most common disadvantages are the short synch cables that come with portable flashes and their connections, and the fact that synch cables only allows for one flash to be triggered at a time. Generally, most manufacturers do not make lengthy cables, therefore movement and placement of a portable flash in a particular photo set-up is limited. Krolop shows us solutions for this situation, such as using a cable with an x-contact to x-contact, or an adapter for cameras without an x-contact. This remedy extends the length of the synch cable immensely, as well as allowing for multiple flashes to be triggered at once.
However, to avoid the cable tangling that results from multiple portable flashes being triggered at once, Krolop moves along to the topic of wireless systems, comprehensively discussing and demonstrating several systems, as well as the costs and economical aspects related to each system. In his conclusion analysis, Krolop gives us an outline of helpful guidelines to follow when purchasing wireless device systems.
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.
Bodylandscape
Summary:
In this film, photographer Martin Krolop shows us with well explained, practical examples of the dynamic play of light on form: how to photograph the male body with side lighting.
Krolop's informative instruction begins immediately with utilizing portable flash in combination with studio umbrella's. Due to the incident angle and the drop-off angle of light in photography, Krolop is aware in order to achieve the most dynamic results he must deliberately modify the light source position, as well as the positioning of the model.
To accentuate the upper torso, he relies on the interplay of light and reflection, always positioning the body at an angle to the light source. To further define his set-up, he adds an additional light source, all the while guiding the viewer, step-by-step with test shots, how to achieve the most effective composition. Comprehensibly, Krolop gives us complete lighting and exposure measurements throughout the shoot.
He also gives us a closer look at "low-key" lighting, which requires only one key light, optionally controlled with a fill light or a simple reflector, and body-landscape photography, which accentuates the contours of the body by throwing areas into shade using a fill light or reflector to illuminate the shadow areas to control contrast.
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.