Array ( [0] => WP_Post Object ( [ID] => 50008 [post_author] => 31543 [post_date] => 2015-03-25 11:33:28 [post_date_gmt] => 2015-03-25 15:33:28 [post_content] => I had an assignment to photograph the former CEO of Philips Lighting for New York Times. He flew into Boston for a few days for a conference from Europe and I had to find him in between meetings for a few scarce minutes and create an interesting photograph. The idea for the shot was to compare an LED build with a traditional light bulb.The challenge: how to do this in a hotel hallway as it was the only location that worked in the time constraints. My solution was have him hold to lit light bulbs, which would take the environment out of the equation and focus attention on him and his hands. To light the bulbs, I went to the hardware store and bought 2 clamps on garage lights. I threw away the clamps and the reflectors, as all I wanted was the sockets and cords. I had him hold the lights and plugged him in. To get the effect off the LED, I used a cross screen filter. 
To determine my exposure, I read the ambient light off the light bulbs. I wanted to shoot at about f/8, using that as my starting point I adjusted my shutter speed for the proper exposure for the bulbs. I used a small Chimera soft box with a speedlight to light his face. Both my camera and strobe were set on manual. Using a Sekonic meter to read the strobe output, I adjusted the output of the strobe until it matched my ambient light from the bulbs.The shoot took place in the hallway of Intercontinental Hotel in Boston. I arrived at the hotel before my shoot, to scout the location & the set up; This is a busy hotel, you cannot have a big set up. First thing I did was, look for the outlet! I did bring an extension cord, but you really cannot run a long extension cord through a busy hotel floor. Second, I picked a background. I choose this neutral wall for my background. This is a hotel; this is not his environment. I wanted to keep it simple and neutral.My shooting time with him was 19 minutes. ( I looked into my metadate of this shoot: time between the first frame and the last frame of him was 19 minutes!).I used 1 speedlight with Chimera small softbox.
Here is to just to give you the space I worked at. 
I have several Location Lighting Workshops coming in Boston, Cape Cod, Miami & New Jersey. I hope to see you at one of them! To see my workshop schedule, please visit my website! [post_title] => How I Photographed the Former CEO of Philips Lighting in Under 20 Minutes [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-i-photographed-the-former-ceo-of-philips-lighting-in-under-20-minutes [to_ping] => [pinged] => [post_modified] => 2015-03-25 11:33:28 [post_modified_gmt] => 2015-03-25 15:33:28 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=50008 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[1] => WP_Post Object ( [ID] => 48163 [post_author] => 31543 [post_date] => 2015-02-11 15:27:48 [post_date_gmt] => 2015-02-11 20:27:48 [post_content] =>Sometimes lighting means analyze the light that is present and use it to your advantage. All my previous "Tuesday's Tips" have been about lighting with strobes, or mixing strobes with available light and adding light modifiers. This week's blog is about how to get the most out of available light through long exposures and timing your exposure, both in length of exposure and when you make the exposure. The long exposure photographs in this blog are from my recent trip to London and Paris. I was in London to teach lighting at the
Societies Photographic Convention. When doing long exposure you need a tripod (I use an
Induro) and a cable release. A neutral density filter is great when you need to make your exposure longer. Make sure you close the view finder to prevent stray light from damaging your exposure and using the mirror lock up helps prevent camera shake.
This image of Tower Bridge in London was shot during blue hour. My exposure was 30 seconds at f20, ISO100. The long exposure gives you the streaks from car lights. The key to getting light streaks higher in the frame is to wait until a bus or truck enters your frame.
In this photograph of Piccadilly Circus in London, my exposure was much shorter than in the above photograph. The exposure on this photograph was 5 seconds, f20, ISO 100. When shooting this photograph, all the traffic would be stopped and then light would change and all the busses would go at once. That's when to start shooting.
This photograph is also of Piccadilly Circus. In this photograph my base exposure was determined using my camera meter and reading off the buildings. It was important not to blow out the buildings and still get effects of the lights moving through the image. I dropped my ISO to 50, shutter at13 seconds at f22. This image was shot with a
Nikon D-800 and a Nikon 16mm fisheye
In order to get the effects of the lots of traffic streaming around the Arc de Triomphe in Paris, I used a very long shutter speed and a 9 stop ND filter. I start my exposure by using the camera meter, set on spot to read the light off the highlights in Arc de Triomphe. That gives me my starting point for exposure. To calculate my long exposure, I take my base exposure & the number of stops on my ND filter and plug the information into the ND Timer app. If I want a longer exposure, I would use a denser ND filter. The exposure on this image was 186 seconds at f22 ISO 50. The photo was shot on a Nikon D-800 with a 17-35mm Nikon lens at 30mm using my Induro tripod and a cable release.
These 2 photographs of the windmill at Moulin Rouge where captured with in a few minutes of each other. In the top photograph the shutter speed was 3 seconds in the bottom photograph the shutter speed was 8 seconds. The 5 seconds difference in the shutter gives yo a very different effect in the windmill. Both imagers were shot at f20 on a Nikon D-800 with a 24- 70 f 2.8 Nikon lens.
The lighting on this image was an Elinchrom Ranger Quadra strobe with a Chimera Strip Light on the right side of the model. On the left side of the model and slightly behind her was another strobe with a Rosco #83 Blue gel. Placed in front of the blue gel was a grid made out of Rosco CineFoil to control the light direction and break up the light beam. The smoke was created using a Rosco Vapour fog machine. If you back light your smoke, it will have a greater effect. This is true when using a fog machine or when photographing smoke from a cigarette or cigar. This photograph was shot on a Nikon D-800 with a 24-70 Nikon lens at 35mm, 1/100 of a second at f5, ISO 100.
The photograph below is a mixture of strobe and ambient light. The light on the models face is from a strobe through a Chimera 30" beauty dish. The light on the left side of the background is ambient light and the colors were from the bright sunlight shining through the stained glass windows about 20 feet above the floor. This was shot on a Nikon D800 with the lens at 24mm , 1/125 of a second, at f 4 ISO 1000.
Here are a few more images from the Asylum workshop.
At every "Location Lighting Workshop™" we create our "silly group photo." Above is the Asylum image. Thank you to Canna Gray of Rosco and Ian Pack of The Light Side for all their help during the workshop.Please join me at one of my upcoming "Location Lighting Workshops™". Click here for the schedule.
[header image via Flickr ©Reading Tom]
[post_title] => How do you Light a London Asylum? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-do-you-light-a-london-asylum [to_ping] => [pinged] => [post_modified] => 2015-02-04 12:29:44 [post_modified_gmt] => 2015-02-04 17:29:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=47733 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[3] => WP_Post Object ( [ID] => 46764 [post_author] => 31543 [post_date] => 2015-01-19 13:01:20 [post_date_gmt] => 2015-01-19 18:01:20 [post_content] => I had a great assignment on New Year's day photographing Rob Gronkowski of the New England Patriots for Sports Illustrated at Gillette Stadium in Foxborough, Massachusetts. Here is a step by step behind the scenes look at how I shot it.
As I arrived at the stadium, there were still some question about where the shoot would take place. What I did know was that I was going to have about 15 minutes to photograph Gronk and it was going to be somewhere at the facility. We were hoping to photograph him in a weight room and with the help of the Patriots communications department, that's the space we were given. My assistant and I started moving equipment to the weight room. Once in the room I had to quickly determine what I wanted for my photographs, remembering the 15 minutes allotted for the shoot. I determined I could get 4 different photographs in my 15 minutes. That meant less than 4 minutes per shot, including any adjustments of lights or make up. The key to getting this done, is preset all the lights, test them, then re-test them. We did 2 different lighting setups. One on the weight machine and the mirror and another compete set of lights for the photographs on a backdrop. When we moved from the weight machine and mirror photographs to the backdrop, no lights had to be moved. Both Nikon cameras and all 4 Dynalite strobes had PocketWizards connected, all on the same channel. You want minimize any chance of anything going wrong. On a shoot like this I always have back up equipment, I don't need it, but it's there, just in case. All of the lighting tests had been done ahead of time using my assistant, who is about 1/3 Gronk's size as the stand in. We rehearsed how the shoot was going to flow. I put small pieces of tape on the floor as a mark for Rob to stand on.
After the standing and sitting shots at the weight machine, while I explained to Rob what I wanted for the shot with the mirror, my assistant moved the Chimera strip light on the left back 2 feet and turned the strip light on the right about 20 degrees toward the mirror. The beauty dish never moved from the first setup to the mirror setup and we lost no time during the quick change from one photograph to another and lost no time when we moved from the weight machine to the backdrop. When working with mirrors, watch for your reflection and the reflection of the strobes. This was shot on a Nikon D800 with a Nikon 24-70 f2.8 lens at 55mm ISO 100 at 1/200 f5.6.
How this was lit:The lighting on the standing and sitting shots were a Dynalite Baja 400WS battery operated strobe with a 30" Chimera Octa Beauty Dish with an Egg Crate at a 45 degree angle for the front light. For the back lights I used a Dynalite Uni 400WS strobe with a medium Chimera Strip light on camera left. This is first soft box I owned and have had ifor over 30 years. I think I've gotten my money's worth out it. On the right side I used a second Dynalite Uni with a small Chimera Strip Bank. I had a PocketWizard Plus III on camera and on each strobe. The 4th light in this photograph was a Nikon SB 900 Flash with a Rosco #83 Medium Blue gel, behind Gronk on the bench, pointed at him. This flash was set on manual and fired using the SU-4 setting in the custom functions.For the shot of Gronk in the mirror: the strip light on the left was moved towards the wall so it became the back light. The small trip light was turned about 20 degrees towards the mirror and the beauty dish and the beauty dish was not moved. All of my settings remained the same. This was shot with a Nikon 17-35mm lens set at 17mm.
The lighting on this photograph was a Dynalite Roadmax 800 power pack with 2 heads. The front light was a Chimera 5' Octaplus light bank on a Dynalite head. Opposite my main light is a Sunbounce Sunmover silver and gold zebra pattern reflector. The hairline light was a Dynalite head with an extension tube, a grid holder with a 20 degree grid and a Rosco 1/2 CTO filter to warm up the light. This was shot with Nikon D800 with a Nikon 70-200 f2.8 lens at 1/250 of a second, f5, ISO 100. I used a Sekonic L-478DR light meter to determine exposures and a Hoodman Loupe to check my focus. All the equipment was moved in ThinkTank cases. I recently got a ThinkTank Production Manager case. It is perfect for this type of shoot.
Last, but not the least, when you have a shoot like this, be nice to everyone. not just your subject, but the publicist and PR people. When I am working on creating a portrait, once I have an image I like, I will show it to the subject and ask "what do you think of the photograph we are creating?" The subject and I are creating the photograph together, I can't do it without them. The subject now feels more involved in the photograph, often makes suggestions and quite often give me a few more minutes to create the image. I gained an additional 5 minutes to my 15 minutes shoot, because it was a pleasant experience, Many may not see this, but it is very important!Thank you SI for the wonderful assignment to kick off my year! I love my job! [post_title] => How I Photographed the New England Patriots' Rob Gronkowski for Sports Illustrated [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-i-photographed-the-new-england-patriots-rob-gronkowski-for-sports-illustrated [to_ping] => [pinged] => [post_modified] => 2015-01-19 13:01:20 [post_modified_gmt] => 2015-01-19 18:01:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=46764 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[4] => WP_Post Object ( [ID] => 46158 [post_author] => 31543 [post_date] => 2015-01-06 20:43:26 [post_date_gmt] => 2015-01-07 01:43:26 [post_content] => 
This week's Tuesday Tips is based on a photograph from my studio. As a photojournalist and corporate photographer, I do the majority shoots on location, although I do use my studio for some assignments. Quite often, I use my studio like my test kitchen exploring new lighting techniques and testing new equipment. All of the light in this photograph was produced using three speedlights and a plant! Ok, I used some other equipment.My wonderful model for this shoot is Hyunah Jang. A superb photographer, now working in Hawaii.
The main light in this photograph is a Nikon speedlight shot through a Flashbender XL Pro Strip Diffuser. The hairline light another speedlight with a Rogue Grid and a 1/2 CTO orange gel on a boom overhead. For the background, we placed a third strobe on the floor behind the screen with a blue gel and fired it through a plant to give us the pattern on the screen. We used a piece of foam core to bounce the light from the Flashbender back on to our model’s face. ISO 125, f 7.1 and shutterspeed 1/100.
This set up works well in a really small space and—with the exception of the screen and plant—is really portable. The end photograph just does not feel like it was shot in a really small space.
Gear used in this shoot:
Nikon D800 Nikon 70-200 f2.8 zoom lens Nikon 3 Speedlights 4 PocketWizard Plus III ExpoImaging Rogue XL Pro Strip Diffuser (main light) ExpoImaging Rogue Grid with gel (Hairline light) Rosco Blue gel (background) Formcore Manfrotto Justin Clamp (to hold a form core)
Check back next week for the next Tuesday's Tips from Rick Friedman. [post_title] => Tuesday's Tips: Lighting Hyunah [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => tuesdays-tips-lighting-hyunah [to_ping] => [pinged] => [post_modified] => 2015-01-06 20:43:26 [post_modified_gmt] => 2015-01-07 01:43:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=46158 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[5] => WP_Post Object ( [ID] => 45540 [post_author] => 31543 [post_date] => 2014-12-17 12:24:03 [post_date_gmt] => 2014-12-17 17:24:03 [post_content] => Happy first night of Chanukah! The Festival of Lights. For this week's Tuesday's Tips I thought I should light the lights. Since it 's the first night, I lit the menorah with 1 speedlight.
I shot this photograph in my studio in Boston's South End using a single Nikon Speedlight shot through a Rogue Grid with a blue gel. I put a Rogue Flashbender on one side of the grid to further narrow the beam of light from the Speedlight giving me drop off on the light in the foreground. This photo is a mixture of available light and strobe, when deciding on exposure for a photograph I always start my exposure with the element I can not control. In this photograph that element is the light from the candle. I used the camera's light meter, set on spot meter to read the light from the candle. Below you can see what the image looked like with no strobe and with strobe, without the blue gel.
The last part of the setup was moving the menorah so I had reflections in the base.The photograph was shot with a Nikon D-800 and a Nikon 105 Macro lens, Rogue grid set, Rogue flash bender, Pocket Wizard TT5 & TT1. The menorah was on a black velvet backdrop. The velvet did not reflect any light, giving me the total black background.
Shalom, May Peace be with everyone this holiday season!
[post_title] => This Week's Tips: Happy Chanukah! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => this-weeks-tips-happy-chanukah [to_ping] => [pinged] => [post_modified] => 2014-12-17 12:24:03 [post_modified_gmt] => 2014-12-17 17:24:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=45540 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[6] => WP_Post Object ( [ID] => 45257 [post_author] => 31543 [post_date] => 2014-12-11 16:09:50 [post_date_gmt] => 2014-12-11 21:09:50 [post_content] => We had a couple of weeks that “Tuesday’s Tips” was absent, but I had a good excuse. I flew to India to attend my stepson Michael’s wedding in Goa. It was a unique intercultural and interfaith three day wedding. There were two very different wedding ceremonies. The first was conducted by my nephew Spike, a Rabbi and a close friend of Michael’s. The ceremony the next day was a traditional Hindu wedding. Each had it’s own unique customs, both had lots of colors.
I used a Nikon Speedlight to capture the selfie moment and match the light on Michael and Juhi with the sky
In this image the ambient light in the sky matched the ambient light on the couple.
This photograph was lit with a Speedlight mixed with the available LED lights
I lit this photograph with a Speedlight and a collapsable Chimera Beautydish. The Speedlight was triggered by Pocket Wizard Plus IIIs.When I wasn’t photographing at the weddings, I was out shooting the beach and the market. What do most photographers do to relax on a few days off? Make more photographs!
I convented my Nikon D300 into Infrared camera a few years ago. Although I don't use it much for assignment. Creating IR images is a great relaxation for me.
Cows and tourists!
When I packed for the trip I knew much of photography would be available light, so I brought my polarizing filter and 2 ND filters. I also knew some of the photographs would need lighting. In addition to my camera and lens, I brought a small portable studio in camera bag and roll on case. I don't check in my gear. I use a ThinkTankUrban Disguise bag and a ThinkTank Airport International Rolling Camera Bag and wheel my equipment on to the plane. Here’s my equipment list:2 Nikon D800sNikon 17-35 f2.8Nikon 24-70 42.8Nikon 70-200 f2.8Nikon 16mm fisheye3 Nikon SB900sRosco Rick Friedman Location Lighting Kit3 PocketWizard Plus llls2 Rogue Flashbenders1 Rogue Grid1 Chimera Beauty Dish1 Induro tripod1 Nikon D300s converted to infrared1 Lensbaby Composer1 California Sunbounce Sunmover reflector
I had a great time in India, the people are wonderful! I wish I could have stayed more than a few days. I look forward to returning.Mazel Tov! Wish you the life time of happiness! Congratulations Mike & Juhi! [post_title] => TIPS: Rick Friedman's Quick Trip to India [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tips-a-quick-trip-to-india [to_ping] => [pinged] => [post_modified] => 2014-12-11 16:09:50 [post_modified_gmt] => 2014-12-11 21:09:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=45257 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[7] => WP_Post Object ( [ID] => 43783 [post_author] => 31543 [post_date] => 2014-12-02 09:00:57 [post_date_gmt] => 2014-12-02 14:00:57 [post_content] => For the past two weeks I've discussed how to add color to your background using Rosco gels and Cinefoil from my Location Lighting Kit. For this week's Tuesday Tips, I want to show you another way to accent your photographs, by adding shadows! The key to creating shadows where you want them is to have your strobe off camera. Remember, the smaller your light source the harder the edge. The angle of your light and the distance your subject from the background will effect how the shadow is projected.1 speedlight : In the photo below, shot at a Manhattan costume party, I placed a single speedlight to the left of the camera, lower than the subjects, and shot it through a small Rogue Flashbender fired with a PocketWizard TT-5. This sent the shadow up and behind the subjects while lighting the subjects with soft light. I can control where the shadow goes by moving my strobe. 
2 speedlights: In this photograph for Harvard University of Professor Robert Lue, I wanted to show the Professor's research on his computer. The challenge was making an interesting photograph when the only background available was his computer monitor. The starting point is to read the ambient off the computer, this gives you your base exposure. When lighting a photograph like this, it is essential that no light from your strobes hits the computer monitor. This photograph was lit with two Speedlights both with Rogue Grids to control the light on the professors face, while not allowing any strobe light to hit the monitor. The Speedlight on the right is the main light to light his face: one stop brighter, (step2). The Speedlight on the left cast the shadow on the monitor and open up the shadow of his face. To make sure no light from the strobe hits the monitor, or the shadow I have just created, the strobe on the right has a snoot created out of Rosco Cinefoil. 
3 strobes: Two Dynalites and a Speedlight The challenge for this shoot was to recreate a photograph that was previously shot in early March, when the sunlight was low on the horizon and casting the shadow on the wall. The problem was this photograph was shot in July, when the light was totally different.The solution: recreate the original light by placing a Dynalite outside of the door. To control the direction of the light from the Dynalite strobe, I put a grid over the strobe and added a Rosco 1/2 CTO to warm it. The strobes were fired through the walls using a PocketWizard Plus lll. Inside I had a second Dyanlite to light her face, also with a grid and a Speedlight aimed at the dark side of her face. 
I hope to see you at one of my upcoming workshops. The next two stops for my Location Lighting Workshops Tour are at Hunts Photo on December 6th and at the Societies' Photographic Convention in London in January. I'll be teaching my Location Lighting Workshop "A Day at Asylum with Rick Friedman" (love the title!). Hope you can join us!
Thank you Rick Sammon and Juan Pons for having me on this edition of Digital Photo Experience! Hope everyone can tune in and listen!Our friends at Hunts Photo and Video are giving out 20 % discount on Rogue flash benders SM and LG, to our readers.I will be traveling next week, so Tuesday's Tips may take the week off. I hope everyone will have a great Thanksgiving! [post_title] => Tuesday's Tips: Chasing Shadows! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tuesdays-tips-chasing-shadows [to_ping] => [pinged] => [post_modified] => 2014-12-01 15:04:30 [post_modified_gmt] => 2014-12-01 20:04:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=43783 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[8] => WP_Post Object ( [ID] => 43474 [post_author] => 31543 [post_date] => 2014-11-12 13:26:01 [post_date_gmt] => 2014-11-12 18:26:01 [post_content] =>This week’s “Tuesday’s Tips” features an architectural shoot we did yesterday. Our client was Mark Connor, the architect who designed the Callahan building on the campus of Endicott College, just north of Boston. Connor requested photographs that were different from the traditional architectural photographs.
For photographs of building exteriors, the answer was to shoot long exposures during blue hour. During sunset I started to see wonderful colors behind the building. As the sun sets earlier this time of year, the blue hour is really the blue half hour. Although the sky was looking great at blue hour, the front of the building was going dark. The solution was to use a couple of Dynalite portable strobes. The blue hour was fading fast, no time for light stands…Quick!! Put a PocketWizard Plus III on each strobe and one on the camera. My intern, Kalin, held a Dynalite Baja strobe over head, my assistant Keiko, ran across the street, laid on the grass and aimed a Dynalite Uni at the building while I stood on a rock with my Nikon D800 with a 14-24 lens on a tripod. The two strobes filled in just enough of the building to make the brick stand out. The light on the foreground was enough draw your attention to the building. I waited for a car to drive by to get the effect of the headlights and taillights to come out as streaks. The exposure was six seconds, f13 at ISO 400. Don’t forget to use your cable release on long exposures.
With strobes. 
Without strobes.
Keiko is holdlng Dynalite Uni to light the building, and Nikon Speedlight set on SU4 to light herself. My next 2 stops for my Location Lighting Workshops are Hunts Photo on December 6th and at the Societies Photographic Convention in London in January. I'll be teaching my Location Lighting Workshop "A Day at Asylum with Rick Friedman" (love the title!). Hope you can join us! [post_title] => Running out of Light, Let’s Make More! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => running-light-lets-make [to_ping] => [pinged] => [post_modified] => 2014-11-12 14:28:56 [post_modified_gmt] => 2014-11-12 19:28:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=43474 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[9] => WP_Post Object ( [ID] => 43207 [post_author] => 31543 [post_date] => 2014-11-04 18:28:02 [post_date_gmt] => 2014-11-04 23:28:02 [post_content] =>I had a great time at PhotoPlus in NYC, presenting 5 lectures and live demos for Sunbounce, Rosco, Expoimaging and Unique Photo during the show. Here are a few of the photographs recapping PhotoPlus. Enjoy!
Rosco released the new version of my Location Lighting Kit. The kit includes 27 Rosco color gels, Cinefoil, and Toughspun, a must-have in my camera bag. I presented a Live Location Lighting Workshop using my kit to create photographs at the Rosco booth shooting the model against a white backdrop.
This was a 3 set-up: The main light was a Dynalite Baja Strobe with a small Chimera striplight. The background was created by blowing a Nikon Speedlight through a pattern cut in a sheet of Rosco Cinefoil with 4 color gels. The black cardboard is to prevent my main light from hitting my background. The hairline light was a Nissin Speedlight with a color gel, Toughspun, and Cinefoil. All the gels, Cinefoil and Toughspun are in my new Rosco Rick Friedman Location Lighting Kit. I mixed 3 different brands of strobes and fired them using Pocketwizard Plus IIIs. 
I did another fun demonstration at the Expoimaging booth, using a Rogue XL Flashbender, set up as a strip light, 3 Rogue Grid sets and 3 color gels. The set up for this shot was 4 speedlights. My main light was was a Rogue XL Strip light on the left side. The hairline light was a Rogue grid with an orange gel placed directly behind the model and aimed at her head. The side light was a Rogue grid with a blue gel placed to her right side. The background light was a Rogue grid and a red gel aimed at the backdrop. 
I did a live demo for Sunbounce Hasselblad Bron on the show floor stage working with Sunbounce Bouncewalls, and Sunbounce MicroMini reflectors. 
At the Unique Photo booth I presented my Location Lighting Workshop presentation. I am delighted to say that we will presenting another Location Lighting Workshop at Kips Castle in the spring! Kips Castle is a old castle located at Monclair, NJ. We had great photo fun last time. Registration infomation is coming soon! My good friend, great photographer, and creator of Digital Photo Experience, Rick Sammon interviewed me about my new "Rosco Rick Friedman Location Lighting Kit". If you have not subscribed to his podcast, sign up today! Its a great resource for photographers, and stay tuned for my episode!
In the mist of PhotoPlus, I also managed to see many of my photo friends including Jim Morton and Jason Etzel at the Dynalite booth.
To unwind, the Flug Halloween Party was the place to be. The party was sponsored by my friends at Resource Magazine and Hasselblad Bron. I know it's hard to tell, but the person in the middle is Resource Magazine publisher Alexandra Niki, on right is photographer Gabriel Biderman. Both Gabriel and myself recently led FujiFilm Photo Tours.You can see many more behind the scene photos from PhotoPlus on my Instagram, RickFriedmanPix. My next 2 stops for my Location Lighting Workshops are Hunts Photo in the Boston area in December and at the Societies Photographic Convention in London in January. I'll be teaching my Location Lighting Workshop "A Day at Asylum with Rick Friedman" (love the title!). Hope you can join us!
[post_title] => Tueday's Tips: Fun at PhotoPlus in New York [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tuedays-tips-photoplus-nyc [to_ping] => [pinged] => [post_modified] => 2014-11-06 14:03:47 [post_modified_gmt] => 2014-11-06 19:03:47 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=43207 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[10] => WP_Post Object ( [ID] => 43065 [post_author] => 31543 [post_date] => 2014-10-28 15:20:12 [post_date_gmt] => 2014-10-28 19:20:12 [post_content] => I'm excited to announce that Rosco is releasing the new version of the "Rick Friedman Location Lighting Kit" at PhotoPlus Expo in NY this week. Lots of color gels, Toughspun & Cinefoil, I'll be demonstrating the new kit at the Rosco booth on Friday 10/31. Booth 165.If you look in my camera bag, you will find a plastic bag of Rosco color gels, Toughspun and Cinefoil, in various sizes that I use for my assignments. I use the gels to color correct and create interesting light while the Cinefoil helps me control the light and the Tough Spun helps softens the light. All these fit in a small bag!
The beauty of working with Rosco Cinefoil and color gels is you can make a boring background into interesting one! The model is leaning against the brick wall outside the studio. By adding the color gels shot through holes in the Cinefoil, I was able to project the colors on the wall. Before the cover shoot, we cut a pattern out of a sheet of Rosco Photofoil and taped pieces of different color gels over the holes in the Cinefoil. My background light was a Nikon speedlight blown through the colored cut out to project interesting patterns on the bricks. I used a speed light for my background, because I wanted to have the pattern to come out clear: a smaller light source will gives you harder edge. My main light was Dynalite Uni with a grid and Rosco Toughspun. I used a sheet of Cinefoil to direct my main light to create the feeling of a spot light on my model. The Uni strobe was powered by a portable Jack Rabbit battery and both strobes were fired using PocketWizard Plus IIIs.
This is a strobe photograph, with no ambient light. I used Sekonic 478 Lightmeter to read the strobe output. My exposure for this shot was 1/250 second, f5 at ISO 80.
Equipment used for the cover shot are: Lots of Rosco color gels Rosco Cinefoil Dynalite Uni with a grid and Rosco Toughspun Nikon Speedlight PocketWizard Plus III Sekonic Lightmeter 478 Nikon D800
Thank you Eve Eliseeva for being a wonderful model!I will be doing a series of lectures and live demos throughout PhotoPlus 2014 Expo at Javtis Center in New York City.Thursday October 30 Noon-12:30 California SunBounce PhotoPlus Show Floor Theatre 1:30- 2:15 Unique Photo Booth #937Friday Oct 31 ROSCO Booth #165Saturday Nov 1 12:30 – 1:15 ExpoImaging Booth #134 2:30 – 3:15 Unique Photo Booth #937I will discuss "how-to" on my lighting from my photo assignment, a lot of gear talk as well as fun behind the scenes stories. If you are planning to be there, come say hi! [post_title] => Tuesday's Tips "Throwing colors" : my new Location Lighting Kit from Rosco [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tuesdays-tips-throwing-colors-new-location-lighting-kit-rosco [to_ping] => [pinged] => [post_modified] => 2014-10-28 15:34:39 [post_modified_gmt] => 2014-10-28 19:34:39 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=43065 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[11] => WP_Post Object ( [ID] => 42839 [post_author] => 31543 [post_date] => 2014-10-22 15:42:00 [post_date_gmt] => 2014-10-22 19:42:00 [post_content] => A few weeks ago I traveled through Colorado from Denver to the Telluride Photo Festival. I had the honor to teach two Location Lighting Workshops and presented two lectures; one on location lighting and one on my career as a photojournalist. While in Denver, I went to the Denver Botanic Garden to view the Chihuly exhibit. It was amazing! In Boulder, I stopped off at Chimera Lighting to see where my softboxes are created. The next day, I headed to Colorado Springs to visit a great photographer and friend, Allison Ernest. After Colorado Springs, I had an amazing drive across the beautiful state.Here are a few photographs from the trip:
Location Lighting Workshop attendee, Mark Burrows, modeling in front of a gray backdrop. This gray backdrop was colored using blue Rosco gels, with a pattern created by shooting the strobe through Rosco CineFoil with holes cut into the CineFoil. 
The setup for the above photograph: The main light is a Dynlite Uni 400 with Rosco ToughSpun over the strobe to soften the light. The background light is a Nikon Speedlight SB900 with gels and Cinefoil. I used a Sunbounce MicroMini reflector to bounce back some of the light. 
Here, we have moved outside the studio and are using a Dynalite Baja strobe with a Chimera beauty dish as our light modifier. In this photograph we are using the strobe and beauty dish to control the light on the model's face while initially exposing for the background. Each of the students had a PocketWizard PlusIII on their camera to fire the strobe. The Baja recycled fast enough for every student to work off one strobe. 
Here is our set up at the beginning of Colorado Avenue in Telluride. My friend, and an amazing photographer, Marla Meredith is modeling for us. We are using the Dynlite Baja and the Chimera Beauty dish to light the model's face and balance the background light. 
Back in the studio, this was lit using a a Speedlight and with a large Flashbender as the main light and Rogue Grid set as the hairline light.
The Chihuly exhibit at the Denver Botanic Garden in Denver. This is amazing art and light. 
Sunrise over Garden of the Gods in Colorado Springs. Yes, I really did get up early enough to photograph a sunrise! 
Hanging out with Eileen Healy at Chimera in Boulder, where all my soft boxes are born! 
Reflections over the Box Canyon in Telluride. This town is a photographer's playground! 
Sunset over the hills above Telluride. 
Star trails over Telluride. The exposure on this image 1221 seconds at f16, ISO 100. The light on the mountains and the forest is from an almost full moon. 
Leaving Telluride... Next stop... New York for PhotoPlus. I'll be presenting my Location Lighting for Rosco, where we will be introducing my new Location Lighting Kit. I will also be at Shoot NYC for SunBounce, at the ExpoImaging booth and at Unique Photo. Hope to see you there!
PhotoPlus Schedule
Thursday October 30 Noon-12:30 California SunBounce #245 1:30- 2:15 Unique Photo Booth #937
Friday Oct 31 ROSCO Booth #165
Saturday Nov 1 12:30 – 1:15 ExpoImaging Booth #134 2:30 – 3:15 Uniqu Photo Booth #937
[post_title] => Shooting Colorado! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => shooting-colorado [to_ping] => [pinged] => [post_modified] => 2014-10-22 15:42:00 [post_modified_gmt] => 2014-10-22 19:42:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=42839 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[12] => WP_Post Object ( [ID] => 42263 [post_author] => 31543 [post_date] => 2014-10-14 20:02:06 [post_date_gmt] => 2014-10-15 00:02:06 [post_content] =>I'm often asked the question of how to properly handle on camera flash? After thousands of successful assignments I think it's safe to say that I have a few tricks for getting great light with on camera flash. Here's a few.
I like using my speedlights off camera whenever I can, but there are a lot of times as a photojournalist when I don't have time, or space to set up off camera strobes. Like when covering news events, catching spontaneous moments with politicians and celebrities, and making quick portraits.I often bounce the strobe off a white wall or ceiling to direct my light. I change my shutter speed to achieve good lighting balance and to add or freeze motion. The speedlight is a small harsh light source, by bouncing the light off a wall, the ceiling, or using a light modifier you can take a small harsh light source and make it a much larger and softer light source. By using one of a few small light modifiers like a Rogue Flashbender or a SunBounce Bounce-Wall with your on camera flash, you can greatly improve your speedlight on camera. I use the Flashbender at events and the Bounce-Wall for quick beautiful portraits.My rule for speedlight photography (on and off camera) is: set the camera on manual, and the strobe on TTL. I use a Hoodman Loupe, to study my LCD screen. It's worth the money investment, especially under bright sunlight!
I photographed Keith Richards, Chuck Berry and Leonard Cohen at the PEN Literary Awards at the John F Kennedy Library. In a situation like this always start your exposure with the element you can not control. In this case it is the blue sky outside the window. My camera was set on manual and my on camera flash was on TTL. I used my camera's light meter to read the sky outside the window, then I used my strobe to fill in my subjects. My shutterspeed was 1/250 at f7.1. I used a small Rogue Flashbender with my on camera flash to soften the light. The Flashbender is a small soft box you put on top of your strobe, that fits in your camera bag for on camera strobe!
When photographing in a room with windows you have be mindful of your strobe hitting the window (reflective surface). Either make sure the reflection of the strobe is behind your subject or move to the left or right, so you do not see the reflection. At this event the only gear I had with me due to the size of the room was a Nikon D-800 with a super wide angle AF-S Zoom Nikkor 17-35mm f/2.8D, a Nikon SB-910 and the Flashbender. The rest of the gear was outside in the hall. 
I shot this during Presidential campaign in NH. I was behind the bar with President Obama and the Secret Service was standing right behind me. There was no time for planning, it happened quickly and as a photojournalist you need to capture the moment. You never know when you are going to be told by the Secret Service to leave the room, so work fast! My shutter speed needed to be fast enough so that I could capture the President sharp, but slow enough that I would have ambient light in background. My shutter speed was 1/40 at ISO200 & F 4.5. I used a dome for this. 
I shot this during Chinese New Year at a neighborhood community center. I used on camera flash with a small Rogue Flashbender. My shutter speed was slow enough so there is a feeling of motion in the scarf, but fast enough to freeze the dancers, who were standing still as they moved the scarf. My shutter speed was 1/5 at ISO 200 & F 6.3 hand held. 
Adventurer and author Guy Grieve, was photographed at Walden Pond, in Concord, MA for The Guardian. This photograph is completely back lit, giving me the highlights on the water on his hat and jacket as well as preventing a harsh light on his face. I used an on camera flash to fill in the light in his face. My camera was set on manual and my strobe on TTL. I used the light meter in my camera to read the water to give me my ambient exposure. My shutter speed was 1/250 at ISO 100 & F10. 
The light on the model in this photograph is from an on camera flash bounced off one of my favorites light modifiers, The Sunbounce Bounce-Wall. The background light is available light. I started my exposure with the element I could not control which was the background and I used the on camera flash to fill in the light on the model. My shutter speed was 1/320 at ISO 200 & F4. I wanted shallow depth of field, so my background was out of focus.
I shot this photograph in the lobby of a convention center before my presentation for Professional Photographers Association in Atlanta. There was no pre-planning for the photograph. We saw the backlight and created the image within a few minutes. You can see my shoot with Bounce-Wall at Hasselblad Blog! 
I shot this photograph in Watertown, MA after the Boston Bombings suspect was captured. There were large crowds, many photographers and many police officers. I shot this photo with on camera flash, bouncing it off of a white satellite TV truck parked behind me. This gave me a large reflector to bounce my on camera flash off of. You want to bounce your light off of a white surface. You will have a color change if you bounce your light off anything other than a neutral color. My exposure for this was shutterspeed 1/50, ISO2500 & F2.8. 
When you walk into a bar and they are hosting a drag bingo, and you only have an on camera flash, what do you do? This is a 2.5 second exposure (@ F8, ISO 640), hand held, while zooming the lens. The on camera flash only fired for about a 10,000th of a second, so some of this photograph is strobe and some of it is ambient light. The camera is on rear curtain synch (this is a topic for another blog).
I have many workshops and lectures coming up. I'll be at the Hasselblad, Rosco, ExpoImaging and Unique Photo booths at PhotoPlus Expo in New York, October 29-November 1 Come stop by and say hi!To see a complete list of my upcoming workshop, please visit my workshop page!Happy Lighting! [post_title] => How To Get Great Light With On Camera Flash [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => how-to-get-great-light-with-on-camera-flash [to_ping] => [pinged] => http://hasselbladbron.com/blog/2013/02/rick-friedman-shoots-on-location-with-the-sunbounce-bounce-wall/ [post_modified] => 2014-10-15 10:49:09 [post_modified_gmt] => 2014-10-15 14:49:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=42263 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[13] => WP_Post Object ( [ID] => 42261 [post_author] => 31543 [post_date] => 2014-09-24 13:45:59 [post_date_gmt] => 2014-09-24 17:45:59 [post_content] => Last night I had a chance to work with the brand new Dynalite Baja strobe, the newest addition to the Dynalite line. The Baja is a self contained battery operated 400 watt second monolight with an internal battery. I really like the quality of the light coming from the Baja. The recycling time was almost immediate, and the built in modeling light was great. It's not heavy and easy to work with.With the Baja strobe and Chimera Beautydish combination as my main light, I photographed a model, Eddy Twal in the front and back of my studio in South End's Boston. I used a Sekonic L-478DR to read my light. All strobes were triggered by PocketWizard Plus III. My camera was set on manual and the color balance was set on daylight. When working on location I use a Hoodman Loupe to view the images on LCD screen.Shot 1 
This was photographed at the same location as my last week's blog "Strobe on, Strobe off!" Different strobes give you different looks. This image is a mixture of strobe and ambient light, with a hand held long exposure. This is a single light photograph, using the Dynalite Baja strobe, Chimera medium beauty dish with an egg crate diffuser, held by my assistant with a 1420 VAL Spigot on painter's pole for the light stand. The VAL Spigot is produced by my friend Ian Pack in the UK. This is a great adapter to add to your lighting kit. My camera was set at an ISO 200, 1/4 second and F4. The feeling of movement is created by shifting my camera from left top to down.
Shot 2 
In this photograph I used the Dynalite Baja strobe with Chimera medium beauty dish with an egg crate diffuser and Sunbounce 4'x6' zebra reflector. This is also a single light photograph. My camera was at ISO 250, 1/6 second and F4.5. My shutter speed was determined by the ambient light, I wanted to have the yellow door lamp bright, but not overexposed. I choose F4.5 for depth of field.
Shot 3 
This photograph is taken behind my studio. My main light was a Dynalite Baja Strobe with a Chimera medium beauty dish with an egg crate diffuser. The backlight was a Dynalite Uni portable strobe with a Rosco CTO gel, to warm the color, Rosco Toughspun to soften the light and Rosco Cinefoil to craft the light. In the set up photograph, my assistant was holding black foam core against Chimera beautydish to shape the light, and produce the drop off of light in the lower right corner. My camera was set at ISO 200, 1/2.5 second and F 4.5.
Due to my training as a long time photojournalist, I try to do it all in camera. Less time spent in front of computer is better for my soul....!I hope you can join me at one of my up coming "Location Lighting Workshops™" in Telluride, CO and at the Societies Photographic Convention in London, UK. Please look at www.rickfriedman.com/workshops for a complete list of upcoming events.September 29-October 1 at the Telluride Photo Festival, Telluride, COJanuary 16-18, 2015 Societies Photographic Convention, London, UKFor another post on portraits in the dark, please look at my blog post on "Shooting at Twightlight in Costra Rica" All the Rosco products are included in Rick Friedman Rosco Location Lighting Kit!Happy Lighting!
[post_title] => Location Lighting Tips: Lighting up the night [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tuesday-tips-lighting-night [to_ping] => [pinged] => [post_modified] => 2014-09-24 15:47:41 [post_modified_gmt] => 2014-09-24 19:47:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=42261 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )[14] => WP_Post Object ( [ID] => 42138 [post_author] => 31543 [post_date] => 2014-09-17 15:38:41 [post_date_gmt] => 2014-09-17 19:38:41 [post_content] => I was recently asked to demonstrate the difference between strobe on camera and strobe off camera. The examples below show how changing the position of the strobe, on and off camera, changes the lighting effect. I also factored in the available light which also affects both exposure and color.I started my exposure by reading the background and underexposing it by 1 stop. The strobe was placed off to the side and fired using a pair of PocketWizard TT5s on the strobe and on the camera with an AC3 controller on the camera. The AC3 gives me the ability to dial up and down my exposure of my strobe from my camera. The exposure on the background was controlled by the camera setting and the light on the model was controlled by my strobe output. The photographs were created using a Nikon camera and a Speedlight.
For my first test shot, my strobe which is daylight balanced, was much warmer in color, then my background. (Picture 1) Thank you to my assistant Kalin Luong for modeling![caption id="attachment_42139" align="aligncenter" width="588"]
Too blue for me! (Picture 1)[/caption]To balance out the colors of my strobe and background, I put a Rosco half CTB filter over the strobe (CTB is Color Temperature Blue). Now that the color from the strobe and the color background were similar, I did a custom white balance off of my strobe light. (Picture 2)[caption id="attachment_42140" align="aligncenter" width="588"]
I put CTB on my strobe and set my camera for white balance the color off of the strobe. (Picture 2)[/caption]For using a strobe off camera: I made a snoot from Rosco Cinefoil and softened the light by crumpling up and placing some Rosco Tough Spun, a diffusion material, into the snoot. The Cinefoil controls the direction of light, the Tough Spun diffuses the light.
For comparison, here is the same location, the same time and the same photograph with on camera flash![caption id="attachment_42142" align="aligncenter" width="588"]
On Camera Flash[/caption] A larger light source gave us softer light. One of my favorite portable light modifiers is the Chimera beauty dish! As the daylight decreased, the predominant light source became the tungsten light on the building. We no longer needed a CTB because the blue available light went away. The CTB gel was removed from the strobe. I set my camera's white balance to daylight.The strobe produced the correct color on the model's face, while the buildings in the background had a warm color from the tungsten lights on the front of the buildings.
I hope you can join me at one of my up coming "Location Lighting Workshops™" in Telluride, COand at SWPP in London, UK.September 29-Octoberr 1 at the Telluride Photo Festival, Telluride, CO January 16-18, 2015 Societies Photographic Convention, London, UKAll Rosco products are included in Rick Friedman Rosco Location Lighting Kit!Happy Lighting! [post_title] => Lighting Tips: Strobe On, Strobe Off! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => lighting-tips-strobe-on-strobe-off [to_ping] => [pinged] => [post_modified] => 2014-09-17 16:05:06 [post_modified_gmt] => 2014-09-17 20:05:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=42138 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )) 
