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Lighting Ingredients / David Bicho Challenge: Profoto D1 vs. Speedlights Getting the Shot / Dixie Dixon Composite Like A Superhero / Andrew McGibbon Anatomy of a Portrait / Tony Corbell
02 Lighting Ingredients
with DavidBicho
68 Anatomy of a Portrait
with TonyCorbell
14 Challenge:
Profoto D1 vs. Speedlights
66 Air Remote
Contents
Licorice Shot
hen you cover a face in licorice, it gets shiny. Very shiny. And very shiny surfaces are very reflective. This deceptively simple fact was the starting-point for Davids licorice lighting setup.
I wanted a large light source for the licorice shot, says David. A large light source equals large and beautiful reflections that accentuate the shape of the face. For this reason, I choose to work with a D1 monolight and a Profoto Giant 240 Reflector as main light. The Giant Reflector, which is something of a favorite of mine, is standing camera left, quite close to the model. I then had a second D1, equipped with a Softbox 1x6 RFi, standing camera right behind the model. The softbox was equipped with a blue color gel to create blue reflections and to enhance the green glitter the make-up artist had applied. Finally, I had a third D1, equipped with a 10 Grid and blue color gel, as background light. Thats the light that is visible on the left hand side of the background, behind the models face. In addition to the monolights, I had a large foam core board lying on a table in front of the model.
licorice SHOT DAVID BICHO
The foam core board was used to lighten up THE ACCIDENTAL LICORICE SHOT the shadows around the models chin, forehead andnose. As mentioned above, some things went as planned and some did not. Besides that, there were a couple of occasions when things happened almost by accident. c The second licorice shot wasnt planned, says David, It just happened. The make-up artist had just started to apply the licorice, when I b realized how cool it looked and that I had to shoot it. So I just tweaked the setup and pushed the releasebutton. Because of this, the set up was quite similar to the other licorice shot. I had a D1 with a Giant Reflector as main light. You can see it reflecting in her eyes. Speaking of which, this image is also a great example of the amazing skin textures you get with the Giant Reflector. That kind of broad highlight detail that you can see all the way from her forehead down to her eyes and further down to her lips only the Giant Reflector can do that!
Finally, the black flags were also crucial. The shiny licorice reflected every single light source in Again, the background was lit with a D1 with the studio, so it was just as important to flag off 10 Grid. But I didnt use any color gel this time. light as it was to add light. I believe I had eight Neither did I use any fill light. Another important flags in total: three on each side of the shooting difference is, of course, that we added certain area, and another two right behind the model. You elements during postproduction. The gold makecan actually see one flag in the image. You see up, the hair and the pigtail, all that was added in that large black area on the right hand side of the Photoshop by my talented assistant Maria. background? Thats a flag.
COCOA SHOT
When David and his crew had finished the licorice shot, it was time for the cocoa shoot. Well, before that they actually had to spend quite some time getting the licorice out of the models hair, but that is of less importance to this article.
The first cocoa shot we did was the one where the model is looking straight into the camera, says David. The main light is a D1 monolight, equipped with a Softbox 3x4 RFi. Whats interesting here is the position of the softbox. Its positioned right in front of the models forehead, almost horizontally but slightly tilted towards the camera. In other words, she is sticking the front of her face into the light. Thats why its so dark around her face and under her eyebrows and under her lip. Having the softbox so close and at this angle to the model means that you get a light that you might not associate with a softbox. Its a common misconception that softboxes can only do soft and flat light. But as you see, having the softbox turned away makes it a vertically narrow light source.
COCOA SHOT DAVID BICHO
Hence, the sharper vertical shadows, mixed with the short depth of light due to the close placement. I believe this brought out some strikingly beautiful textures in her face! By the way, the fact that the softbox was slightly tilted toward the camera meant that I had to put a black flag right above the camera to prevent the light from hitting the lens, addsDavid. The catch light in the models eyes is also worth mentioning. The upper reflection is, of course, the Softbox RFi 3x4'. The lower reflections, the white stripes, are created by the same piece of foam core board that I had in the licorice shot, but in this case Id attached several pieces of black gaffer tape to create the white stripes. The table with the foam core board was also positioned much further away from the model than in the licorice shot. This was necessary to prevent the light from the softbox bouncing on the foam core and unintentionally lightening up the shadows in her face. The second cocoa shot, the profile portrait, was shot in almost exactly the same way. The only difference is that I added a second D1 equipped with a 10 Grid as background light. You can see it around her neck and under her chin.
profile COCOA SHOT DAVID BICHO
a. Zoom Reflector b. Softgrid for 1x4' Softbox c. White foam core board with black gaffer tape
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FLOUR SHOT
David Bicho is a photographer from Stockholm, Sweden. He shoots pretty much everything The flour shot just happened, says David. I editorial, fashion, lifestyle, portraits and barely changed the setup Id used for the cocoa advertisements, you name it. You can see more shot. The only difference is that I removed the of his stunning work at www.bicho.se black flag above the camera. That is why there is light leaking into the image in the lower right corner of the image. During the flour shoot, I also experimented with blending the flour with cocoa and water. I then used Photoshop to turn the coca red. So the portrait that looks as if the model is bathing in wine, thats actually flour, cocoa and water.
As was the case for the second licorice shot, the flour shot happened almost by accident. The make-up artist had just started to apply the flour by throwing it onto the models face, and David, who was standing right beside with the camera in his hands, thought: rather than just standing here, why not take some pictures?
To be honest, Im not very happy with either of the flour shoots, laughs David. But I still think that its nice to show them. If nothing else for the fact that they remind me of the importance of simply going with the flow from time to time.
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Challenge: Profoto
The word photography comes from Greek and translates as drawing with light. This means that even the very first photographers understood the essence of photography, and the description is as true today as it was then. But some things are different nowadays. The evolution of controllable light sources has changed the game. What were once dangerous powders and expendable, single-use bulbs are now safe and sophisticated lighting solutions. From the ubiquitous speedlights to more powerful and flexible monolights such as the Profoto D1, the range of choices is greater than ever before. Savvy photographers choose the right tool for the job. Some assignments can be done with a quick fill flash from a speedlight. Others require a more flexible, consistent solution and precise light shaping. Finding the right solution that is your job. What we do is provide you with options to help you realize your creative goals. Profoto offers the widest selection of Light Shaping Tools on the market. Each tool is unique and designed to create a specific light. Nearly all tools
by Ma
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D1 vs. Speedlights
use our patented clamp mechanism, which makes them very easy to mount. This also allows you to adjust the light spread by simply sliding the tool back or forth. When your job is on the line and you are looking to grow your business, are you making the right decisions about what tools to use? Lets explore a few scenarios where we believe Profotos D1 monolights and Light Shaping Tools are a better choice than a speedlight.
att Hill
| LIGHT SHAPING |
There are times when a speedlight will do the job. However, their light spread is boxy and rectangular, and they are mainly designed to throw direct light forward, or perhaps bounce it. There are some third-party accessories to modify the flash, but these do not have a parabolic shape that maximizes the output. Also, they are not available in such large varieties as Profotos Light Shaping Tools. Here are some of our most essential:
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TeleZoom Reector 10 07 12
Magnum Reector 10 06 24
D1 Spillkill Reflector 10 07 94
Zoom Reector 10 07 85
Grid Reector 10 07 05
Disc Reector 10 06 54
7 Grids 5 10 06 35 10 10 06 34
10 Grid 10 06 18
Pro Tube 10 06 70
Barn Doors 10 07 15
10 WideZoom Grid 10 06 36
Barn Doors 10 06 71
PROFOTO BATPAC
BatPac 230V / 120V 901124 Snoot 10 06 51 5, 10, 20 Grids 10 06 46, 10 06 05, 10 06 06
Softbox Rectangular Softbox RFi 1x1.3' (30x40 cm) 25 47 01 Softbox RFi 1.3x2' (40x60cm) 25 47 02 Softbox RFi 2x3' (60x90 cm) 25 47 03 Softbox RFi 3x4' (90x120 cm) 25 47 04 Softbox RFi 4x6' (120x180 cm) 25 47 05
Softbox Square Softbox RFi 2x2' (60x60 cm) 25 47 06 Softbox RFi 3x3' (90x90 cm) 25 47 07
Softbox StripLights Softbox RFi 1x3' (30x90 cm) 25 47 08 Softbox RFi 1x4' (30x120 cm) 25 47 09 Softbox RFi 1x6' (30x180 cm) 25 47 10
Softbox Octa Softbox RFi 3' Octa (90 cm) 25 47 11 Softbox RFi 5' Octa (150 cm) 25 47 12
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ProGlobe 10 06 73
ProFresnel Spot 10 07 06
5 10 07 95 10 10 07 96 20 10 07 97
Fresnel Small 10 07 89
Spot Small 10 07 90
Silver Umbrella S 10 06 15 M 10 06 16 L 10 07 20
White Umbrella S 10 06 11 M 10 06 12 L 10 07 19
Air USB 90 10 34
Air Remote 90 10 31
Air Sync 90 10 32
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Softlight Reflector White/Silver Photographers often refer to our Softlight Reflector as the Beauty Dish. The reason for this nickname is simple. The Softlight Reflector offers the perfect combination of even illumination and well-defined light direction, which creates a pristine, classic portrait look. The white version is gentle and flattering. It is often used for female portraiture, and it will save you a lot of retouching since it fills in undesired wrinkles. The silver version is punchy and crisp great for rugged features and bold portraits. The optional 10 Grid allows for even more precise light shaping. Also, due to its smaller size, the Softlight Reflector is better than softboxes in windy conditions.
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Softbox When you want to flatter your subject or cover a larger area, the softbox is your tool of choice. The softbox creates a soft yet distinctive light that bounces off available surfaces and fills in the details nicely. It can be used for main light or fill light. All Profoto softboxes are built to last, using high-grade fabrics, industrial stitching and age-resistant diffusion materials. They are also easy to use, mount and dismount. Optional, additional diffuser, soft grids and masks let you customize the look at any time.
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Profoto Giants The Giant is our foldable studio light. Instead of having a very soft, diffused light such as a softbox (which scatters the light), the Giant turns a small light source into a very large, directional light. The results are flattering shadows and glimmering, spectacular highlights in your subjects eyes all in a portable package. The Giants are available in 4 sizes with either silver or white interior surfaces.
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Spot Small This is one of Profotos more specialized Light Shaping Tools. The Spot Small is a compact, portable spotlight for punching in a direct light with crisp, clean shadows. The results are bold, dramatic portraits sometimes with a silver screen feel.
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| POWER |
When you want to balance or overpower direct sunlight, you need power. Lots of it. We took two speedlights and directed them into an umbrella, set them to full, manual power, and were thereby able to get a setting of f/6.3 at ISO 100 and 1/15 sec.
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When we directed a single D1 monolight (powered by the Profoto BatPac) into the same umbrella, we could dial it down from maximum power by 3 1/2 stops to get the same output as two speedlights at full power. Note that with the greater intensity of light, the background exposure can be set to a complimentary, balanced exposure. As you probably know, having multiple speedlights with external batteries can become quite costly and bulky. You also miss out on the comprehensive Light Shaping Tool system, and ubiquitous availability as a rental worldwide.
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| SPEED |
You can spend lots of time researching how to optimize your recycle time with speedlights at high-power settings. But no matter which external battery pack you choose, you will still have limitations. For example, some of them can overcharge your flash and shorten its life span. Also, the hotter the flash gets, the slower the recycling time. In fact, many speedlights overheat and shut down for at least five minutes when used at full power for extended periods of time. Speedlights are simply not designed for high-power, high-speed shooting.
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Profoto D1 500: max 60 frames in one minute (at equivalent light output).
If you want to produce high-quality images at this rate, you will need a powerful and reliable monolight. The Profoto D1 500 recycles at full power in 0.95 seconds. That is nearly three times faster than a speedlight with an external battery pack. Do not take our word for it. Above left you can see 20 frames from a speedlight with a battery pack shooting at one frame every three seconds. Above right is a D1 shooting at the same power output as the speedlight at just under one frame per second. Imagine how much better your rapport with the subject will be if your flash was always ready?
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Profoto D1
or more than 40 years, Profoto has been the leader in lighting solutions for portrait photography. Their consistency, reliability, durability and quality of light have made them the standard worldwide.
The line of Profoto D1 monolights maintain that same philosophy with the quality and features imp or t ant for t o day s digital portrait and wedding photographer. Controls are easy to use, freeing your mind, eyes and hands, so you can focus on the image youre creating. Available in 250, 500 or 1000 watt-second versions, they offer an extensive power range from full to 1/64th in increments of 1/10th of f-stop intervals with the most consistent color temperature and light output available. Dial in high light output to overpower the sun at the beach and low power setting when you want the lens wide open.
Despite their small, lightweight design, D1 units also offer ultra-fast recycling times and short flash duration. The unique built-in reflector gives you full control and minimizes stray light while also protecting the flash tube and modeling light during travel. Its designed for use with the entire range of Profoto Light Shaping Tools. The fan-cooled units are offered with a white light slave for triggering, while models designated Air also offer a built-in radio receiver for use with the Profoto Air system. This provides full control of power, modeling light and triggering up to 300 m (1000 ft) away, making on-thefly adjustments simple from your camera or computer. The unit can be used with any worldwide voltage, from 90-130 and 200240 volts without having to change the modeling lightso take those international gigs. Youre ready to light anywhere!
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Profoto D1
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Short recycling times to keep up with the active objects, so you never have to wait for the flash. Short flash duration to stop action. Multivoltage. Plug in anywhere in the world and no need to change modeling lamp. Profoto Air system built-in, for remote control and triggering from up to 300 m (1000 ft). Trigger the flash via Profoto Air system, sync cable, or IR slave. Connect to your PC or Mac with Profoto Studio software. Optional BatPac for on-location use. Can be used with petrol electric generators rated 800W continuous load. Adaptive thermal control ensures overheating preventions and allows you to get maximum output from the flash. 1500 flashes per hour at full energy. Built-in 300W modelling light. Built-in fan for longer shooting sessions and maximum performance.
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11 12 1 10 2 9 8 7 3 4 5 6 14 13
20 19 17 18 16 15
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1. Easy-to-use, accessible controls and displays on the back. Direct digital control for precise images, its far more than just a digital display. 2. Setting knob. 3. Display for energy and other functions. 4. Slave mode selector, set to Radio or IR. 5. Ready signals; Off or Beep and/or Dim. 6. Modelling light selector. Off, Proportionally or Free. 7. Modelling light Free setting. 8. Channel and group settings for Profoto Air system. 9. Test button. 10. On button. 11. Umbrella tube/mount.
12. Built-in reflector. 13. The optional glass cover will give you more light spread. 14. The unique mounting of the Light Shaping Tools gives the versatile zoom function. 15. Locking knob, well balanced and strong to hold large and heavy accessories. 16. Quick and easy to mount, with Profoto Stand adapter. 17. Mains Socket. 18. Ergonomic handle lets you redirect the light in an instant. 19. Synchro interfaces. Sync socket, antenna and IR lens. 20. Built-in radio for remote control or triggering.
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D1 Air
D1 Air 250
901022
D1 Air 1000
901025
D1 Air 500
901024
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I think theres an advantage in using the same strobes in the studio, like the D1, that I would out on location. To me, its all about the quality of light that I'm going to get, the dependability of the equipment that I'm going to use, and the predictability. That's one of the things I like about the D1 system is that I know exactly what Im going to get whether I am working in the studio or out onlocation. Bambi Cantrell
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D1
D1 250
901021
D1 500
901023
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D1 Studio Kits
he D1 monolights are available in kits to save time and money, especially beneficial to photographers just starting out. Choose from 250, 500 or 1000 watt-second kits with or without Air Remote technology for remote radio sync and control. Kits include 2 D1 units, 2 small umbrellas, 2 light stands, case and either Air Remote or sync cord.
Air Remote
Sync Cable
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D1 Basic Kits
Kit Contains: 2 D1 Monolights, 1 Basic Kit Bag, Power cables D1 Basic Kit 250/250
901060
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The 3 head version of our D1 Studio Kits comes with two RFi softboxes and a 10 grid so you can bring professional lighting on location, anywhere you need to be. Choose from 250, 500 or 1000 watt-second kits with or without Air Remote technology for remote radio sync and control. Kits include 3 D1 units, Air Remote, one Softbox RFi 3x2', one Softbox RFi 2x3', two Speedring Adapters, one D1 Grid 10, three Kit Stands, and three Power Cables. All equipment comes in a high quality trolley bag. D1 Studios Kit 3 Heads 250/500/500 Air
901086
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D1 Accessories
Out of the box, the Profoto D1 is ready to shoot, but by adding accessories you can increase your versatility and broaden your light shaping abilities for more creative lighting effects and more efficientsetups.
SpillKill Reflector
100794
Bag S
330211
Need to travel light, but still want soft, beautiful light? The white umbrella collapses to be smaller than a light stand, yet opens to be a large, soft light source. Its specifically designed around the internal reflector on the Profoto D1 system, optimizing the center of light for perfectly even illumination reflecting from the white interior, while the black outer material prevents any stray light from passing through. This increases the control you have, putting light only where you need it.
Limits stray light from spilling over edges of your umbrella. Integrated clips for heat resistant filters and gels make this accessory even more valuable.
Fits 2 Profoto D1 units, ballistic nylon exterior, thickly padded interior, two carry straps, removable shoulder strap.
Trolley Bag L
330220
Bag M
330212
Trolley Bag L is a large, soft, padded kit bag with wheels and shoulder strap, suitable for D1 Studio Kit 3 Heads.
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Fits Profoto D1 Studio Kit, replacement item, ballistic nylon exterior, thickly padded interior, slip pocket with ID window, two carry straps, and removable shoulder strap.
D1 Honeycomb Grid 5
100795
D1 Honeycomb Grid 10
100796
D1 Honeycomb Grid 20
100797
glass domes
Glass Dome D1
101561
glass plates
Glass Plate D1 Standard
331524
Miscellaneous
D1 Plastic Transport Cap
100799
D1 Stand
101085
flashtubes
Flashtube D1 250
331522
Flashtube D1 500/1000
331523
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BatPac
BatPac
901124
Power your Profoto anywhere! The BatPac is a portable power-in-a-bag unit, and comes complete in a comfortable backpack for easy transportation. Featuring a dedicated inverter and a high capacity battery, the BatPac is safe and very easy to use. With its compact size, this power source is ideal for location shoots on the beach, park, or in any location where you do not have electricity. Shoot with it across town or around the world. Its innovative design delivers power with exceptional stability.
The BatPac has safety features offering protection from overvoltage and overtemperature, low power, low battery voltage, etc. This prevents damage to the BatPac and connected flash units. The Profoto BatPac complies with CE regulations and fulfills all international safety requirements. It gives up to 600W constant power from two integrated separate mains outlets. The BatPac will power your D1, Acute lighting systems as well as many older Profoto systems. In addition, your computer, cell phone and other AC-operated devices can also be powered by the BatPac.
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Since her first camera at age ten, at the ripe old age of twenty-seven, Dixon already has a long list of clients and the television show Get Out under her belt. With talent and credits beyond her years, shes a photographer to watch. Dixon has quickly Not many professional shooters can match Dixons become known for her fashion photography and claim of only working as a photographer, but its portrait work. Shooting with a Nikon D3X as her true. She shot for the high school yearbook, and main body, Dixon broke down two portraits she one of her shots made the cover senior year. At recently completed. that point she decided she wanted to pursue photography for a living.
ixons father was a hobbyist photographer, and provided her first camera. Her grandfather was a landscape photographer.
GIRL PORTRAIT
The basic concept of this photo session was to create natural looking beauty images. I wanted to highlight the beautiful features of the model, make her skin look glowy, and make her eyes really pop against the background. I looked through a ton of fashion During her junior year, she studied abroad with magazines for inspiration and came up with this a fashion photographer. During that time she fell simple concept. I find a lot of beauty in simplicity. in love with fashion photography, which is the genre she is known for. Before graduation, she was In the studio, I have a basic idea of how Im going shooting weddings, but got tired of it. I started to light something but once you get in there, its shooting fashionable portraits of friends and then always different, so you never really know until started charging for them. My whole senior year, I you get in there and shoot it. I used a Softlight started my business and got my web site up and it Reflector White with the D1 500 as my main light. was really just shooting fashion portraits. The light is pretty low - Im probably five-foot three and its just above my head. With the Softlight
Studying entrepreneurship in college, she learned how to run a business, which has helped her photo practice. She launched her business while still attending school. The business background definitely helps in accounting, she says.
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MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY MAKEUP/HAIR: ROCIO VIELMA
Reflector at that height, you get this pretty glow in your light. I also had two Softbox 1x3s in the back that were facing slightly towards her and me so I could get a rim light on the edge that I overexposed by about half a stop. I used a small umbrella on the background to light up that pretty, blue, turquoise paper. I was going for super simple natural beauty, and that sort of lighting highlights the skin and makes it look beautiful. I used a Nikon D3X and a 105mm lens for this portrait. I like cropping in like that and focusing on the macro elements of the shot. Its interesting shooting really close-up portraits, because you really have to get the right angle on the person. I tend to shoot and crop in-camera as opposed to cropping in post later on. It can get you in trouble, especially when you work with art directors and they want room for text, but this was a personal shoot so I got to choose the way I wanted it. I took some shots with her whole face and, for some reason, they werent impactful, so I ended up going to one side for a half-face shot. I love shooting strobes in the studio because youre able to make sure that everything is really crisp and focused and you can see every eyelash. Im
c
a. Softbox RFi 1x3' b. Umbrella c. Softlight Reflector White
so not technical. I just get in there and I know how to use the lights. Luckily, Profoto lights are really user-friendly. I dont do a lot of measuring. I basically set it up, shoot it, and if I like what Im getting, Ill stick with it. If I think I need to tweak things, I move them around or try changing to an Octa. Profoto is super reliable and Ive been really blown away by them every time.
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Guy Portrait
For this shot, I wanted to create a masculine beauty image in black and white. With color images, your eyes can be more distracted by the clothes and everything else thats going on, but with black and white, I feel that youre able to get more to the soul of the image and make a deeper connection. If color isnt adding to the shot, try making it black and white. I used a D700 on this shot and a micro 16mm Nikon lens. The exposure was at f/14, 1/126, and ISO 100. I look at a lot of pictures for inspiration and its all about getting the right team together. When youre shooting beauty, you have to focus on finding a really great makeup artist. It doesnt look like it, but the guy has makeup on. I chose the best
makeup artist I knew to get that look and to make his skin look flawless. The fashion industry is such a huge illusion and it takes a huge army of people to make it happen.
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Lighting is interesting to me because you can control so much of it in the studio. However, I love those happy accidents when you end up getting something totally different than you went out to shoot. Its kind of like adding to your lighting repertoire because its in the little detours that you sometimes end up with the best shot. Its nice to do the shots youre going for and then leave some room for experimentation at the end. Its just endless what you can do with lighting, especially with all the light-shaping tools Profoto has. I picked up the D1 monolight and it was so userfriendly; its super consistent and has a fast recycle time. Ive used other lighting gear and its not nearly as reliable so Ive definitely been happy with the results. Thats why anytime I rent I say, Give me the Profoto. I dont want to have to get on set and my lights dont work. Ive never had an issue with Profoto lights over five years of using them. I love the Profotos Light Shaping Tools. They are really what I feel sets Profoto apartall the great softboxes and beauty dishes. Theres just so much you can do with them. In photography, lighting is everything. It creates the mood, and the mood of an image is what sets it apart from the rest.
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The AcuteB flash pack brings together the The incorporated Profoto Air system allows for famous quality and reliability of Profoto in a small remote triggering from up to 300 m (1000 ft) from battery generator. Offering significantly improved the camera. performance and higher flash capacity all in a lightweight package, the AcuteB2 is just over 3.6kg (8.9 lbs)! The small size and light weight of the AcuteB2 offers up to 200 full power or thousands of lower power flashes on a single charge, allowing you to take your studio light on location for a full day ofshooting!
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I have one kit that I take with me everywhere I go, every shoot, every humanitarian project, it just always travels with me. It's a bag with my camera and lenses and it's the Profoto Acute battery with one small softbox. To this day I'm amazed that I can get on a plane with the whole Profoto kit right there with mylenses. Jeremy Cowart
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AcuteB2 AirS/R
The AcuteB2 600 AirS/R is almost identical to the AcuteB2 AirS. It offers the same light weight design and unique Profoto Air remote triggering system, but adds a built-in PocketWizard receiver to themix.
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AcuteB Head
900938
With our smallest battery pack, the AcuteB2, there is also a special lamp head: the AcuteB Head. At a mere 1.5 kg (3.4 lbs), gives you 600 Ws flashes and an innovative modeling light, using a high-performance halogen lamp that, at 65 W, gives you the brightness of 90 W. Combined with its fan-free cooling, it translates to longer lasting batteries. The AcuteB Head includes: disc reflector, flash tube, 65 W halogen lamp, removable frosted glass cover, protective transportation cap and a 10-foot lamp cable.
The most advanced and reliable rechargeable batteries available! These Lithium Ion Iron Phosphate (LiFePO4), in short LiFe batteries. They have a lifetime four times longer than lead acid batteries and can be used in a wider temperature range. With 20% more flashes per charge than older battery types and integrated electronics protecting them against deep-discharge and overheating, the Profoto LiFe batteries offer long life and trouble-free operation.
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South African photographer Andrew McGibbon was recently asked to shoot a promotional image for a man who was about to start his own private security company. The two agreed that a superhero-esque, movie poster-like image would be suitable (everybody needs a hero, right?). But time was short and the budget was limited, so Andrew had to come up with a quick and easy solution. Here is how he did it, explained in six simple steps...
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Picture The Final Result Andrew. Its way easier and takes a lot less time. First of all, get a clear image of what you In this case, the guy hadnt received his company want to achieve, says Andrew. What I did uniform yet, so we decided to go for a simple, black was that I downloaded a bunch of movie posters shirt. I then sprayed some water on him to make from IMDb.com and brought them with me to him look a bit sweaty. the shoot. If you dont want to do that, you can draw a simple sketch. Regardless of what you do, I Set The Lights think its important to have some sort of reference The setup I used was very basic, says material. It really helps me as a photographer to Andrew. Its sometimes referred to as a key and keep track of what I want to do, and it makes clip light setup. it a lot easier to give the person in front of the camera proper directions, especially if theyre not b an experienced model. a
Find A Suitable Location You need very little space to do this, says Andrew. You could easily shoot it in your garage. Just make sure the room is dark enough and that you find a background that wont become completely white or black when you shoot it. If the background is too bright or too dark, it will be much more difficult to insert the background image. Do The Styling You can, of course, add as many details as you like during postproduction, but my advice is to get as much as possible right in camera, says
andrew macgibBon
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The key light is the main light in the image. In this case, its the light that looks like sunlight. For this I used a Profoto D1 monolight, equipped with a Softbox RFi 5 Octa, standing camera left. The softbox is very close to the subject, and I am so close to the softbox that Im pressing against it. We then have the clip light. Some photographers call it rim light or hair light, but I prefer the name clip light. The clip light is the light that hits the side of his face that is turned away from the sun. The clip light helps define the shape of his face and makes it pop out of the image. For this I used the Softlight Reflector White, also known as the Beauty Dish. Many photographers use hard reflectors or strip softboxes for this purpose, but for me the Beauty Dish works really well. It gives me quite a hard light, but not too hard. Neither does it burn out the hair or the small yet importantdetails. Shoot! There are basically three things you need to get right in camera: the lighting, the styling and the energy, says Andrew. Weve already talked about the first two. Now, when I say energy, Im talking about the eyes. The energy in the eyes
needs to be right. You cant fake that. So, Id recommend a technique I learned from the writer Constantin Stanislavski: the magic if technique. It works like this: ask the person youre shooting that if they were in this or that situation, what would they think and feel? Their emotional response will then be conveyed through their eyes. In this case, I asked the guy to imagine what it would be like to a superhero that the whole city looked up to. Once he started thinking about that, everything else just followed. Insert Background Whenever I do a job outside and theres a nice enough sky, I shoot it, says Andrew. By now I have a pretty good library of sky images, which I find often comes in handy, such as in this case. So, I cut out the portrait with the help of the Magic Wand tool and the Refine Edge tool, and inserted the background image. I then used a simple bi-color filter to make the image a bit more yellow on the left hand side and a bit bluer on the right hand side. I then burned out the image at the
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Original shot
Final image
Andrew McGibbon is currently busy wrapping up his Influence Project an ambitious project in which he explores the concept of influence Thats pretty much it! All in all, I think I spent through a series of portraits of influential South about ten minutes in Photoshop, and the entire Africans. The Influence Project will soon be process from picturing the final result to having available as a coffee table book. If you cannot wait it on my hard drive took less than two hours. I until then, you can see more of his work at www. started at 4 pm and was done before dinner time. andrewmcgibbon.co.za
bottom. Finally, I did some minor tweaks, removed a few blemishes, pulled out a few highlights, etc.
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Air Remote
Air Remote
901031
Our specially-designed digital radio system allows complete flash control at your camera or in your hand, including trigger, flash energy control and modeling light control. Set up your lights at the venue and dial in the exposure power as you need it. The Air Remote mounts on your cameras hot shoe or syncs to your flash terminal and has eight channels which it uses to control an unlimited number of power packs. Whether shooting at a VFW hall or a cathedral, Profoto Air Remote gives you the power and flexibility to create perfect exposures.
events. They pack a lot of function and reliability into an easy-to-use control panel. Operating at 2.4 GHz, they are approved for worldwide use. Profoto Air is a transceiver, so it can serve as either a transmitter to fire your lights, camera or operate as a receiver when used with non-Air flash units.
Operating from two AAA batteries, at a frequency of 2.4 GHz, the Air Sync has a range of 300 m (1000 ft). With range like that, youll never need another system for a wedding venue or reception hall. It can sync up to 1/250 second with a focal plane shutter camera, and 1/500 second with a These small, handheld devices weigh only 70g leaf shutter camera. Its triggering speed is over (2.5 oz), including batteries, making them easy to 100 fps. handle or keep at the ready when shooting formal
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Air Sync
901032
Air USB
901034
Air Sync technology syncs flash generators or groups of Profoto D1 Air units with the same high performance as Profoto Air Remote. The Profoto Air Sync provides a simple solution when you only need to trigger your flash. Its a faster, simpler alternative for the more fast-paced portrait environments.
Profoto Air USB offers all the advantages of the Air Remote, and then some. You can still control all your lights from up to 300 m (1000 ft) away, but now, you can control all of them from your computer keyboard.
Just load the included software and plug in the USB Transceiver. Thats all it takes to get you up Operating from two AAA batteries, at a frequency and running. Visually see the connected heads on of 2.4 GHz, the Air Sync has a range of 300 m screen and take control over every aspect of your (1000 ft). It can sync up to 1/250 second with lighting. Turn units on and off, power the flash a focal plane shutter camera, and 1/500 second or modeling light up or down, change recycling with a leaf shutter camera. Its triggering speed timeanything your flashes can do, you can now do from your computer! You can also save is over 100 fps. an unlimited number of frequently used lighting set-ups for fast, easy recall later. Operating at 2.4 GHz, they are approved for worldwide use.
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corbellproductions.com @tonydude1
you just go to the checkout area, and grab another light, or you go down to check out three more In this case, I wanted to create a low-key, gritty, lights or whatever you might need. In the real, black and white image. His face just screams for true working world, we dont all have that luxury. that kind of a look, I think. Therere a lot of people that dont have more than one or two or three lights. Also, not everyone lives This is a simple studio picture, when you think in a big city where they can go rent gear easily. about it, but its important to understand whats going on in order to pull it. Its basically just one soft light. Theres a Softbox RFi 3x4' to the left of a the camera and I have one of them turned a little bit farther away from him to the left. This means that about half the light that would be on his face is going past him, traveling about twelve feet, and hitting the background. Its just giving me a little bit of ambient light on the background. This is a technique I do a lot when I teach to get everybody to learn to get the most they can get from just one light. Often, that means making one light appear as if its one, two, three, or maybe even four lights. b If I had wanted to have light in his hair, I would have taken that same one light, and I would have had somebody hold up a Plexiglas mirror over his head and redirect a little bit of that light from that strobe right back down onto his hair. I wouldnt have turned on another light. I try to be as efficient as I can with the number of heads I use. Its a technique I try to teach students, because it makes them better photographers. In other words, if youre a photo student at a school, lets say, and youre doing a shoot and you need another light,
Aaron
For this shot, I used my Nikon D3, although Ive recently become a convert to the world of Canon. I used a 70-200mm 2.8 lens. The focal length was probably set to 200, and the exposure was shot at f/16 and ISO 200.
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Ol Donald
This is Donald Blake. Hes been an actor, a working cowboy, and a stuntman whos been in 200 or 300 movies and likes to claim hes been shot and killed in about 150. We shot this at the old saloon on Eaves Ranch, which has been in countless television shows and movies. Here, I was doing a demo with my students, trying to teach them how to mix strobe lights inside and how you can vary your shutter speed to adjust their brightness to the light outside. In this case, I used a Softbox 4x6 with a D1 500 Monolight. I had the softbox pretty far away from me, so there was a little room around him. I maintained that darkness on the left of the space, and the reason its so rich and deep and black is because of a black gobo that I put up, just a black panel on his right side, camera left, to make sure I didnt get any influence from the ambient light in the room. I really wanted the drama of the light falling off on the left side of this face. After you determine the exposure for the strobe, which in this case was about f/16, its just a matter of running the shutter speed up and down until you get the brightness of the background just where you want it. In order to do this, I meter using a Sekonic L-758DR.
b
a. Window b. Profoto D1 with Softbox RFi 4x6' c. Black panel Gobo used to eliminate the influence of any ambient light from right side of face
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he Softlight Reflector also known as The Beauty Dish gives a soft, yet easily-focused light. Meant to provide character lighting in portrait photography, it is superb for a wide variety of uses.
The gentle slant of the Softlight Reflector makes it ideal for close-up, beauty photography. From portrait to fashion photography, the Softlight Reflector is an excellent light source whenever a soft, yet directional light is preferred. Its is a distinctive alternative to an ordinary softbox. By using the optional glass deflector, front diffuser and grid (separate or in combination), the characteristics and light spread can be further adjusted to the photographer's needs and wishes. When used with a honeycomb grid you get a soft, toned-down edge-lighting effect, with 10 coverage with the silver, and 25 with the white reflector for more directed light.
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The silver-colored Softlight Reflector creates a narrow light spread for crisp beauty and fashion pictures, while at the same time providing soft shadow definition, thanks to its large reflecting area. It is especially suitable for lighting subjects where contours should be emphasized.
My favorite Profoto Light Shaping Tool has got to be the Softlight Reflector Silver. We always have it... the light that comes out of it is amazing. There's nothing else like it.
Tom Munoz
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Whether Im doing portraits or a beauty assignment, or a hair assignment, my Beauty Dish is there... I use the white most of the time. Its an incredible light... a great tool.
MATTHEW JORDAN SMITH
The Softlight Reflector White gives a softer, wider light spread for beauty and fashion images with a softer tone without sacrificing the directional quality of the light. It is especially suitable for lighting subjects where diffused, yet distinctive light is needed. Softlight Kit
901183
The Softlight Kit includes 1 Softlight Reflector White along with a 25 grid, to narrow the light when precise control is needed, and a diffuser, to create even softer light.
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I find myself using the Beauty Dish all the time because it creates a nice catch light in the eyes of your subjects. It's just a beautifullight. Jeremy Cowart
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PROFOTO UMBRELLA XL
xtra large umbrellas are useful Light Shaping Tools for portrait-, people- and fashion photography. They create a smooth yet distinctive light, which allows the user to illuminate an entire person or even small groups with just a single light source. Great specular highlights and sharp, snappy detail are also possible. Profoto's Umbrella XL has a diameter of 165 cm (65"), and fits onto all Profoto flash heads and monolights. An optional stand adapter is also available, which allows the photographer to mount the umbrella onto a light stand, or use it with former Profoto headsor even with products from other brands! All umbrellas come in a rugged transport bag.
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Profotos Umbrella XL Silver creates a hard light, perfect for lighting a large area with a crisp directional light. Whether in studio or on location, when shooting full-length portraiture of a group, the Profoto Umbrella XL is perfectly suited for the challenge. The parabolic shape, allowing the light distribution to be changed by simply sliding the shaft inside the flash head.
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The Umbrella XL Translucent creates a smooth, yet distinctive light. This is a shoot-through umbrella, and can give a softbox-effect, creating a soft light perfect for brides. The parabolic shape allows the light distribution to be changed by simply sliding the shaft inside the flash head.
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The Profoto Umbrella XL White is an ideal large beauty light for full-length portraiture and photographing groups. The white interior provides a smooth soft light complimentary to all skin tones, making it the perfect light shaper for every photographers lighting tool box.
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Profoto Giants
In conjunction with the Beauty Dish, I always use the 7ft Profoto Giant just to fill everything; light a whole room... Kareem Black
rofoto's 150 and 210 reflectors, often used with the photographer standing in front of the reflector, give you the unique combination of a soft light and still brilliant highlights. Very popular in fashion photography because of the quality of their light, they're also popular because they are easy to set up and dismantle. Both Profoto models offer four focusing positions of the head, from a kind of spot to flood fill. A special "spill kill" head adapter reduces stray light. Using optional diffusers the light can be softened further. Delivered with: Rigid stand attachment Two different extension poles Lamp holder Transport bag
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Excellent light source for portrait and fashion photography. Large reflector with 5-foot diameter for a soft, natural light in studio large enough to illuminate a person, yet compact and handy for easy transportation and set-up.
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Large white umbrella/reflector with a 7-foot diameter, resulting in a strong, but very soft light output. The low weight and easy handling makes the Giant White perfect for location work as well. A flexible and affordable Light Shaping Tool for portrait and beauty photography. There are four zooming positions, using two extra rods. A lightweight and convenient transport bag is included.
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Versatile reflector with 5-foot diameter to create brilliant light on location. This model is large enough to illuminate a whole person, but compact and handy for easy transportation and set-up. A must-have accessory.
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Profoto Umbrellas
ith their robust, solid construction and versatility, Profoto offers a number of different umbrella sizes and finishes, all designed in a robust and solid fashion. They are a must for every wedding and portrait photographer. These umbrellas are available in Small, Medium, and Large diameters 33.4", 41.3", and 51.1". The White Umbrella gives an even, diffused lighting effect with soft shadow definition. The closer to the subject the umbrella is placed, the softer the shadow will be. The Translucent Umbrella provides diffused lighting around a bright core. The lighting can be varied by changing its distance to the lamp head. The Silver Umbrella provides focused lighting, along with soft shadow definition. It is especially suitable for bringing out structural details in materials, or if a higher light output is needed.
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Disc Reflector
100654
Designed for use with an umbrella. It keeps light from spilling off the edges of the umbrella. Very compact design for easy carrying.
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he softbox is one of the most popular Light Shaping Tools. At first glance, its uncomplicated nature might trick you into thinking that all softboxes are the same. But as any experienced photographer will tell you, there can be a big difference between one softbox and another. RFi softboxes come in all sizes and shapes. To ensure full control for the photographer, they have a deeper shape, a recessed front, double-layered diffusers and a highly reflective silver interior. Optional accessories such as Softgrids and Stripmasks are available for even more precise light shaping. The RFi speedring adaptors make the RFi softboxes compatible with well over 20 different flash brands, ranging all the way from speedlights to high-end studio strobes. In short, an RFi softbox is not just a softbox. Its a Light ShapingTool.
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1. Choose the tool you need. Create the light you want. RFi softboxes come in twelve models and four shapes: rectangular, square, octagonal and strip. 2. Use your old flash brand in a brand new way. The speedring adaptors make the RFi softboxes compatible with well over 20 different flash brands. 3. Shape the light with precision. Optional accessories, such as the Softgrid, the Flat Front Diffuser and the StripMask, allow for even more precise light shaping. 4. Focus your energy where it is needed. Color-coded speedrings and Velcro attachments result in hassle-free assembly and disassembly. No tools or pre-assembly needed. 5. Experience the quality of light that Profoto is famous for. All RFi softboxes have double-layered diffusers. This creates a softer, more even light spread. The silver interior provides a higher output and a crispier character. 6. Stop worrying about your equipment. Each unit is hand-sewn with heat resistant, high-quality fabrics. Seam lines, edges and corner pockets are reinforced. 7. Explore the Light Shaping Tool system. All RFi softboxes are part of Profotos renowned Light Shaping Tool system with more than 120 unique tools to choose from.
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Extra-small softbox ideal for hand-held use on location or for lighting small objects or areas within a larger scene.
Small, compact size makes it ideal to use on location for portrait, wedding, editorial, and product photography.
The medium sized RFi 2x3' (60x90cm) is suitable for portrait, wedding, editorial and product photography.
60x60x47 cm. Can be used as a hairlight, fill light and for bringing out small details in portraits. (23.6x23.6x18.5 in)
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Suited to portrait and people photography, but also ideal over-head to draw out extra detail in shadows with a small, diffuse source.
Due to its small profile, this soft box is optimal for portrait, beauty and product photography.
This striplight is ideal for many situations, especially 3/4 and headshot portraiture. The exchangeable internal diffuser ensures extremely low light fall off.
Ideal to light a full length portrait without spilling light everywhere, hair lighting, and as a kicker light.
Ideal for people and portrait photography, optimal size for jobs on location. The octagon shaped softbox can be used as a key light for portraits since it is the most efficient use of light and has a natural fall off. 18.5" depth..
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SOFTGRIDS
RFi Softgrid 50 1x1,3'
254620
The RFi Softbox Kit includes 1 Softbox RFi 2x3', 1 Profoto Speedring for RFi, and 1 Softgrid 50. Creates a very soft light that is perfect for portraits and allows for precise light shaping.
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STRIPMASKS
RFi Stripmask 7 cm 1x3'
254632
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DIFFUSERS
RFi Flat Front Diffuser 1x1.3'
254635
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Choosing the Right Size of Softbox for the Right Job pg. 112
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Reflectors
Zoom Reflector
100785
he versatile and compact cornerstone of most Profoto owner's Light Shaping Tool collection is the newly redesigned Zoom Reflector. Why? In a word: versatility.
This standard reflector adds functionality to your lighting system without adding significant size, weight or cost. The unique Profoto head zooming feature incorporated into all Profoto heads allows you to slide the reflector forward and backward on the head. The result is nearly infinite control the spread of light and intensity over a wide range, which also can eliminate the need for additional reflectors or grids.
It is perfect for simulating direct sunlight in a small studio or for pumping a tremendous amount of light on a background. They also work well controlling any stray light when using a large umbrella or when bouncing light from a wall or ceiling. For even more control, add Profoto grids or barndoors to further shape the light. Find out for yourself why the Profoto Zoom Reflector is the most popular reflector we offer!
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Snoot
100651
Attachment for new Zoom and former Standard Zoom reflector to mount grids, filters and the Snoot (100651).
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Reflectors
Magnum Reflector
100624
The Magnum Reflector has long been regarded as the sunlight of the Profoto light shaping family. It provides strong, smooth light featuring maximum output with a normal beam spread. Employ this reflector to get direct light with high output and defined shadows. To achieve precise control over direction of the light, the Magnum can be supplemented by the ProTube, 10 Grid or Barn Doors. The crisp character and high output make this reflector very popular as fill-in light source against direct sunlight.
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The one I am in love with right now is the Profoto Magnum Reflector. The reason I love it is because it is so versatile. It can be narrow, it can be wide. Right now I'm really into a cold, sharp, light. I like that about it." Kareem Black
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Reflectors
WideZoom Reflector
100711
This reflector is very versatile with an angle of light from 40 to 70 degrees. It provides even illumination when used at short distances. The WideZoom reflector produces f/64 @ ISO 100 at 2 meters with a 2400 Ws generator. A more modern, zoomable version of the classic Magnum reflector. Excellent as a crisp, brilliant main light source to simulate or overpower the sun on location, or as a main light on a reception hall dance floor. This reflector features every even illumination with a fast fall-off. With the light characteristics of a wide angle and normal reflectorand everything in between. The WideZoom Reflector can be used in combination with umbrellas to reduce stray light as well.
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TeleZoom Reflector
100712
Direct light with maximum output even at large distances, this modifier can illuminate the entrance to a church on a cloudy day. Its a perfect accessory to get an even, but very effective light output over wide distances. Sharing its lighting characteristics with the Standard Zoom Reflector, this reflector is unique because the angle of light varies from 10 to 20 degrees. Even illumination and high light output add to its versatility. The TeleZoom accepts the same accessories like the Magnum and Narrow Beam Reflector.
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Reflectors
Disc Reflector
100654
The Profoto Disc Reflector is designed for use with an umbrella. It keeps light from spilling off the edges of the umbrella. Without an umbrella, it gives a low-lighting effect. Very compact design for easy carrying. Standard accessory to go along with AcuteB flash heads.
The NarrowBeam Travel Reflector gives one of the highest light outputs of all Profoto reflectors. Used on Profoto flash heads it great for the location photographer since it is compact, lightweight and produces a narrow spread of light.
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Gregory Heisler on Profoto Light Shaping Tools The other piece I love that I think is the unsung hero of the light shaping universe are the Narrow Beam Reflectors, and the travel one is smaller now. Those are unbelievably useful! They concentrate the light like a gridspot does, but they intensify the light." Greg Heisler
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Fresnel Small
100789
The Fresnel Spot projects a clean, crisp beam of light, similar to that of natural sunlight. Filters can be attached to the front of the Fresnel for additional lighting effects. A flash head can mount directly to it, without requiring an adapter, and is easily adjustable with its built-in iris control which adjusts the diameter of its projected beam and can also be used with all Profoto heads. This light shaper is excellent for location interiors.
The Fresnel Spot has built-in flashtube, which increases efficiency and gives 100% conformity of model and flash light for total light control. Active fan cooling allows continuous use, optional barn doors assist with controlling stray light, and rigid and stable construction allows heavy duty use.
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Spot Small
100790
ProGlobe w/Ring
100673
Ideal for creating theatrical lighting effects, the Spot Small projects a controllable, hard edged spotlight. This high-quality optical focusing spot can be used to project patterns or masked shapes onto your set. It attaches to any Profoto flash head and accepts M size (7 cm) gobos.
The ProGlobe gives a surrounding light, similar to a bare bulb effect or, if mounted high up, like a street lamp source. It can also be used as background lighting or placed underneath a photography table. Cinematographers call this a Chinese lantern. Its soft, bare bulb effect is perfect for quick location lighting. When used in combination with a softbox mounted around it, the ProGlobe creates very even light with soft shadows.
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When lighting reflective objects, often times the light sources themselves will show up in the shot. Therefore, the size and shape of the light sources become very important. What we want are highlights that accentuate the shape of the subject. For instance, if we are shooting bottles of wine, we want long and even highlights that follow the shape of the bottle. And for that we use softboxes. To create the main image (1) in this article, we used four softboxes: one Profoto RFi 2x3, one Profoto RFi 1x3, one Profoto RFi 1x4 and one Profoto RFi 1x1.3. The casual observer will not notice all these lights and the reason for this is, of course, that the highlights
follow the shape of the bottle. So how did we do that? Well, the first thing we did was to place the larger RFi 2x3 so that it creates a large, window-like highlight on the right-hand side of the bottles and the glass. The second image (2) shows the effect of this. The exact position of and distance to the softbox is very, very important. Move the softbox just a few inches and the highlight will change size! We then added the RFi 1x4, which is a strip softbox that creates a long and narrow reflection. As you can see in the third image (3), adding thicker highlights to one side and thinner to the other really helps add dimension to the bottles and the glass.
For the same reason, we added yet another, even thinner, light source to the left side: the RFi 1x3 equipped with a Profoto Stripmask. As you can see in the fourth image (4), we now have a very thin, almost white highlight running along the bottles and the glass. That is the Stripmask in action! Finally, we added a backlight. For this we used the RFi 1x1.3 equipped with a green gel to pick up the colors from the bottles. On a final note, it is also worth mentioning how even the light from the softboxes actually is. Just look at the highlights in our main image. If the light was even the slightest uneven, the highlights, which are simply reflections, would be uneven too. But they are not.
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