Here is another great example from Erika Gerdemark on how to work with natural light. The shadows and the low camera angle gives a dramatic expression to the photo.
Here is another great case studie in the series of natural light photography from Erika Gerdemark. The backlight gives a dreamy soft feeling that is suitable for wedding photography.
A good photographer must understand the light. Even when you shoot in natural light with no lighting equipment what so ever, you still should not just point and shoot. A trained eye will quickly identify the lighting possibilities provided by the surrounding environment. In this photo by Erika Gerdemark the darker forest behind the photographer will block some light, while the ocean in the background will reflect some light. Erika is also playing with the light by using the models them self. By letting some light slip over the grooms shoulder and light up the eye of the bride, Erika adds that extra magic and makes this scene exceptionally beautiful.
Wedding photographer Erika Gerdemark is very skilled when it comes to natural light photography. She is here using two walls to shape the light. The first wall is particially used as a black flag to control the direct light, and the other wall is used to bounce light on the model.
Magnus Svensson took some great promo photos for the band Amy’s Ashes, and gives you an exciting portrait lighting setup with a bright shiny look n feel. Shooting against the light this way gives you those prominent vivid flares. There are two beauty dishes from the back, and one big softbox a bit to the right from the camera.
Magnus Svensson is back with another funky fresh lighting setup. The key light is a ringlight wich gives the very characteristic light and maybe most of all, a characteristic shadow if the model stands close to the background. There is also one stripbox on each side that gives the reflection in the glossy outfit.
When doing bigger/wider lighting setups, the distances grow and ordinary soft boxes and such doesnt work since they become relatively small and creates harsh shadows. Then its great to use really BIG diffusors.
In this image we wrapped the whole exterior of the building in milky white plastic to get the huge windows like this. To get the correct depth of light from outside the window, the flash needs to be far away, thus demands alot of power. I think we used a twin head and two 2400Ws generators for the outside flash. Inside I had a strip light (without fabric) from the left shooting through a big diffusion screen. To the right there was a silver reflector that bounced back the light from a gridded flash. The reason why I bounced it was because I needed the extra depth of light one get when using long distances.
This image is a pure tribute to the classic crying-images by Jill Greenberg. This is really showing the crisp and contrasty light of the beloved Profoto Giant (the huge umbrella). From the back, I use two strip lights and a hair light on a boom stand to create a “kicker” all around her silhouette. One gridded light on the black background (turns blue when white balancing to get nice skin tones). Just below the model there is a squared silver reflector (I hate round ones!) to give the classic extra lower clam-shellish-spark to the eye to give some feeling of “wet eyes”… To eliminate all unwanted indirect lightning, I used big black book ends to really push the contrast by lowering the levels in the shadows.
Visit photographer David Bicho for more great inspiration.