Those who want to practice the technique of using off-camera flash or simply want to create a successful photography concept to boost their portfolio should consider practicing the arrangement with themselves as topic.
Using an off-camera flash (OCF) for the uninitiated is often a very scary prospect. It was definitely for me while I was studying. The pressure of doing it efficiently and smoothly with an audience (especially paying customers) can be enormous when dealing with process intricacies. You can reduce this in your learning phase by practicing as the subject. Even someone with experience using off-camera flash and flash can benefit from this routine if they are planning a concept shoot with professional talent to make sure they get it right. point when the day came, having overcome many pre-existing technical challenges while going at their own pace instead of feeling rushed.
I soon realized that using artificial light for my portrait and commercial work was how I could really stand out from my local contemporaries. At the time, a number of local photographers were using the OCF workflow, and most specifically marketed themselves as strictly natural light photographers. Not wanting to limit myself in such a way, and wanting to stand out from the crowd, I immediately started the process of investing in OCF equipment and learning how to use it through books and free online education. I didn’t find any scarcity in the documentation, but the techniques and mechanics of OCF have things that confuse beginners and I quickly realized this is what I’m going to do. have to practice a lot.
So what have I done was thought out? Every day I have to practice a new shooting idea and make my own subject. Using a tripod and 10-second timer, wireless remote control or smartphone camera app, one can perform thoughtful and calculated testing of OCF shooting concepts themselves in a non-stressful situation. The camera app option is probably the best option if your camera brand has an app that is reliable and allows you to adjust camera settings remotely and see through the lens from your phone. . You can shoot, go back and take a few more shots to get the right shot without anyone pressing on your neck, which is well worth the inconvenience of moving back and forth to adjust the lights or camera and go back. put in the picture again.
This practice allowed me to easily learn how micro-adjustments to light direction and distance affect the photo. It allowed me to gradually become adept at adding to my dimmers. It allows me to try every little hunch and theory I have without the pressure of time and performance. In my opinion, this kind of unfettered and uninterrupted creative learning is one of the best things you can do for your portrait photography. It certainly paid off for me. My ultimate (and now standard) use of OCF in my client’s work did exactly what I suspected – it made my work stand out from others. When I say “striking”, I don’t mean better, I just mean the difference, although I believe that using OCF ultimately allows you to go beyond the limits of a photo that would otherwise only be Shoot with available light.
Once, I was stuck inside a hangar with vintage cars while waiting for the rain to stop so I could shoot an episode of a TV documentary. Instead of scrolling through social media, I continued to spend the next four hours placing four speedlights in different positions to create a dynamically lit scene. Each time I fired up the 10 second timer and experimented with the optimal arrangement until I was satisfied with the footage I took, keeping in mind how each change affected my final result. . These four hours have resulted in a tremendous increase in the knowledge I have gained about how a dimly lit environment can transform into something spectacular with the correct application of light. introduce.
More recently, I’ve been subjecting myself to a test run for a general shooting concept that I plan to use in an upcoming workshop I’m hosting on off-camera flash workflow. mine. I wanted to prepare a shoot concept to allow my workshop attendees to apply the techniques I teach them, and since I am also presenting a professional model for the shoot, I wanted to engrave Fix the flaws in the idea so that it doesn’t happen when the day comes. This time, my friend and photographer, Cory Madsen, helped me through the process so I could skip the tedious 10-second timer. By the end of the night, I was pleased with how smoothly the actual shoot went, and I really liked the results of the test run.
Working under high pressure is the fate of any professional portrait photographer, and anxiety can come from unexpected technical challenges, possibly major speed bumps along the way. to a successful shoot. However, by using yourself as a subject of practice, not only will you improve your proficiency in using OCF, but you will also have the added bonus of a better overall view of the experience. your statue. This allows you to better connect, contact and communicate with them. It really makes you a better photographer from both sides of the lens at the same time.
