Profoto Tag

Imagine you are going to take a portrait of a friend, family member or client. Looking at your current kit, you might already be able to take a good photo, but how do you make your shots stand out from the competition? To put it in plain simple English, you will need to increase your accessories game. Levelling up your lens and lighting choice can help produce some stunning results. This article will explain what an ultimate setup for portrait photography looks like and how you can add specific items that will enhance what you do. For The Best Results, Use a Class Leading Camera Like Sony's a7R IV.   First of all, if you're looking for a professional camera body to deliver outstanding portrait photos, look no further than the Sony a7R IV digital mirrorless camera. A favourite choice amongst professional and commercial photographers, the Sony's 61MP Full-Frame Exmor R BSI CMOS Sensor pairs with its BIONZ X Image Processor. You'll achieve exceptional quality without missing a beat thanks to 567-point Phase-Detection Autofocus and the ability to capture up to 10 frames per...

Are you sick of taking food photos with your smartphone? Do you want to step up your game and get serious with food photography? We have the best starter kit for food photography at Camera Electronic. Our kit brings you all the essential elements for professional quality food photography. What's more, this kit is compact and lightweight, meaning you can set it up in a restaurant or at home. Plus, if you intend to go pro and start taking food photography for a living, this is the article for you. The Fujifilm and Profoto products we have selected will deliver top-notch product shots.      Food photography is a growing industry with a lot of interest in the genre - especially in a world that is fast-moving online with grocery and meal delivery services. The days of the humble pizza menu have succumbed to an increasing range of food photography expectations. Fast food delivery services now cover everything from fish and chips and beer to snack runs from the local convenience store.  And now we see the rise in prepared meal services arriving at...

Okay, let's cut to the punchline straight away. I want one of these. If you are a photographer who shoots weddings, shows, portraits, fashion, or editorial, you want one - or two - as well. Stefan Gosatti does all these things and he's just had a chance to test out the new Profoto B10 over the last few days. He's rapt with them, his pictures prove that they work like a locomotive, and he's spending some of his own money to buy some. He showed us how it all works last night at the Northbridge Hotel - courtesy of Camera Electronic and CR Kennedy. The unit has the classic Profoto mount and controls in a body the size of a large soup can. The style has the sort of Scandinavian slickness that we used to see with B&O and Sonab.  There's a classic Profoto glass diffuser on the front and the large illuminated LCD panel at the back. The lump on the side's the lithium-ion battery. The light stand mount on the bottom is detachable - there is provision to swing any of...

I am a little restricted this week in my typing, being reduced to the right hand and two fingers of the left one - there has been a slight accident in the Little Workshop* and it will be several weeks before the bandages come off. There may be some typographical errors in the meantime. I shall therefore use the facilities of Science and Industry and the spare time of convalescence to answer some questions that have arisen recently. To start with - how good are the portable LED light banks that have been flooding the market? How much light do they actually put out in comparison to other sources? What is the colour temperature of it? What is the spread of the light? Are they a viable alternative to flash? To determine the answers I have brought four different product off the shelf and tried them against a standard studio monolight and a speed light flash. The trials were done at night in the same studio environment that normally sees dancers or toy airplanes - in this case it is the slightly more...

This post is pretty much a cut and paste copy of one I wrote for my own photography blog. I don't normlly plagiarize myself but the whole thing worked out so well that think it can help other people. Here goes:   For years I've been flashing in public. Never arrested for it, I'm proud to say, and in many cases paid good money to do it. It is one of the job advantages of being an event photographer. Of course I flash in the studio too, but no-one ever takes any notice. At the dance shows I cover - the Middle Eastern-flavoured haflas - there is always a good deal of wild colour in the costumes and makeup. The venues are less bright, however, and in some cases the lighting rigs are unbalanced. I've discovered that flash illumination is a good way to overcome this, and I have purchased portable speed lights for my various cameras. These got smaller and more sophisticated as time went by and are little computer powerhouses now. A recent failure of the new flash, however, left me in...

I love photo lights. From the simplest wind-up pocket flashlight to the most expensive studio power pack and heads, I think they are just great. Because I have a simple philosophy when it comes to images - things look better if you can actually see what they are. Those of you who deal in mystery, darkness, underexposure, and lack of focus are welcome to it - I want light on the subject. So I use monolight strobes in the studio and speedlights in the field. Elinchrom and Fujifilm respectively. The former are perfect as they are fed from the mains power and recycle almost instantly. They have massive power and any number of light modifier reflectors and softboxes. They are fully adjustable by simple means - slider controls in the back of the heads and simply moving them back and forth on their studio stands. There are modelling lights to suggest what the actual flash is going to do. ( Though like all suggestions they are open to suspicion...

You must never let me alone with photographic equipment that I haven't seen before. The temptation to paw over it, twist every control, open every flap is overwhelming. I suspect it is the same for other people who are enthusiastic about photography - like kids in a toy store we must just touch and feel everything. We're lucky we don't set fire to more things than we do...

If you've been following the series this week on reflectors in the studio, you'll probably wonder what we have that second head in the two-head Profoto or Elinchrom set. Well this when - when you need to throw fill light in from a distance and you can't get a reflector to do it. Or when you need to flood a subject with light entirely. I won't go into lighting rations for several reasons: a. I don't understand them. After 1:2 the only rule of thumb I know is buckle my shoe...

I got older early in life. One of the benefits of this was I discovered that I did not know it all. And that I could get into a rut. And then I figured out that you could listen around the edges and read the next page and pick up ideas. They might not have been good ideas, but at least they put you in a new rut instead of the old one. Thus my new studio routine was born. I instituted it after reading Steve Sint's book on product photography. Sint is a commercial shooter in New York who does weddings and products. He publishes through the Pixiq company at present thought some of his work is by other publishers. He writes well, and amusingly, and had never put me wrong. I can't do all the things he does, but whenever I do something he recommends, it works. He does, as I say, tabletop shoots. That is what product illustration and some concept shooting amounts to. Also what catalogue shooting really is but no-one ever admits it. The difference between what Mr. Sint...