Joe Farace

Sort By: Post Date | Title | Publish Date
Filed under
Joe Farace Posted: Feb 01, 2001 0 comments

One of the reasons purists often refer to black and white prints as "monochrome" is that it's a much more precise term that also covers prints made in sepia and other tones. One of the advantages of working with monochromatic digital...

Filed under
Joe Farace Posted: Feb 01, 2006 0 comments

"The mystery isn't in the technique, it's in each of us."
--Harry Callahan

How much does color add to--or take away from--a photograph? Rarely do you get a chance to see a body of work that's identical in color and monochrome but Jorge Tutor (www.jorgetutor.com)...

Filed under
Joe Farace Posted: May 01, 2007 0 comments

"There can be as much value in the blink of an eye as in months of rational analysis."--Malcolm Gladwell

The 2006 Ig Nobel Prize in mathematics (www.improb.com /ig/ig-pastwinners.html) was awarded to Dr. Piers Barnes and Ms. Nic Svenson of Australia's Commonwealth Scientific...

Filed under
Joe Farace Posted: Jun 01, 2007 0 comments

"Don't let's spoil everything, we've only just met."--David Hemmings in Michelangelo Antonioni's film Blow-Up

Since back in the days when a 3-megapixel camera was as good as it got, making big ones out of little ones has been a goal of digital photographers. Along the way this desire to create big prints from small files led to the...

Filed under
Joe Farace Posted: Nov 18, 2011 Published: Oct 01, 2011 0 comments
Gene Kelly had an umbrella while dancing to “Singin’ in the Rain” but he didn’t use it much, preferring instead to get wet. Photographic umbrellas won’t keep you dry but are the simplest to use and most inexpensive form of lighting modifier available, and that makes them the most popular as well. These umbrellas look and act like the kind of umbrella that keeps “raindrops from falling on your head” except that in a studio lighting situation they are usually reflective and light is bounced into them, creating a big, soft light source that’s directed toward the subject. Sometimes an umbrella is covered with translucent material and instead of mounting the umbrella so light is bounced into it, a light is fired through it, turning it into a direct source. While some light is lost shooting through an umbrella, it produces more direct light, and since more light is being directed at the subject it gives you the ability to shoot at a smaller aperture than when bounced into the umbrella. If you compare the apertures produced in the illustrations you’ll see what I mean.
Filed under
Joe Farace Posted: Oct 01, 2003 0 comments

The Bowens 9Lite is designed specifically for digital photography and gets its name from the nine fluorescent pigtail tubes that screw into its main housing. Like Bowens Tri-Lite (see sidebar "Photographing Small Products") these are cold hot lights and each lamp head contains nine...

Filed under
Joe Farace Posted: Jan 01, 2001 0 comments

Like many professionals, my first studio lights were from Bowens. My original lights were the black 800B models that proved to be indestructible over the almost 20 years that I used them. The new Bowens line of monolights appear just...

Joe Farace Posted: Oct 15, 2013 Published: Sep 01, 2013 0 comments
Mary and I have fond memories of using early generation Bowens monolights; they were our first really “good” lighting system when we set up our studio in 1982. We loved shooting with those big, black, paint-can-shaped 800B monolights because they were inexpensive, dependable, and powerful. From what I can tell from my tests of their two-light Gemini 400Rx Kit that continues to be the case.
Joe Farace Posted: Mar 11, 2014 Published: Jan 01, 2014 0 comments
These days it seems that using LED lighting systems for studio portraiture is like puppies and kittens—everybody loves them, and why not? All you need to do is turn on an LED light panel and shoot, right? While there’s obviously more to it than that, the WYSIWYG nature of LED lighting is especially helpful for new or aspiring pros who want to get up and running quickly or in applications where the lighting needs to be consistent so lots of portraits can be made in a short amount of time, something event photographers will take to heart. With that in mind I recently tested Bowens’ Mosaic LED light panels (#1). Originally developed for film and video use, they are available in models designed for mounting on traditional light stands for portraiture, so I put them to work in my home studio.
Filed under
Joe Farace Posted: Oct 01, 2004 0 comments

Photos © 2004, Joe Farace, All Rights Reserved

OK, I'll be the first one to admit that I'm a klutz. I like to work with long lenses (an 85mm lens is short to me) and am constantly backing up into whatever boyfriend, husband, or hanger-on that models feel...

Pages

X
Enter your Shutterbug username.
Enter the password that accompanies your username.
Loading