Recently I had an opportunity to test Profoto’s D1 monolight and their HR Softbox 1.5x3. To check out the combo the company sent along a Profoto D1 Air Kit that includes two D1 monolights, stands, umbrellas, and a case. I did not have the Air Remote to control the units from camera position.
The Sigma 85mm f/1.4 EX DG HSM lens (average price: $969 on various Internet sites) is designed for full-frame cameras; with an APS-C multiply by your usual factor. At about 25 oz, I’d describe the lens as substantial, but not hefty. One of the reasons for the weight is the build—11 elements in eight groups, including the use of SLD glass, Sigma speak for Special Low Dispersion. The big chunk of glass on the end requires a 77mm filter. As to handling, Sigma has gone from their black “crinkle” finish to a smooth black rubberized finish that feels great to the touch. It’s plastic, not metal, but based on my experience with previous Sigma lenses, I’ve found them to be built to professional standards and can take a lot of abuse.
The Litepanels MicroPro Hybrid does double duty as both a constant light source and a flash. The light itself is made of black plastic and is fairly small, at 5.5x3.75x1.5”, and weighs only about a pound when you include the mounting bracket and six AA batteries (standard or rechargeable, and there is an optional AC adapter available). The top has a knurled knob to turn things on and acts as a dimmer so you can control output in stepless fashion. Vents are located around all sides. The battery door, flash ready light, flash sync, and input for the optional power adapter are all located on the back. The bottom is threaded so you can attach it to a light stand or to the (included) nicely made aluminum ball joint with a bottom end that slides into your camera’s shoe mount. Also included is a very short PC cord to be used when using the flash mode, plus there are warming, diffusion, and tungsten conversion filters that snap in easily over the front panel. All this fits into a nicely padded zippered bag.
Judging by the popularity of facial retouching software, there seem to be a lot of people out there who want to make their subjects look like they just arrived off a private jet from Monte Carlo. And they want to do it fast, and not get bogged down with little technicalities like learning how to use Photoshop. So, is it possible to just press a button and instantly have a complexion that looks like J.Lo after an hour in the makeup chair? Well, that’s what we’re here to find out, so let’s take a look.
First, let’s take a look at what we have. Perfect Portrait is one of six products that combined give you onOne Software’s Perfect Photo Suite 6. You can buy the whole bundle or you can buy just the individual products that you like. And while I’m not going to address the other products here, let me just add kudos to onOne for using the same interface for each product, something you’d think would be automatic with software suites but sadly is not.
Sometimes we forget about all the factors that go into lighting a portrait. We might focus on the direction of that beautiful window light, the color of the fleeting sunset, the dim light in a church or that wall of light created by sun light bouncing off a building. Gaining skill in lighting means taking all four factors into consideration with each photo you take.
Photographers all have their favorite light modifiers. Some like umbrellas, some softboxes, others parabolics, and then there’s the beauty dish, which seems to be a combination of a softbox and a parabolic. For those not familiar with the beauty dish, it’s a round but narrow modifier that you attach to your light. Think of it as a parabolic reflector painted white inside and flattened. If you stopped there, and you could, you’d have a pretty harsh light that makes a well-defined circular pattern with distinct shadows. But there is another little modification that makes a very big difference and also softens the light considerably while still maintaining that circular pattern. There is a bulb cover or center bounce dish that blocks the direct light from the flash and bounces it back into the dish. When used this way, the light output sits midway between a softbox and a parabolic.
Let me tell you about my first experience with a Vagabond Mini. I was teaching one of my lighting workshops, using a flash unit with its battery pack. The light and battery pack were a kit I’d purchased as a combo. We’d been shooting a while and the battery pack was almost dead when one of the other photographers there told me he had a Vagabond Mini in the car. We unhooked my dead battery, and using the AC power cord from the flash unit, proceeded to just plug in to the Mini and keep on shooting! And shooting, and shooting… You see, this thing really supplies a lot of flashes and can be used with many flash units. But let’s start at the beginning…
High school senior photography has changed dramatically in the last few years. With looser yearbook standards and the ability to see what you get with digital cameras, many photographers who previously did major business in the senior market are now seeing sharp declines. With this in mind, I decided to ask four of the top names in the business about how they maintain a strong presence in the senior market. All have their own style and way of doing things and all are exceptional photographers.
The Aurora Orion light kit arrived on my doorstep at the busiest time of the year for me. At the end of the summer I take hundreds of high school seniors and thousands of “one shot” photos of the underclass students at high schools. So while it has taken me a while to get around to writing the report, I have used these lights to take thousands of pictures, and I was really glad to have a light kit that I could just pick up and walk out the door with and have all I needed in one really nice travel bag.
Like most professional portrait photographers, I use Photoshop every day. Yet, because Adobe Photoshop is such a powerful program with so many tools available, it also comes with a significant learning curve. And when it comes to facial retouching, there are several tasks involved that do not always make Photoshop the best choice for everyone, especially those who want to do the job and move on.