A Thanksgiving Weekend Class for the Strobist Flickr Group
While you were busy digesting turkey and watching football this weekend, you may have missed Brad Trent* (at left, photo by Kazuhito Sakuma) dropping into the Strobist Flickr group to answer lighting Q's about controlling contrast. Definitely worth a read. As mentioned before, Brad not only includes lighting setup shots in his portfolio, but blogs about his shoots frequently at Damn Ugly Photography.
That's worth a read, too.
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*I ran into Brad in person at PhotoPlus Expo in NYC last month. Funny thing, that amped-up Brad Trent Light® seemed to follow him around wherever he went. Kinda like the Mona Lisa appearing to stare directly at you no matter where you stand…
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Posted at 12:00 AM.
3 Comments:
Sometimes people say that a particular light modifier just have more "oomph" than others without knowing why. That got me curious... and I realized one of the variables in these observations is the contrast a modifier produces.
It's nice how light keep us curious all the time. One would think that an umbrella produces that look and "that's it". Actually that's not true, and it's fun to know about its multiple uses, such as emulating a beauty dish for instance.
Contrast is a cool thing to study, and by Brad Trent awesome response on the Flickr group, there's lot to experiment for quite some time :)
I always want to know about the post on shots like this. I have had comments back when I've posted this type of question-- about highpass, but the specifics (or lack thereof) never leave me with a similar look. I have been following Dave and Strobist for a long time now, so, I truly believe I know how to light. I can reverse engineer this shot to death; no sweat. But the post process is what makes these shots (and others on Brad's blog) sing. Anyone have the step by step on this to get me close? I'd love to hear it! (thanks)
I would like to know more about how to light for different post work. I hear everyone talk about "picking lighting for what would be done in post" but never the why.
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