Photo Shoot Tips And Tricks – He decided to spend the rest of his days following his passion for painting – he was not wasting money. He joined 500px, moved to a bigger studio, and began experimenting with high-speed dance photography.
To see more of his work, be sure to follow him on 500px, visit his profile, or check out more of his work on this 500px.
Photo Shoot Tips And Tricks
My father, now deceased, was a lifelong artist who drew passionately and introduced me and my siblings to a love of creativity at a young age. He often told us that sleep was a problem that prevented him from using his creative energy every time he woke up. I have spent my entire life building businesses and I have come to realize that all of my financial success is largely due to this contagious process.
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I first became interested in dance photography 12 years ago at a workshop with Lois Greenfield. We had the opportunity to watch the dance being filmed at high speed and projected on the big screen. From that day on, I was drawn to the movement of photography, especially the beauty of dance movements. You can view his amazing work here.
Unfortunately, business interests at the time prevented me from picking up the camera again until recently. Now, at the age of 59, I have decided to spend every day in photography and to continue learning and taking pictures – money has to be spent. My current goal is to create a history of “movements” that will one day attract more attention.
By now I have moved to a bigger studio and after daily experimentation I have found that powder is an effective tool for improving dance speed. I couldn’t be happier in this environment, I decided to create something special every day.
In my life, fast dance photography means capturing dance moves at 1/2000th of a second or better. Ideally, this is NOT done using the camera, but on the units themselves. Although this can be done with the camera’s high speed settings, it is difficult to get the flash to align properly at these speeds.
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It captures movements and facial expressions at high speed with a unique dynamic quality. There is also a strange, unexpected property of unmixed white powder; frozen in mid-air increases a wide range of motion and creates beautiful images if done well.
Special high-speed powder work quality. This is with a 135 lens, 100 camera speed, 11 aperture and two units firing simultaneously at 1/2000th of a second.
Although shooting powder indoors is very powerful, shooting this type outside during the day or night can be a good way to get a feel for this type of photography. This process can be made easier if you choose a location that has two important characteristics: it should be large, easy to clean, and lit by natural light or flash.
In this shot, my daughter (and my favorite model) is 10 feet tall against a background of black muslin.
Tips And Tricks Before A Photoshoot
Through trial and error, I discovered that you can create a black background almost anywhere by specifying the units judiciously. Hold the light button (or the back at a 45 degree angle) and Voila!
Ideally, you can cover your base with a black tarp (see image above) or backdrop. I have found that the cheap and rough Prism products work well for me. These have a ¾ rod pocket that makes it easy to attach to the back rack. I hang mine with simple clothespins.
Although this shot can be hand held, I prefer to use a tripod. This provides a stable platform from which to shoot subsequently. I use a Canon Mk3 with a 135 or 85mm lens. These lenses tend to give me things I feel good about. I recommend any 50mm or larger lens.
Unfortunately, the longer the lens, the more space you need. Another option is to use a shorter lens and/or shoot something that isn’t full body.
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I use the same lighting and setup for almost all of my powder shots. Until a few years ago, high speed units were very expensive. I was lucky enough to find a Broncolor graphite flash pack (used) on eBay and it was a steal at $2000. After much research and comparison, I found the new Einstein units from Paul C. Buff to be very reasonably priced and provide consistent color light that can be controlled remotely. I bought a few of these and got the same results as the Broncolor.
Want to dig deeper? Here is an informative video comparing high speed flashes that I found very interesting.
I usually use two Einsteins at 1/2000 second at default resolution of 5600k. This gives me enough light to shoot at f11. One is in a beautiful 22-inch dish with a 30-inch honeycomb grid about 15 feet from the center of the floor. The other is in a 36-inch softbox with a grid about 10 from center.
I light the beautiful bowl at about f11 and the soft box at about f9 as fill. This lamp gives a really impressive look. Remember that it is important that all dancing takes place behind the center line and usually with the subject’s face facing one of the lights. If you forget this step, you can create unnecessary shadows.
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If you don’t have a high speed unit, try existing units and/or use one or more units on the camera. This will flash faster – but you’ll need to open the camera wider.
I find that my most successful and satisfying images come from a collaborative effort between me (the photographer) and my subject or model. Before each shoot, we have time to think about our goals with my subject. During filming, we continue to work together to improve each shot (see collaboration section below).
For this connection to occur, the photographer must move away from the camera using the remote shutter release and release the flash. There are many dividers available and I’ve tried a few, including Pocket Wizards (highly rated).
I found the Yongnuo units to be comfortable, reliable, and affordable for only $30. I really like these little units because they use standard A batteries, appear to work remotely, and fit easily in my hand. It also accepts a small piece of Paul C Buff for the artist who wants a seamless system.
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Another tool I can’t photograph without is the highly praised CamRanger, a tool that creates a Wi-Fi network and flashes every photo to your phone, tablet or computer.
It allows you to change many camera settings. While none of these things are essential, I’ve found them to be important elements that promote unity, resulting in powerful images.
I’ve found that my best shots come from a workplace where my people feel like they have a big part to play in the process. In my opinion, subjects who need constant guidance and who do not want to participate in experiments are not suitable. I often interact with my subjects by standing next to them during the shoot. I can distinguish myself from my camera with remote start buttons and a wireless system that allows us to see almost any shot in real time on the screen.
Since most of my shoots last around two hours and I take a lot of pictures, I find that each subject needs to be well rounded to be consistent. Most importantly, since we are involved in the creation of these images, it is important that the subject gives 100% to the process and enjoys every shot. I always make sure to update and play their favorite music. In my opinion, a fun, stimulating class is essential for good results. All this helps to free the subject, bring out the best and fully integrate it into the design process.
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You can’t tell, but here (left) I’m working on one of my tutorials and flashing the shutter and remote. Handling blinds at the right time is important and requires some experimentation.
I have found that a relaxed head (especially a regular dancer’s) naturally creates movements that are natural and unique if they can be sustained. We tend to get there by hand or
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