Night Portraits Using Off Camera Flash

Since purchasing my Lastolite softbox a few weeks ago I have been researching the best way to put it to use while shooting with off camera flash and practicing techniques on balancing off camera flash exposure with existing ambient light. I decided a shoot involving night portraits would work best. 

EQUIPMENT 

It is important to first understand that when using off camera flash you will need some kind of wireless transmitter. I use the Pocket Wizard Flex TT5 transceiver on the flash end with the Canon 580EXii, and the Mini TT1 to transmit that signal from the camera. Pocket Wizard makes these for both Canon and Nikon brand cameras. As mentioned, I recently purchased a Lastolite softbox to increase the quality of the light from the flash. This will help get away from the hard light "paparazzi look" by making the light from your off camera flash softer by diffusing and increasing the size of your light source. 

LOCATION

The location I wanted, needed to provide some interesting lighting and different options for backgrounds. This really meant I wanted some good quality ambient light to balance with the off camera flash since, after all that is most important to interesting night portraits.  So as I searched the database of locations in my mind, I realized I had been to a place that fits this description perfectly.  It was Disney's Boardwalk hotel and resort that met my requirements. 

THE PROCESS

As the models, my assistant, and I arrived at the location the sun had almost completely set. This was of no concern to me since I didn't need it to accomplish my goal for the evening. Which by the way, was to get a hand full of quality shots to justify my purchase of the off camera flash and lastolite softbox.

Below you can see one of the shots that I felt worked best with what I was trying to achieve.  As Faith sits on a park bench she is backlit by the lights across the lake. These were underexposed by 2/3 of a stop and then my off camera flash was set to manual where I adjusted the exposure so that she would be properly exposed in order to set her apart from the background. The Lastolite softbox rig was set up to the right of the camera at a 45 degree angle. 

 © Andrew Prescott/Faith Smith

Luckily,  I was able to get a few more pleasing shots before being approached by resort security who asked if I had permission for a "professional photo shoot" on the premises. This immediately took my focus off of the pictures I was taking and the direction I was giving. Apparently all photos that are taken with an off camera flash or softbox are deemed professional. I explained that we were all students and that there was no money to be made from the photographs being taken. This would end up buying us a few more minutes before the next interaction including a similar complaint.
Although I was flattered that so many people thought I was a professional, I was also aggravated in realizing this wouldn't stop. By now, with the feeling I had achieved my goal, we were ready to appease security. So we left in time to catch the nights fireworks display.

A reverse angle from the first picture.
You can see the last bit of remaining sunlight create a
nice glow as it fades behind the buildings in the distance.
 © Andrew Prescott/Faith Smith

To avoid going into a long tangent about how I felt the needless pressure by Disney to leave that night and remain focus on the pictures themselves, I will just state my disappointment for being unable to make better use of the trip by getting more quality night portraits.

So, I will chalk it up to a lesson learned about the importance of finding information on rules and regulations of locations beforehand. Especially if you are going to use equipment like an off camera flash with a softbox. This will make you more efficient once you are on location, and will certainly help with the way you are viewed by the people you are working with. Thankfully, Faith, Amanda and Ryan were a pleasure to work with and all very understanding of the situation.

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Interview with Gore FX Founder Michael Gore

    As I continue to practice my personal photography and strive to gain more knowledge about the business behind it, opportunities to learn from those in similar freelance fields often present themselves. So with  Halloween quickly approaching, I found it only appropriate to incorporate a lesson from someone who practices haunts and horrors on a regular basis.  

     Today I had the chance to talk with Michael Gore, owner of Gore FX, a makeup and special effects company based in Orlando, FL.     

Michael works on a prop from the new independent horror feature Blood Widow.

      Michael and I sat down to discuss the importance of negotiation in freelance fields and the criteria he uses to make deals when he is offered a job. Although he has a rapidly growing resume he remains humble and admits that his decisions to take certain positions are still influenced by the status of those doing the offering. As with all freelancers, it certainly makes it easier to negotiate salary when the job is with a well known company who will not only provide a decent pay check, but networking opportunities and some great experience along the way. By working for employers of a higher status it validates his skills and helps him to better his position in deals with prospective employers who might be looking to take advantage of his talent. So contrary to the logic of those who aren't freelancers, jobs with these larger, more prestigious companies will sometimes be taken at a lower salary due to artists finding value in making a name for themselves among them.