Search Results for: v-flat

V-Flat World, one of the more well-known companies that produces the large studio lighting modifiers known as v-flats, announced a series of "gobos" called Shadow Boards that mimic the look of sunlight through windows.

V-Flat World has launched a new series of 360-degree diffusion Light Cones for product photography in partnership with Karl Taylor. This new set of lighting modifiers may look like a dog cone of shame, but demonstrations show they work remarkably well to eliminate reflections.

I’ve used poly-boards, bounce-boards, and even white sheets and white walls as lighting modifiers to soften the light in the past, but arguably the quickest and most efficient way to instantly achieve beautifully soft light, is the V-Flat.

Having a portable V-Flat in your photography kit can provide a unique tool when creating images for your clients. A V-Flat can be used as a background or a tool to bounce or absorb light on your subject.

The V-flat is a common tool used by portrait photographers, but it has historically been a do-it-yourself product everyone builds for themselves. A new company called V-Flat World just changed that with the launch of its commercial foldable V-flats geared toward professional portrait photographers.

New York City-based editorial and commercial portrait photographer Felix Kunze says that the number one question he gets asked by people is how he makes his V-Flats for studio portraiture. He answers that question in the 8.5-minute video above, a step-by-step walkthrough of his build process.

Photographer Nick Fancher is the author of Studio Anywhere, a photographer's guide to shooting high-quality portraits in unconventional locations and with low-budget tools and materials.

As one of his latest projects, Fancher built a v-flat catchlight with interchangeable white shapes as a flexible tool for portraiture.

Portrait retouching can get overwhelming sometimes with the steps you need to take to make your shots look absolutely perfect. Maybe these steps aren't that hard, but they can definitely be very time-consuming, so finding any way to speed this process up to make better and more efficient use of your time is a high priority for every photographer. Using Luminar Neo to tackle these steps can make retouching a breeze using just a few tools and leveraging some of the Artificial Intelligence (AI) built into the application.

One of the biggest challenges for a photographer learning how to light with an off-camera flash isn't necessarily the type of lights they have but rather learning how to control it.

Creating an evenly lit background can be trickier than one would think, but is a skill that every photographer should master. But with the right equipment and knowledge, it gets much easier to capture a pure white, black, or colored gradient background in-camera without the need for heavy Photoshop cleanup in post.

Light shaping tools are very expensive. What if you could take any object and turn it into a modifier? That would save you a lot of money as well as give some unique results. In this article, I will share some everyday objects that you can turn into light modifiers to get different looks.

I'm photographer Jay P. Morgan from The Slanted Lens, and in this article and 10-minute video, we’re going to talk about my favorite lighting when it comes to lighting any kind of product: top back light.

Sometimes photographers may be in a situation where they only have a single light source at their disposal during a portrait session. The good news is there are many ways you can use a single light to create unique and dramatic looks for portrait work as Dima Metkin demonstrates.

Taking photos of white subjects on white backgrounds or black subjects on black backgrounds is a skill that requires photographers to skillfully bend light in various ways. Photographer Zach Sutton has shared tips on what works best in each scenario.

Photographer Andrew Parsons has shared a 6.5-minute video where he shows how he replicated the looks of four distinct fashion magazine covers. With clearly less budget and space, Parsons explains how the looks can be pretty faithfully recreated with a little know-how.

In this article and video, you’ll get five one-light studio setups, and we’re going to do it in less than 10 minutes. I’m using a Profoto A10 for this setup, but you can use any flash. I’m also going to limit our modifiers to just the basics, so we’ll mainly use an umbrella. For all of our setups, I’ll give you other options, regardless of what I’m using.

The purpose of a snoot is to take a light source and focus it down into a more defined point, but The Beyond Photography Show host Andrew explains in this 11-minute video that the physics of snoots makes them terrible at their job.

In this video and article, we’re going to work through some of the nuances of maternity portraits in regards to lighting and posing. If you’re interested in learning more about how to capture maternity portraits, be sure to check out the full workshop over at SLR Lounge.

NYC-based photographer Dani Diamond took a V-Flat and his portrait skills out to the Jersey Shore and shot fashion photos of complete strangers he ran into. You can see the project and results in this 6.5-minute video by AdoramaTV.

Photographer Miguel Quiles has created a quick, crash-course style video that explores the different types of backgrounds you can buy as a portrait photographer, and then explains why collapsible backgrounds might be the best option if you're just starting out.

Shooting with continuous lights can be the easiest thing in the world. Why? Because you can see exactly what the light is doing, where it’s placed, its intensity, and how it’s affecting your subject. In a way, I like to think of shooting with constant lights as a baby step to off-camera flash photography. They help you start to see how manipulating lights forms the image you’re creating, without the added element of calculating the flash burst with the ambient light exposure.

For my latest project, "we are the dead," I decided to build a room in which to shoot my pictures. I had absolutely no idea how to do this, but there were some facts I needed to consider.

Lighting two people can be difficult to do, so I’m going to use 5 portrait lighting positions to breakdown how to best light a couple.

I am a fan of light (honestly what photographer isn’t?). Hard light; reflected light; dappled light; low-key light; colored light -- I love it all. Light makes or breaks not only my images but my mood. I’d venture to say that light is sandwiched between “belonging” and “safety” on my hierarchical pyramid of needs.

If you don't have access to a full cyclorama wall or large studio, you're in luck. In this 2-minute video, I'll teach you how to create a pure white background and light the subject using a single light source.

For the last few beauty shoots I've done, I was asked to emulate the "Natural Glow Look". This is a pretty common look in photography today! We see it in campaigns of big makeup companies such as L'oreal, Estee Lauder, Revlon, and L'OREAL, ESTEE LAUDER, REVLON, & Neutrogena, just to name a few.

My name is Nick Fancher and I am a Columbus, Ohio-based commercial and portrait photographer. I specialize in lighting -- specifically with the use of small flash in unconventional locations.

My goal is to show that you can often create high-quality photos without using a conventional studio... and while using minimal, affordable gear. You just need to learn to make the most out of your environment!

When it comes to the quantity of lights that one needs, opinions are often heavily polarized and a hotly contested debate often rages. There are those that are staunch supporters of one light while others claim that a handful of lights are needed before anything meaningful can be done. Ultimately neither group is right as there is no definable minimum or maximum number of lights that one should use.

With the NBA Conference playoffs nearing completion and the Spurs already a lock for the Finals, I got a call from Brad Smith, the Director of Photography at Sports Illustrated, asking if I could quickly get to San Antonio.

Tim Duncan, Manu Ginobili, and Tony Parker rarely if ever pose together, but had reluctantly agreed to pose for an SI cover which would come out a couple of days later, to coincide with the beginning of the finals.