2

Photography Lighting Secrets - Michael Allen Photography

67 Pages · 2014 · 3.24 MB · English

  • Photography Lighting Secrets - Michael Allen Photography

    By Michael Allen


    Photography


    Lighting Secrets


    Simple Techniques for - Available light,


    Natural Light, Halo Light, Off Camera Flash


    Techniques, Studio Flash, Hot Lighting


    and Reflective Bounce Lighting


    To Inspire Photographers Canon 5dII with a 24-105mm lens at f4


    ISO 800 shutter speed 1/60 th using an ND Filter


    and this is a screen capture from video


    www.michaelallenphotography.com


    My Office on the Lake Publishing


    Printed in the United States of America


    Copyright 2014 by Michael Allen Photography


    www.michaelallenphotography.com


    1 Photography


    Lighting Secrets


    Simple Techniques for - Available light,


    Natural Light, Halo Light, Off Camera Flash


    Techniques, Studio Flash, Hot Lighting


    and Reflective Bounce Lighting


    To Inspire Photographers


    2 A note of inspiration from Michael


    I’ve had a passion for photography since I was a little kid. My first camera was a Polaroid, and it was


    pretty much just an automatic camera. I made the jump to a vintage Highland Pentax 35mm film


    camera, and used that camera for many years. I moved from being the yearbook photographer in


    high school, to working in a camera store for several years while attending college. I took as many


    photography classes as I could, but my college did not offer very many courses in photography.


    I got my “masters degree” in photography by working in studios and learning hands on. I worked


    in studios, assisted other photographers, and tried to keep up with other photographers with little


    professional training. Back when I was starting out, photographers did not share any of their secrets,


    finding any behind the scenes books and video was impossible, egos of the photography world


    had the attitude that if you did not have a good portfolio, then you simply could not be a profes-


    sional photographer. Trying to learn and improve your portfolio was very hard.


    I did not let that stop me, I kept working in the industry, and continued to learn and grow, I had a


    small fan club, so that kept me going to improve my talent. Along the way I also got involved in


    video and film production, so I was exposed to lots of professional work. I just did not know how to


    take it to a new level. The only option was to move to a major city like New York or Hollywood, and


    I was young, married with children and pretty much locked into my life. For a few years I got away


    from professional photography and had to work at a corporate job to make a living.


    Over the years I started a small business with my wife, a hair salon. We did not have any big plans


    other than to trek out on our own and start a small business. It just so happened that the beauty in-


    dustry was smack dab center of the fashion world. I began submitting fashion photos to the industry


    magazines, then book publishers began to take notice, and all of the sudden I was being published


    around the world on a regular basis. Magazines would call for photos, ad agencies would pick up


    my work, and our own business began producing ads in magazines like ELLE and Town & Country


    Magazine. That started me back in my own commercial photography business, and led me into all


    kinds of photography and video projects. I would also get asked to shoot weddings, and I began


    shooting for friends and families that I knew.


    My passion for photography was reborn, and I wanted to take my career to the next level, even


    though I thought I’d pretty much reached the place I wanted to be, I wanted more, so I started


    going to WPPI in Las Vegas. Every year that I went, I was surrounded by thousands of professionals,


    and was inspired beyond my imagination. It was also a bit of an ego buster, these photographers


    were all really good, and very successful. I did not let that intimidate me, and I dug in even further


    with my learning, and began to upgrade all my older camera gear, especially my lenses. I did not


    know how valuable a great set of lenses could be, and how much better my photography be-


    came. In just a few years span, digital photography was born, and I put my old film cameras away


    and embraced the new technology.


    I continue to shoot weddings along with my commercial photography, and have successfully


    grown my business. I made a decision to keep my business small, keeping my customer service


    manageable, and continue to attract some amazing clients every day. It has been a blast and I


    love every minute of it. It is so amazing to do something that you love as a career.


    This little book will teach you how to find the light, look for halo lighting, and how to mimic natural


    light. I hope my little book inspires you, and if you want more information, I have another book writ-


    ten just for wedding photographers. Thanks so much for taking the time to pick this up and read it.


    4 Cover Photo


    This photo was taken at Nottoway Plantation right outside


    of New Orleans on a shoot for Southern Bride Magazine.


    Camera: Canon 5dII with a Canon 50mm 1.4 lens shot at


    F2 ISO 800 and 1/125th shutter speed. The light was simply


    ambient light from the room which was painted all white


    from floor to ceiling.


    Photo By Michael Allen


    5 About the Author


    Michael Allen is a professional photographer, filmmak-


    er, speaker and author based in Memphis Tennessee


    where he lives with his family.


    Michael’s business and photography skills have kept


    him busy in the beauty industry, Michael helped his


    his wife Janice run a highly successful salon and spa


    business, where he used his photography to promote


    their business, winning them award after award as


    one of the Top 200 salons in America. Today his wife


    is an award winning hairstylist and frequently travels


    with him working on editorial magazine shoots.


    His fashion photography has been featured in maga-


    zines around the world inspiring millions of salons and


    their customers since 1990. Michael began photo-


    graphing weddings professionally in 2003, and has


    been published on wedding blogs and magazines


    such as Emmaline Bride, The Knot, Southern Bride, Bor-


    rowed and Blue, Southern Wedding News, Epic Love


    Stories, Colin Cowie Weddings and more.


    Michael is also an editorial photographer and writer


    for Southern Bride Magazine, and has traveled all


    over the South, from Florida to New Orleans, and to


    such destinations as Mexico. His wedding photogra-


    phy style is beautiful, compelling and keeps his studio


    booked year round with weddings.


    Michael’s commercial photography projects have


    also attracted a lot of attention, he shoots for major


    companies such as Walmart Soundcheck, photo-


    graphing such celebrity music stars as Lauren Alaina,


    Dierks Bentley, and more. He has recently worked on


    a major shoot with Conde Naste for GQ magazine as


    an assistant photographer for Sebastion Kim featur-


    ing Justin Timbelake. One of his recent portrait clients


    includes Leigh Anne Tuohy from the film “Blind Side”.


    He’s also an award winning film maker shooting for


    major corporations and indie studios across the coun-


    try.


    At the end of the day, Michael simply loves photog-


    raphy, and his goal is to share what he’s learned over


    the years to help inspire other photographers.


    6 Canon 5dII with a 50mm lens at f1.2


    ISO 800 shutter speed 1/1000 th using available


    light and Noise Reduction NIK Filters


    www.michaelallenphotography.com


    7 TABLE OF CONTENTS


    Chapter One


    Commercial Editorial & Wedding Styles


    Shooting in ambient light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10


    Shooting in full sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13


    Shooting in full sunlight with flash softbox. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15


    Shooting with hot lights and flash backlight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17


    Shooting with hot lights only . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19


    Shooting with studio flash with last sun ambient backlight. . . . . . . . . . . . . . . . . . . . . . . 21


    Shooting with full sun & studio flash fill light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23


    Shooting with all natural daylight in ambient daylight reflected . . . . . . . . . . . . . . . . . . 25


    Shooting with all natural daylight in full shade reflective ambient light. . . . . . . . . . . . . 27


    Shooting with all natural daylight in full shade afternoon . . . . . . . . . . . . . . . . . . . . . . . . 29


    Shooting with all natural daylight in full morning sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31


    Shooting at night indoors with portable radio trigger speedlites . . . . . . . . . . . . . . . . . . 33


    Chapter Two


    Photography Gear For Professionals


    What is the best gear to use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35


    Getting the shot right in the camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37


    Camera Composition and Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39


    Camera Composition and Focusing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41


    Chapter Three


    Difficult Lighting Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43


    Natural Light and Finding The Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45


    Basic Studio Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47


    Studio Design and Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49


    Storing Your Gear Properly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51


    Understanding ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53


    Our Favorite Lighting Gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 57


    Legends and Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 59


    Our Lighting Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61


    A Few of Our Favorite Headshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63


    8 9


    Please note: To fully download this free PDF,EBook files you need know All free.
    Found by internet command,site not saved pdf file
You May Also Like

Related PPT Template in the same category.