Below are some examples of the lighting setups that I have found whilst trawling the internet. I think they are a very useful starting point for me when thinking about the different lighting setups that I may need both in the studio and on location. I have also purchased a book '50 Lighting Setups for Portrait Photographers' by Steven H. Begleiter.

Using these resources will allow me to create some of my own lighting plans and hopefully when I show them to Steve he will say I'm on the right track.

The body in motion - sport

Taken from 'Photography' by John Ingedew

Sport features the human body in motion and at speed - running, kicking, leaping, catching, rowing, swimming, diving, riding, throwing, hitting, bowling and batting. The whole human experience can be encapsulated in a sporting event; the entire spectrum of emotions - from the exhilaration of winning to tears of defeat - occurs in front of the photographer.

What is a Portrait?

Taken from 'Photography' by John Ingledew

A portrait attempts to express the character of a person and pin down the sitter in the hierarchy of their world, socially and physically, showing status, authority and significance. A portrait offers insight into a person beyond the details of appearance, revealing unknown sides of his or her character or showing a fresh perspective on someone we know well.

To create a portrait you need more than someone just standing in front of your camera. Having someone framed in the viewfinder and clicking the shutter doesn't mean you've taken a portrait of that person. the result is often just a composition or a likeness revealing little other than features, location and outfit - though history can add weight to these images as places change, clothes become dated or the person famous.

many things stand in the way of creating a portrait When being photographed, most people have a self-awareness about the presence of the camera and present a habitual expression and pose to the lens that they know will look satisfactory. Despite our best efforts, though, it is impossible not to betray some small clues to our true identity in our expression and body language.

To take a portrait the photographer must somehow search and penetrate beyond a sitter's guard. The photographer Eve Arnold said that the portrait photographer should 'get into the soul of the person'.

What do you need to be a photographer?

Taken from 'Photography' by John Ingledew

Knowledge
Study the medium. Know where it has come from and where it is now, and have opinions about it's future directions.
Embrace new technologies as photography develops constantly. Be familiar with all of photography's tools. Knowing how to control lighting, focus, colour, contrast and quality is essential.

Vision and curiosity
Be curious and take a delight in looking at and trying to make sense of the world.

Fresh eyes
Find a fresh approach to looking at the world. In order to be successful, your pictures should be stamped with your own unique vision so that they are immediately recognisable as your own.

Creatively and imagination
Be very creative and imaginative. You need to be original and to have great ideas.

Risk-taking
Constantly try new things and push your work in new directions.

Passion
Have a passion for your work, for people, society and culture, and a passion for the next assignment.

Resourcefulness
Be resourceful and have a spirit of improvisation so that you get the result you want, no matter what the circumstances.

Energy and optimism
Go above and beyond what is asked for and see your ideas through to completion.

Good communication
Learn to express your ideas verbally in order to involve other people in your projects and in order to be able to discuss and promote your skills.

Luck and persistence
Be in the right place at the right time, with your camera and portfolio. Take your opportunities.

My Comments

Having read this I'd like to think that I tick off a lot of the items mentioned above and have taken to carry a camera of one sort or the other with at all times, just on the off chance that the award winning photo presents itself.

The only areas that I feel less confidence about and find myself questioning what I am either doing or thinking is the areas like - CREATIVE; IMAGINATIVE; FRESH EYES AND RISK TAKING. As I am taking my photography more serious now I find it difficult sometimes to take risks (for fear of failure) and find myself doubting if I'm looking at an idea with fresh eyes in a creative and imaginative way or am I just remember someone else's work I have viewed recently and therefore duplicating someone else's excellent idea. I'm rational enough to realise that these are feelings of insecurity on my behalf. I just hope that these types of feelings are reduced as my experience grows or that I'm brave enough to follow my instincts, shoot the shots I want to and then evaluate them honestly in the editing process.
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What makes a great photograph?

Taken from 'Photography' by John Ingledew

Photographs can be more than just a composition on a piece of photographic paper or yet another image in a newspaper or magazine. Great pictures make a person or event live in front of us and offer an intense experience to the viewer. Great pictures speak for themselves. They are loaded with emotion and a sense of history. They jolt us at once and each time we look at them. They have the ability to connect with new audiences.

'A great image will somehow have encoded in it things that mean a great deal to a lot of people personally. It is able to speak to them all individually.'
Sandro Sodano, photography.

My Thoughts

To me a great photograph is one that draws the viewer in and then captures their interest whilst their looking at it. That photo then leaves the viewer asking questions about the subject or wanting to know more (or hopefully leave the viewer wanting to see more photos by that photographer)

In my limited experience the photos that I enjoying viewing are ones that are simple in there construction by make me want to find more examples that the photographer has taken. Those are the types of photo i would like to tae - engaging, though provoking pictures that people enjoy viewing and talking about.

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Middle of the Night Inspiration

Woke up this morning at 3:30 am with an idea for my final portfolio which I need to discuss with Steve. My idea is to still focus on sport portraiture but do a constrasting photo of the person in there working environment. A kind of work and play shoot. I like the idea that all the photos will be taking in their sporting outfits though but will see what Steve thinks and google some examples tonight at College. Any one else have thoughts they'd be greatly received.


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Thursday Evening Class 18/3/2010

Just had a discussion with Steve about my ideas and how the work of Robert Seale is inspiring my thought processes. He liked my ideas but highlighted that the lighting of my subjects on location could be challenging. We discussed having a studio session to practise the different lighting techniques I would need to use, also using the portable kit from the college so I can easily duplicate the techniques learnt in the studio on location.

The biggest thing that Steve said I need to go away and work on now is drawing up plans of the shots I want to take including lighting, position of the subject, time of day, location etc. So I am going to choose some of the shots from professionals like Robert Seale and then look at designing a plan to help me duplicate what I was seen.

Steve stressed that the planning is crucial to complete a successful location shoot so that's what I am going to do.

Bowens Pulsar Radio Trigger and Receiver

This multifunctional device can be used to trigger flash units, film and digital cameras and light meters up to 100m.
Because it uses radio transmission, rather than IR, it allows for triggering around corners, through walls and is not affected by high ambient light situations.
Choose from four individual channel and six studio selectors, each providing a unique ID for a different flash device or combine them to trigger all equipment within a given setup or studio.
Pulsar also features a hot-shoe mount, sync in and sync out terminals, a ready indicator, a test button and an external power option.
Because of its low-voltage operation, it is perfect for digital cameras.
Each unit can be used as either a transmitter or receiver and is powered by just two AAA batteries.

Canon EF 24-105mm f4L IS USM

Features

L-series optics
Lightweight 4.3x zoom
f/4 through zoom range
3-stop Image Stabilizer
Super UD and aspheric lens elements
Fast auto focus
Super Spectra coatings
Circular aperture provides pleasing background blur
Soft case and lens hood


The professional's lightweight standard zoom.



L-series quality
The EF 24-105mm f/4L IS USM incorporates Canon's highest standards of precision optics. The L-series is Canon's flagship professional lens range, combining outstanding image performance and ultimate operability with dust and moisture resistant construction.

Lightweight
Weighing just 670g, the EF 24-105mm f/4L IS USM offers 4.3x zoom in a lightweight body.

Fixed aperture
With no change in aperture over the full focal length range, photographers can set exposure at the widest aperture and zoom through to 105mm without slowing shutter speed.

Image Stabilizer
The EF 24-105mm f/4L IS USM features Canon's 3-stop Image Stabilizer (IS). Ideal for handheld work, IS allows use of shutter speeds up to 3-stops slower with no perceptible increase in image blur.

Super UD and aspherical lens elements
The lens incorporates a Super UD (ultra-low dispersion) glass element to eliminate secondary chromatic aberrations and aspherical lens elements to correct spherical aberrations. The result is crisp, high contrast, undistorted images throughout the entire zoom range without colour fringing at subject outlines.

Auto focus
A ring USM (Ultrasonic motor) uses ultrasonic frequency vibrations to drive responsive, near-silent high speed auto focus. Good holding torque stops the focusing lens group with precision without overshoot. Full time manual focus override is available without having to switch out of AF. Minimum focus distance is 0.45m throughout the zoom range.

Super Spectra coatings
Optimised Super Spectra lens coatings and lens element shaping suppress flare and ghosting - more prone to occur with digital cameras due to reflection off the image sensor. Coatings also help achieve true colour balance and increase contrast for vivid hi-fidelity images.

Pleasing background blur
An almost perfectly circular barrel aperture helps to create an even and attractive background blur.

Accessories
A petal shaped hood and soft case are included.




* The above SRP is Canon's Suggested Retail Price including VAT, prices may vary from high street stores.

Canon 5D Camera

The full frame 12.8 Megapixel EOS 5D. Discreet enough to avoid attention, with resolution enough to keep the toughest picture editors happy. Travel light without compromise.


Features

12.8 MP full frame CMOS sensor
3 fps 60 JPEG image burst
9-point AF with 6 Assist AF points
2.5" LCD
Picture Style image processing
DIGIC II
Records RAW/JPEG images
Digital Photo Professional software
Compact magnesium alloy body
Connectivity options

Bowens Esprit 1000

The Esprit 1000 is a powerful head designed for commercial/industrial photography and larger portrait studios (eg. large family groups). Power is variable down to 1/32 and the power-to-weight ratio is good for the location photographer. Amongst the features of this unit are the brighter halogen modelling lamp fitting, fan cooling and an audible bleep indicating that recycling has been completed.

Features

Sync Voltage - 15V DC
Weight (g) - 4500
Voltage Stabilisation - to 1%
Flash Power Variation - Full to 1/32
Flash Duration - 1/1500 sec
User Replaceable Flash Tube - Yes
Audible Recharge Confirmation - Yes
Colour Temperature - 5600K (+/- 300K)
Recycle Time - 2.3 secs
Supply Voltage - 190-250V (50Hz)
Flash Ready Light - Yes
Dimensions (WxHxD)mm - 170mm x 125mm x 450mm
Built in Slave Cell - Yes
Stored Energy - 1000w/s
Guide No. (at ISO 100/m) - 120
Model Lamp Variability - Full to 1/32
Stepless Power Variation - Yes

Bowens Esprit 500 Studio Flash

Bowens Esprit 500 Monolight

The most popular unit in the range, the 500 offers enough power for the larger portrait studio as well as the smaller commercial studio. Not only does it give a good level of power at the top end, but output can be reduced to 1/32 -power, offering the photographer a power range covering six f/stop positions. The slave cell is switchable and an audible beep indicates that the unit has recharged to 100% power. Improved ventilation makes this an exceptionally rugged performer. The Esprit 500 has the same dimensions as the 250 and is only marginally heavier. With its improved recycling times and excellent flash duration, the latest version of this popular and versatile flash unit remains an undisputed favorite around the world.

The Esprit monobloc line is the foundation of the Bowen flash family. It represents a successful evolution of four decades of monobloc excellence and development and, in that tradition, still provides the best value available in high-quality, low-cost lighting for the professional photographer. The Esprit line consists of five monoblocs. Each is a self-contained flash, incorporating variable-power controls, a choice of modeling lamp modes, a built-in photo-cell slave and an adjustable mounting bracket all in a single, compact unit convenient for location and studio work alike.

Esprit operating controls are easy to understand and simple to use with large rotary dials controlling the output levels of flash and modeling power. For consistency and your peace of mind, all Bowens units feature an indicator light when ready to fire at 100%of their selected power. They are also designed with user-replaceable flash tubes for your convenience. Modeling lamps can be set to indicate when flash has fired and recharging is complete.

As with the entire Bowens system, Esprit monoblocs are compatible with one of the world's most diverse selections of reflector systems and light control accessories. This fact alone makes the Esprit system one of the safest investments you can make in your photographic future. It's a system you will never outgrow.

Features
User replaceable flashtube.
UV coated tube giving 5600K output (+/- 300K).
Bowens "S" bayonet accessory fitting.
190-250v AC50Hz operating voltage.
15v sync voltage.
Welded steel body with glass-loaded, polyester end moldings.

Specifications
Power (Watt Seconds) 500Ws
Guide Number 82m/292' @ ISO 100
Flash Duration t=0.5 1/700 sec
Power Control Full to 1/32
Recycling Time 1s
Fan Cooled No
Modeling Lamp 275w Photoflood or 250w Halo star
Voltage 190-250v AC50Hz
Built-In Slave Yes
User replaceable flashtube Yes
Dimensions 6.7" x 5" x 14.25" (17 x 12.5 x 36.2 cm)
Weight 3.4kg/7.65 lbs.

Studio Shoot - Referee Poses

Location

Studio at Burton College, Second Floor of The New Learning Centre

Equipment

Canon 5D Camera

Canon Zoom Lens EF 24-105mm

Bowens Pulsar Remote Trigger and Receiver

Bowens Esprit 500 Studio Flash x 3 with soft boxes

Bowens Esprit 1000 with open dish reflector

Sony Alpha 200 Camera

Studio Florescent Lights

White Background

Lighting Set Up

Please see the separate blog on the lighting set up used on this shoot

Comments

These are some of the images from Robert Seale's website that inspired the ideas for the shoot I completed this evening. The main things I like about Robert's photos is their simplicity. There is no gimmicks or fancy backgrounds, he has just used lighting and focus to illustrate the athletes in creative ways. I feel it is in the simplicity of his shots that make they so effective. I like the way the HIGH KEY shots show the athlete only without any distracting backgrounds. I have guessed what kind of lighting he has used to show the key areas of the athlete and will try and duplicate this style of photography.

After trawling the Internet I wasn't able to find any good photo shots of English referees so I decided that I would call in my friend who is a professional referee to try and take a series of shots that show the well known poses that referees and assistant referees use during a game. I was going to use HIGH KEY method of lighting to make the referee stand out from the background.

The shoot didn't start well because after checking my kit during the day I had forgotten to repack my hot shoe converter that allows my Sony unique hot shoe a standard one. This simple mistake meant that I had to use the college camera, a Canon 5D, instead of my Sony Alpha 200. This may not sound too bad as I was using a better camera than my own but I know all, well most of the short cuts and ins and outs of my Sony whereas I only know how to do the very basics with the 5D. I know enough to complete the shoot. The big lesson I will take away from the beginning of this session is that to check and check again my kit (perhaps designing a photo shoot check list is the way to go).

After playing around with the power settings of the flashes I found the balance I was looking for and starting my shoot. My model was really patient with me which helped as I was trying to get to grips with a strange camera and we were able to try a wide range of poses. As this was my first studio shoot I decided to try shooting from different angles and heights to see what results I could come up with. I also decided to vary the depth of field so that key parts of the model were in focus whilst blurring the rest. I thought the best options for this would be the end of the flags, the red and yellow cards as he was holding them out to an imaginary player.

At the end of the shoot I wasn't happy with the depth of field some of the shots were giving me due to the aperture on the lens so I turned on the studio lights and took some shots with the Sony Alpha 200 with my 50mm portrait lens and dropped the aperture down to 1.8 so that only the points nearest the camera were in focus.

Overall, I feel that the shoot went really well and hopefully the end results will reflect this. I think I learnt a lot during this shoot and I am looking forward to improving my use of lighting in my next one.

To view the shots taken with the Canon please click HERE or to see the shots taken with the Sony please click HERE.

Technique Demontration at The Flash Centre Stand, Focus on Imaging

Whilst looking around the Focus on Imaging exhibition at the NEC with John we came upon the Flash Centre Stand where there was a demontration on setting up and using quick lighting solutions using flashguns.

It was amazing to see how in just a few minutes, slowly adding extra flashes the demonstrator produced professional quality shots. What fascinated me most was how simple the set up was and he didn't use studio flash lights, just highly portable flash guns. What I also appreciated was how he built up the scenario which made it easier to follow as well as knowing what can achieved if you only have 1, 2 or 3 lights.

He also showed how to use a cheap white umbrella with your flashgun to diffuse the light effective. He also explained that using the flash in manual gives the user much greater control over the lighting, something that echoes what Steve has been saying about shooting in manual with our cameras.

I learnt that putting the umbrella closer to the model gives a better lighting over the face, using a light behind the model with a (see Steve) attached aimed at the models hair will help seperate them from the background as well as highlighting the hair. He used the last flashgun to light the background to further help separate the model from the background. Another thing that fascinated me was that when he applied a blue gel to the flashgun aimed at the background and fired it the black background turned blue. I bought a set of gels from them and will look forward to seeing the different effects the various colours have on the background.

I can't wait to get in the studio to practise this set up as it produced some amazing results.

NEC Exhibition

Had a good day at the Focus on Imagary Exhibition and not only did I manage to pick up some bargains but also managed to see a couple of informative demonstrations.

Will write more when I get chance to log on via my laptop.


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My First Studio Shoot

For tonights shoot I will be using my Sony Alpha 200 but all the other equipment will be that of the colleges studio. I am a little apprehensive I have never used a studio before and want to get some good shots to take away. Although I have experience of using multi lights this will be the first time I have used multiple studio lights so I am hoping that I am able to get the correct exposures.

I am using a professional referee as my model and I am using the work of Robert Seale as my inspiration. To see the work of Robert Seale please click HERE.

Discussions with Steve

Had a talk with Steve at last Thursday college session about how to achieve my final prints. Was good to discuss with someone else my ideas and show Steve some of the professional photographers prints that are inspiring my work.

We decided that I would book the studio this coming week and bring in a model and do some experimental shots in a similar style to those photographers whose work I liked. Steve would assist me in setting up the studio in the correct way to achieve my the goal of the shoot.

Came away from the session more confident that I'd be able to achieve the kinds of shots that I wanted to.