wparsonsgisnet Posted July 28, 2008 Share #1 Posted July 28, 2008 Advertisement (gone after registration) There have been some postings about using flash off-camera, and Sean participated in those threads. He has now written a most interesting essay on off-camera flash -- where he discusses his use of wrist straps in some detail. This is a technique that I am trying to utilize, so his article is timely for me. Needless to say, the article is concise and informative. No surprises there. Link to post Share on other sites More sharing options...
Advertisement Posted July 28, 2008 Posted July 28, 2008 Hi wparsonsgisnet, Take a look here New essay from ReidReviews -- on off-camera flash. I'm sure you'll find what you were looking for!
sean_reid Posted July 28, 2008 Share #2 Posted July 28, 2008 Thanks Bill. I'm glad it was useful. Cheers, Sean Link to post Share on other sites More sharing options...
johnwolf Posted July 29, 2008 Share #3 Posted July 29, 2008 Agree, Bill. As usual, Sean takes the topic beyond the conventional perspective and makes flash another creative tool, rather than something you are forced to use sometimes. He mentions a couple movies with noteworthy lighting. I just watched "The Other Boleyn Girl." Besides being an absolutely gripping film, it has some of the most beautiful classical portrait lighting I've see in a movie. John Link to post Share on other sites More sharing options...
sean_reid Posted July 29, 2008 Share #4 Posted July 29, 2008 Agree, Bill. As usual, Sean takes the topic beyond the conventional perspective and makes flash another creative tool, rather than something you are forced to use sometimes. He mentions a couple movies with noteworthy lighting. I just watched "The Other Boleyn Girl." Besides being an absolutely gripping film, it has some of the most beautiful classical portrait lighting I've see in a movie. John Thanks very much John. I'm glad that you got us on the topic of lighting in films. I recently watched that movie and I agree that it was very well lit. I'd love to see us discussing films and other art on this forum more often. That kind of discussion could do more for one's work that the various kinds of arguments that seem to be regularly dominate forums, esp. this one of late. When I get the DVD in my hands again, I want to add some stills from the "Grapes of Wrath" to it as illustrations. The other film I should have mentioned in the article is Ford's "How Green Was My Valley". Cheers, Sean Link to post Share on other sites More sharing options...
rwchisholm Posted July 30, 2008 Share #5 Posted July 30, 2008 I always find it amusing when people begrudge other people for "doing things." Someone doesn't like Sean's site because, well, Sean is putting it out there and the begrudger didn't do it himself? Who knows. For many of us who are not "professional photographers," (and I suspect for many who are professionals) the information/evaluations provided by Sean on Voigtlander lenses alone is pure gold. Sean consistently writes informative and engaging articles that obviously take a great deal of time -- time away from his business ventures and his family. While he charges a minimal fee for use, I seriously doubt it is any cash cow. So, I suspect that he does it because he loves photography and wants to share his knowledge with the rest of us. Thank you very much Link to post Share on other sites More sharing options...
sean_reid Posted July 30, 2008 Share #6 Posted July 30, 2008 Thanks Robert. Cheers, Sean Link to post Share on other sites More sharing options...
SMF Posted August 4, 2008 Share #7 Posted August 4, 2008 Advertisement (gone after registration) Sean - Another very interesting article - I'd been thinking about how Vermeer used 'directional' lighting for a while, but had never thought about how flash might be used to similar effect. When are you going to add the next instalment to the B&W / Colour article? Stephen Link to post Share on other sites More sharing options...
sean_reid Posted August 4, 2008 Share #8 Posted August 4, 2008 Hi Stephen, Thanks. That's really interesting that you had already been thinking about Vermeer and lighting. Did I mention a "Part Two" to the color/bw article? I'd have to reread it to remember. Cheers, Sean Link to post Share on other sites More sharing options...
SMF Posted August 5, 2008 Share #9 Posted August 5, 2008 Sean - Apologies, I've just looked back at the BW/Colour article. I was sure that it had said that it was going to be one of a series - maybe I was just hoping that it would be! Over the years I've flipped constantly between BW and colour. I'd like to say that that was a result of deliberate artistic choices, but .... Anyway, what I think I've realised is that I tend to make better pictures when I think about the colour/BW choice up-front. Actually, I think I do better when I concentrate on either colour or BW exclusively for a particular picture-making session. And my colour photos have moved forward once I started to learn more about colour (e.g. through the Schapiro book on Cezanne, Itten's Interaction of Color, looking at Stephen Shore's and Eggleston's books, etc.). So, if you were going to write more on this topic, I'd definitely be interested! On Vermeer, I've been fascinated for many years by his 'window' portraits, as I've long wanted to do a project (at my office) photographing people working at their desks illuminated by the large windows we have. I've never got round to doing this - part embarassment(!) and part because I haven't figured out how to make the lighting work - your discussion of the difference in the front-to-back transition from light to dark and vice versa has given me some more to think about. I'd also visualised the pictures in BW (but really without having thought this through properly). Sorry, completely OT. Stephen Link to post Share on other sites More sharing options...
sean_reid Posted August 5, 2008 Share #10 Posted August 5, 2008 Sean - Apologies, I've just looked back at the BW/Colour article. I was sure that it had said that it was going to be one of a series - maybe I was just hoping that it would be! Over the years I've flipped constantly between BW and colour. I'd like to say that that was a result of deliberate artistic choices, but .... Anyway, what I think I've realised is that I tend to make better pictures when I think about the colour/BW choice up-front. Actually, I think I do better when I concentrate on either colour or BW exclusively for a particular picture-making session. And my colour photos have moved forward once I started to learn more about colour (e.g. through the Schapiro book on Cezanne, Itten's Interaction of Color, looking at Stephen Shore's and Eggleston's books, etc.). So, if you were going to write more on this topic, I'd definitely be interested! On Vermeer, I've been fascinated for many years by his 'window' portraits, as I've long wanted to do a project (at my office) photographing people working at their desks illuminated by the large windows we have. I've never got round to doing this - part embarassment(!) and part because I haven't figured out how to make the lighting work - your discussion of the difference in the front-to-back transition from light to dark and vice versa has given me some more to think about. I'd also visualised the pictures in BW (but really without having thought this through properly). Sorry, completely OT. Stephen Hi Stephen, I'm glad that you liked it enough to want to read more. I'm not sure if I know much more about that subject than I wrote there but if at some point I realize there's more that I should discuss, I'll come back to the topic. I agree that knowing what kind of picture (color or BW) one is making can be important from the start. I like the idea about the portraits inspired by Vermeer. Cheers, Sean Link to post Share on other sites More sharing options...
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