download issue 112783
TRANSCRIPT
-
7/25/2019 Download Issue 112783
1/128
THE PROFOTO ADVANTAGE:
for PortraitPhotographers
Lighting Ingredients / David BichoChallenge: Profoto D1 vs. Speedlights
Getting the Shot / Dixie Dixon
Composite Like A Superhero / Andrew McGibbon
Anatomy of a Portrait / Tony Corbell
-
7/25/2019 Download Issue 112783
2/128
-
7/25/2019 Download Issue 112783
3/128
02 LIGHTING INGREDIENTSWITH DAVID BICHO
14 CHALLENGE:PROFOTO D1 VS. SPEEDLIGHTS
30 PROFOTO D1
46 BATPAC
48 GETTING THE SHOTWITH DIXIE DIXON
56 ACUTEB2 AIRS
60 HOW TO CREATE A SUPERHERO-ESQUEMOVIE POSTER IN LESS THAN TWO
HOURS WITH ANDREW MCGIBBON
66 AIR REMOTE
68 ANATOMY OF A PORTRAITWITH TONY CORBELL
74 LIGHT SHAPING TOOLS
SOFTLIGHT REFLECTORS 74
PROFOTO UMBRELLA XL 80
PROFOTO GIANTS 84
PROFOTO UMBRELLAS 88
PROFOTO RFI SOFTBOXES 90
REFLECTORS 100
SPECIAL APPLICATIONS LIGHT
SHAPING TOOLS 108
-
7/25/2019 Download Issue 112783
4/128
110 RFI SOFTBOX TIPS AND TRICKS
CHOOSING THE RIGHT SIZE OF
SOFTBOX FOR THE RIGHT JOB 112
BUILDING YOUR SET, SOFTBOX
BY SOFTBOX 114
USING SOFTBOXES TO CREATE
A PERFECTLY EVEN, WHITE
BACKGROUND 116
CREATING HARD LIGHT WITHA SOFTBOX 118
CREATING LONG AND EVEN
HIGHLIGHTS WITH SOFTBOXES 120
CREATING A GIANT RING LIGHT
WITH SOFTBOXES 122
124 READ MORE AND JOINTHE CONVERSATION
Cont
ents
-
7/25/2019 Download Issue 112783
5/128
2
LightingIngredients
with David BichoSwedish photographer and lighting guru
David Bicho is a man of many ideas. One
of his recent ideas was to shoot a model
covered in food ingredients oil, salt, flour,
cocoa and licorice, to name just a few.
Why, you might ask?
It wasnt about the food, says David. The
real reason was that I wanted to shoot one
face but with different textures. Ive always
been fascinated with how different a face
can look depending on how you light it, and I
wanted to explore this phenomenon further by
experimenting with different facial textures.
As with most experiments, David did not know
exactly what to expect. For instance, he soon
learned that oil and salt do not mix very well.
Instead, what was supposed to become a
beautiful, crystal texture ended up looking like
a skin disease. Ingredients such as flour, cocoa
and licorice, on the other hand, turned out even
better than he had hoped for.
Obviously applying flour, cocoa or licorice
creates very different textures. Still, if we
look at the portraits David shot, he evidently
managed to maintain a consistent look and fee
throughout the entire series.
So how did he do that? The short answer is:
with lighting...
-
7/25/2019 Download Issue 112783
6/128
-
7/25/2019 Download Issue 112783
7/128
LICORICE SHOT
When you cover a face in licorice, it
gets shiny. Very shiny. And very shiny
surfaces are very reflective. This
deceptively simple fact was the starting-point for
Davids licorice lighting setup.
I wanted a large light source for the licorice shot,
says David. A large light source equals large and
beautiful reflections that accentuate the shape of
the face. For this reason, I choose to work with a
D1 monolight and a Profoto Giant 240 Reflector as
main light. The Giant Reflector, which is something
of a favorite of mine, is standing camera left, quite
close to the model.
I then had a second D1, equipped with a Softbox
1x6 RFi, standing camera right behind the model.
The softbox was equipped with a blue color gel to
create blue reflections and to enhance the green
glitter the make-up artist had applied.
Finally, I had a third D1, equipped with a 10 Gridand blue color gel, as background light. Thats
the light that is visible on the left hand side of the
background, behind the models face.
In addition to the monolights, I had a large foam
core board lying on a table in front of the model.
LICORICE SHOT DAVID BICHO
-
7/25/2019 Download Issue 112783
8/128
-
7/25/2019 Download Issue 112783
9/128
6
The foam core board was used to lighten up
the shadows around the models chin, forehead
and nose.
Finally, the black flags were also crucial. The
shiny licorice reflected every single light source in
the studio, so it was just as important to flag off
light as it was to add light. I believe I had eightflags in total: three on each side of the shooting
area, and another two right behind the model. You
can actually see one flag in the image. You see
that large black area on the right hand side of the
background? Thats a flag.
THE ACCIDENTAL LICORICE SHOT
As mentioned above, some things went as plannedand some did not. Besides that, there were a
couple of occasions when things happened almost
by accident.
The second licorice shot wasnt planned, says
David, It just happened. The make-up artist
had just started to apply the licorice, when I
realized how cool it looked and that I had to shootit. So I just tweaked the setup and pushed the
release button.
Because of this, the set up was quite similar to
the other licorice shot. I had a D1 with a Giant
Reflector as main light. You can see it reflecting
in her eyes. Speaking of which, this image is also
a great example of the amazing skin textures youget with the Giant Reflector. That kind of broad
highlight detail that you can see all the way from
her forehead down to her eyes and further down
to her lips only the Giant Reflector can do that
Again, the background was lit with a D1 with
10 Grid. But I didnt use any color gel this time
Neither did I use any fill light. Another importantdifference is, of course, that we added certain
elements during postproduction. The gold make
up, the hair and the pigtail, all that was added in
Photoshop by my talented assistant Maria.
a. Profoto Giant 240 Reflector
b. Softbox 1x6' RFi
c. 10 Grid.
c
THE ACCIDENTAL LICORICE SHOT DAVID BICH
a
b
-
7/25/2019 Download Issue 112783
10/128
-
7/25/2019 Download Issue 112783
11/128
-
7/25/2019 Download Issue 112783
12/128
COCOA SHOT
When David and his crew had finished the licoriceshot, it was time for the cocoa shoot. Well, before
that they actually had to spend quite some time
getting the licorice out of the models hair, but that
is of less importance to this article.
The first cocoa shot we did was the one where the
model is looking straight into the camera, says
David. The main light is a D1 monolight, equipped
with a Softbox 3x4 RFi. Whats interesting here is
the position of the softbox. Its positioned right in
front of the models forehead, almost horizontally
but slightly tilted towards the camera. In other
words, she is sticking the front of her face into
the light. Thats why its so dark around her
face and under her eyebrows and under her lip.
Having the softbox so close and at this angle to
the model means that you get a light that you
might not associate with a softbox. Its a common
misconception that softboxes can only do soft and
flat light. But as you see, having the softbox turned
away makes it a vertically narrow light source.
COCOA SHOT DAVID BICHO
-
7/25/2019 Download Issue 112783
13/128
-
7/25/2019 Download Issue 112783
14/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
PROFILE COCOA SHOT DAVID BICHO
LIGHTING INGREDIENTS WITH DAVID BICHO
Hence, the sharper vertical shadows, mixed with
the short depth of light due to the close placement.
I believe this brought out some strikingly beautiful
textures in her face!
By the way, the fact that the softbox was slightly
tilted toward the camera meant that I had to put
a black flag right above the camera to prevent theight from hitting the lens, adds David.
The catch light in the models eyes is also worth
mentioning. The upper reflection is, of course, the
Softbox RFi 3x4'. The lower reflections, the white
stripes, are created by the same piece of foam core
board that I had in the licorice shot, but in this case
Id attached several pieces of black gaffer tape tocreate the white stripes. The table with the foam
core board was also positioned much further away
from the model than in the licorice shot. This was
necessary to prevent the light from the softbox
bouncing on the foam core and unintentionally
ightening up the shadows in her face.
The second cocoa shot, the profile portrait, wasshot in almost exactly the same way. The only
difference is that I added a second D1 equipped
with a 10 Grid as background light. You can see
t around her neck and under her chin.
a. Zoom Reflector
b. Softgrid for 1x4' Softbox
c. White foam core board with black gaffer tape
a
b
c
-
7/25/2019 Download Issue 112783
15/128
-
7/25/2019 Download Issue 112783
16/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
FLOUR SHOT DAVID BICHO
LIGHTING INGREDIENTS WITH DAVID BICHO
As was the case for the second licorice shot, the
flour shot happened almost by accident. The
make-up artist had just started to apply the flour
by throwing it onto the models face, and David,
who was standing right beside with the camera in
his hands, thought: rather than just standing here,
why not take some pictures?
The flour shot just happened, says David. I
barely changed the setup Id used for the cocoa
shot. The only difference is that I removed the
black flag above the camera. That is why there
s light leaking into the image in the lower right
corner of the image.
During the flour shoot, I also experimented withblending the flour with cocoa and water. I then
used Photoshop to turn the coca red. So the
portrait that looks as if the model is bathing in
wine, thats actually flour, cocoa and water.
To be honest, Im not very happy with either of the
flour shoots, laughs David. But I still think that
its nice to show them. If nothing else for the fact
that they remind me of the importance of simply
going with the flow from time to time.
David Bicho is a photographer from Stockholm,
Sweden. He shoots pretty much everything editorial, fashion, lifestyle, portraits and
advertisements, you name it. You can see more
of his stunning work at www.bicho.se
FLOUR SHOT
-
7/25/2019 Download Issue 112783
17/128
14
The word photography comes from Greek and
translates as drawing with light. This means
that even the very first photographers understood
the essence of photography, and the description is
as true today as it was then.
But some things are different nowadays. The
evolution of controllable light sources has changed
the game. What were once dangerous powders
and expendable, single-use bulbs are now safe
and sophisticated lighting solutions. From the
ubiquitous speedlights to more powerful and
flexible monolights such as the Profoto D1, the
range of choices is greater than ever before.
Savvy photographers choose the right tool fo
the job. Some assignments can be done with a
quick fill flash from a speedlight. Others require a
more flexible, consistent solution and precise light
shaping. Finding the right solution that is you
job. What we do is provide you with options to help
you realize your creative goals.
Profoto offers the widest selection of Light Shaping
Tools on the market. Each tool is unique and
designed to create a specific light. Nearly all tools
CHOOSING THE RI
b
Challenge: Profoto
-
7/25/2019 Download Issue 112783
18/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
use our patented clamp mechanism, which makes
them very easy to mount. This also allows you to
adjust the light spread by simply sliding the tool
back or forth.
When your job is on the line and you are looking
to grow your business, are you making the right
decisions about what tools to use? Lets explore
a few scenarios where we believe Profotos D1
monolights and Light Shaping Tools are a better
choice than a speedlight.
|LIGHT SHAPING |
There are times when a speedlight will do the job.
However, their light spread is boxy and rectangular,
and they are mainly designed to throw direct light
forward, or perhaps bounce it. There are some
third-party accessories to modify the flash, but
these do not have a parabolic shape that maximizesthe output. Also, they are not available in such
arge varieties as Profotos Light Shaping Tools.
Here are some of our most essential:
TOOL FOR THE JOB
l
D1 vs. Speedlights
-
7/25/2019 Download Issue 112783
19/128
16
10 WideZoom Grid10 06 36
Magnum Reflector10 06 24
Wide Zoom Reflector10 07 11
TeleZoom Reflector10 07 12
Disc Reflector10 06 54
D1 Spillkill Reflector10 07 94
Grid Reflector10 07 05
7 Grids5 10 06 3510 10 06 34
LIGHT
SHAPING
TOOLS
Grid and Filter Holder90 06 49
Barn Doors10 06 71
Snoot10 06 51
5, 10, 20 Grids10 06 46, 10 06 05, 10 06 06
10 Grid10 06 18
Pro Tube10 06 70
Barn Doors10 07 15
Softbox Square
Softbox RFi 2x2' (60x60 cm) 25 47 06Softbox RFi 3x3' (90x90 cm) 25 47 07
Softgrids, masks and diffusersavailable for softboxes.
Softbox Octa
Softbox RFi 3' Octa (90 cm) 25 Softbox RFi 5' Octa (150 cm) 25
Zoom Reflector10 07 85
Standard Zoom Reflector10 06 10
Softbox Rectangular
Softbox RFi 1x1.3' (30x40 cm) 25 47 01Softbox RFi 1.3x2' (40x60cm) 25 47 02Softbox RFi 2x3' (60x90 cm) 25 47 03Softbox RFi 3x4' (90x120 cm) 25 47 04Softbox RFi 4x6' (120x180 cm) 25 47 05
Softbox StripLights
Softbox RFi 1x3' (30x90 cm) 25 47 08Softbox RFi 1x4' (30x120 cm) 25 47 09Softbox RFi 1x6' (30x180 cm) 25 47 10
PROFOTO BATPACBatPac 230V / 120V
901124
|D1 LIGHT SHAPING TOOLS SYSTEM CHART |
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
20/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Honeycomb Grid for D1
5 10 07 9510 10 07 9620 10 07 97
ProGlobe10 06 73
Softlight Reflector White10 06 08
Softlight Reflector Silver10 06 07
Grid for Softlight Reflectors10 06 09
Glass Disc10 07 04
Barn Doors for FresnelSpot10 07 58
Translucent UmbrellaS 10 06 13M 10 06 14
Silver UmbrellaS 10 06 15M 10 06 16L 10 07 20
PROFOTO AIR WIRELESS SYSTEM
Air Sync90 10 32
Air Remote90 10 31
Air USB90 10 34
Fresnel Small10 07 89
Spot Small10 07 90
ProFresnel Spot10 07 06
White UmbrellaS 10 06 11M 10 06 12L 10 07 19
Umbrella XLUmbrella XL White 10 03 26Umbrella XL Silver 10 03 27
Umbrella XL Translucent 10 03 28
-
7/25/2019 Download Issue 112783
21/128
18
Softlight Reflector White/Silver
Photographers often refer to our Softlight Reflector as the Beauty
Dish. The reason for this nickname is simple. The Softlight Reflector
offers the perfect combination of even illumination and well-defined
light direction, which creates a pristine, classic portrait look. The
white version is gentle and flattering. It is often used for female
portraiture, and it will save you a lot of retouching since it fills in
undesired wrinkles. The silver version is punchy and crisp great
for rugged features and bold portraits. The optional 10 Grid allowsfor even more precise light shaping. Also, due to its smaller size,
the Softlight Reflector is better than softboxes in windy conditions.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
22/128
-
7/25/2019 Download Issue 112783
23/128
20
Softbox
When you want to flatter your subject or cover a larger area,
the softbox is your tool of choice. The softbox creates a soft yet
distinctive light that bounces off available surfaces and fills in the
details nicely. It can be used for main light or fill light. All Profoto
softboxes are built to last, using high-grade fabrics, industrial
stitching and age-resistant diffusion materials. They are also easy
to use, mount and dismount.
Optional, additional diffuser, soft grids and masks let you customize
the look at any time.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
24/128
-
7/25/2019 Download Issue 112783
25/128
22
Profoto Giants
The Giant is our foldable studio light. Instead of having a very soft,
diffused light such as a softbox (which scatters the light), the Giant
turns a small light source into a very large, directional light. The
results are flattering shadows and glimmering, spectacular highlights
in your subjects eyes all in a portable package. The Giants are
available in 4 sizes with either silver or white interior surfaces.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
26/128
-
7/25/2019 Download Issue 112783
27/128
24
Spot Small
This is one of Profotos more specialized Light Shaping Tools. The
Spot Small is a compact, portable spotlight for punching in a direct
light with crisp, clean shadows. The results are bold, dramatic
portraits sometimes with a silver screen feel.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
28/128
-
7/25/2019 Download Issue 112783
29/128
26
| POWER |
When you want to balance or overpower direct sunlight, you need
power. Lots of it.
We took two speedlights and directed them into an umbrella, set
them to full, manual power, and were thereby able to get a setting
of f/6.3 at ISO 100 and 1/15 sec.
Two speed lights at full power.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
30/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
When we directed a single D1 monolight (powered by the Profoto
BatPac) into the same umbrella, we could dial it down from
maximum power by 3 1/2 stops to get the same output as two
speedlights at full power. Note that with the greater intensity of light,
the background exposure can be set to a complimentary, balanced
exposure.
As you probably know, having multiple speedlights with external
batteries can become quite costly and bulky. You also miss out on the
comprehensive Light Shaping Tool system, and ubiquitous availability
as a rental worldwide.
Profoto D1 500 at 3 1/2 stops less than full power.
-
7/25/2019 Download Issue 112783
31/128
28
| SPEED |
You can spend lots of time researching how to optimize your
recycle time with speedlights at high-power settings. But no
matter which external battery pack you choose, you will still have
limitations. For example, some of them can overcharge your flash
and shorten its life span. Also, the hotter the flash gets, the
slower the recycling time. In fact, many speedlights overheat and
shut down for at least five minutes when used at full power for
extended periods of time. Speedlights are simply not designed for
high-power, high-speed shooting.
Speedlights: maximum 20 frames in one minute with external battery pack.
PROFOTO D1 VS. SPEEDLIGHTS
-
7/25/2019 Download Issue 112783
32/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
If you want to produce high-quality images at this rate, you will need
a powerful and reliable monolight. The Profoto D1 500 recycles at
full power in 0.95 seconds. That is nearly three times faster than a
speedlight with an external battery pack.
Do not take our word for it. Above left you can see 20 frames from
a speedlight with a battery pack shooting at one frame every threeseconds. Above right is a D1 shooting at the same power output as
the speedlight at just under one frame per second. Imagine how
much better your rapport with the subject will be if your flash was
always ready?
Profoto D1 500: max 60 frames in one minute (at equivalent light output).
-
7/25/2019 Download Issue 112783
33/128
For more than 40 years, Profoto has
been the leader in lighting solutions
for portrait photography. Their
consistency, reliability, durability
and quality of light have made them
the standard worldwide.
The line of Profoto D1 monolightsmaintain that same philosophy
with the quality and features
important for todays
digital portrait and wedding
photographer. Controls are
easy to use, freeing your
mind, eyes and hands, so you
can focus on the image yourecreating.
Available in 250, 500 or 1000 watt-second
versions, they offer an extensive power range
from full to 1/64th in increments of 1/10th of
f-stop intervals with the most consistent color
temperature and light output available. Dial in high
light output to overpower the sun at the beachand low power setting when you want the lens
wide open.
Despite their small, lightweight design, D1 units
also offer ultra-fast recycling times and short
flash duration. The unique built-in reflector gives
you full control and minimizes stray light while
also protecting the flash tube and modeling light
during travel. Its designed for use with
the entire range of Profoto Light
Shaping Tools.
The fan-cooled units are
offered with a white light
slave for triggering, while
models designated Air
also offer a built-in radio
receiver for use with the
Profoto Air system. Thisprovides full control of power,
modeling light and triggering up
to 300 m (1000 ft) away, making on-the-
fly adjustments simple from your camera or
computer.
The unit can be used with any worldwide voltage,
from 90-130 and 200-240 volts without havingto change the modeling lightso take those
international gigs. Youre ready to light anywhere!
30
Profoto D1
-
7/25/2019 Download Issue 112783
34/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
35/128
32
SUPER PERFORMANCE IN A
SMALL PACKAGE
Youre in control with the D1 Air. Convenience and digital precision
in a handy format.
Compact and lightweight.
Built-in reflector gives you full control, minimizes stray light and
maximizes the light output. It is designed for use with softboxes,
umbrellas and for use with or without additional reflectors.Optional grids and clear glass plates give you further control.
The frosted glass plate and built-in reflector protects the flash
tube and modelling lamp which makes the D1 easy to transport.
Choose from the vast variety of Light Shaping Tools available.
Uncomplicated handling of all accessories. For example, softboxes
can be rotated 360 degree in both directions.
The 7 f-stop power range gives all the power the demanding
photographer needs for creative freedom, including the ability to
shoot with high speed and wide open lenses. Power is controlled
in 1/10 f-stop precise and repeatable increments.
The unique Zoom function allows you to freely move the Light
Shaping Tools back and forth on the D1. This increases the
versatility of each tool even further.
Built-in microprocessors ensure the output consistency 0.05
f-stop and 30 K flash to flash.
PROFOTO D1
-
7/25/2019 Download Issue 112783
36/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Short recycling times to keep up with the active objects, so you
never have to wait for the flash.
Short flash duration to stop action.
Multivoltage. Plug in anywhere in the world and no need to change
modeling lamp.
Profoto Air system built-in, for remote control and triggering
from up to 300 m (1000 ft).
Trigger the flash via Profoto Air system, sync cable, or IR slave.
Connect to your PC or Mac with Profoto Studio software.
Optional BatPac for on-location use.
Can be used with petrol electric generators rated 800 W
continuous load.
Adaptive thermal control ensures overheating preventions and
allows you to get maximum output from the flash. 1500 flashes
per hour at full energy.
Built-in 300W modelling light.
Built-in fan for longer shooting sessions and maximum
performance.
-
7/25/2019 Download Issue 112783
37/128
34
13
2
4
5
6
78
9
12
11
10
13
14
15
16
17
18
19
20
-
7/25/2019 Download Issue 112783
38/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
1. Easy-to-use, accessible controls and
displays on the back. Direct digital control
for precise images, its far more than just a
digital display.
2. Setting knob.
3. Display for energy and other functions.
4. Slave mode selector, set to Radio or IR.
5. Ready signals; Off or Beep and/or Dim.
6. Modelling light selector. Off, Proportionally
or Free.
7. Modelling light Free setting.
8. Channel and group settings for
Profoto Air system.
9. Test button.
10. On button.
11. Umbrella tube/mount.
12. Built-in reflector.
13. The optional glass cover will give you more
light spread.
14. The unique mounting of the Light Shaping
Tools gives the versatile zoom function.
15. Locking knob, well balanced and strong to
hold large and heavy accessories.
16. Quick and easy to mount, with Profoto
Stand adapter.
17. Mains Socket.
18. Ergonomic handle lets you redirect the light
in an instant.
19. Synchro interfaces. Sync socket, antenna
and IR lens.
20. Built-in radio for remote control
or triggering.
-
7/25/2019 Download Issue 112783
39/128
36
D1 Air
D1 Air 250
901022
D1 Air 1000
901025
D1 Air 500
901024
-
7/25/2019 Download Issue 112783
40/128
SEE VIDEO AT:
http://www.youtube.com/watch?v=BAuLWb26yKs
I think theres an advantage in using the
same strobes in the studio, like the D1, that
I would out on location. To me, its all about
the quality of light that I'm going to get,
the dependability of the equipment that I'm
going to use, and the predictability. That's
one of the things I like about the D1 system
is that I know exactly what Im going to get
whether I am working in the studio or out
on location. BAMBI CANTRELL
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Bambi Cantrell:
Overpowering the Sun with Profoto D1
-
7/25/2019 Download Issue 112783
41/128
D1 250
901021
D1 500
901023
38
D1
-
7/25/2019 Download Issue 112783
42/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
1-Light Portraiture:
Tony Corbell & Profoto D1
3-Light Portraiture:
Tony Corbell & Profoto D1
2-Light Portraiture:
Tony Corbell & Profoto D1
4-Light Portraiture:
Tony Corbell & Profoto D1
SEE VIDEO AT:
http://www.youtube.com/watch?v=CDbRaBXsXco
SEE VIDEO AT:
http://www.youtube.com/watch?v=LAtzrKOpHhc
SEE VIDEO AT:
http://www.youtube.com/watch?v=fUnVY4jUwS8
SEE VIDEO AT:
http://www.youtube.com/watch?v=gjgrHoYyHr8
-
7/25/2019 Download Issue 112783
43/128
The D1 monolights are available in kits to save time and
money, especially beneficial to photographers just
starting out. Choose from 250, 500 or 1000 watt-secondkits with or without Air Remote technology for remote
radio sync and control. Kits include 2 D1 units, 2 small umbrellas,
2 light stands, case and either Air Remote or sync cord.
Air Remote Sync Cable
40
D1 Studio Kits
-
7/25/2019 Download Issue 112783
44/128
D1 AIR WITH AIR REMOTE
D1 Studio Kit 250/250 Air901051
D1 Studio Kit 250/500 Air incl. Air Remote901059
D1 Studio Kit 500/500 Air901053
D1 Studio Kit 500/1000 Air incl. Air Remote901074
D1 Studio Kit 1000/1000 Air
901054
D1 AIR WITH SYNC CABLE
D1 Studio Kit 250/250 Air w/o Air Remote901055
D1 Studio Kit 250/500 Air w/o Air Remote901075
D1 Studio Kit 500/500 Air w/o Air Remote901056
D1 Studio Kit 500/1000 Air w/o Air Remote901076
D1 Studio Kit 1000/1000 Air
w/o Air Remote901057
D1 WITH SYNC CABLE
D1 Studio Kit 250/500901058
D1 Studio Kit 250/250901050
D1 Studio Kit 500/500901052
D1 BASIC KITSKit Contains: 2 D1 Monolights, 1 Basic Kit Bag,
Power cables
D1 Basic Kit 250/250901060
D1 Basic Kit 250/250 Air901061
D1 Basic Kit 500/500901062
D1 Basic Kit 500/500 Air901063
D1 Basic Kit 1000/1000 Air901064
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
45/128
The 3 head version of our D1 Studio Kits comes with two RFi
softboxes and a 10 grid so you can bring professional lightingon location, anywhere you need to be. Choose from 250, 500 or
1000 watt-second kits with or without Air Remote technology
for remote radio sync and control. Kits include 3 D1 units, Air
Remote, one Softbox RFi 3x2', one Softbox RFi 2x3', two Speedring
Adapters, one D1 Grid 10, three Kit Stands, and three Power
Cables. All equipment comes in a high quality trolley bag.
D1 Studios Kit 3 Heads 250/500/500 Air901086
D1 Studios Kit 3 Heads 500/500/1000 Air901087
D1 Studios Kit 3 Heads 500/1000/1000 Air901088
42
3-Head D1 Studio Kits
-
7/25/2019 Download Issue 112783
46/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
47/128
Out of the box, the Profoto D1 is ready to shoot, but by adding
accessories you can increase your versatility and broaden your
light shaping abilities for more creative lighting effects and more
efficient setups.
D1 Umbrella White Small100787
Need to travel light, but still
want soft, beautiful light? The
white umbrella collapses to
be smaller than a light stand,
yet opens to be a large, soft
light source. Its specifically
designed around the internal
reflector on the Profoto D1
system, optimizing the center
of light for perfectly even
illumination reflecting from
the white interior, while the
black outer material prevents
any stray light from passing
through. This increases the
control you have, putting light
only where you need it.
SpillKill Reflector100794
Limits stray light from spilling
over edges of your umbrella.
Integrated clips for heat resis-
tant filters and gels make this
accessory even more valuable.
Bag S330211
Fits 2 Profoto D1 units, ballistic
nylon exterior, thickly padded
interior, two carry straps,
removable shoulder strap.
Trolley Bag L
330220
Trolley Bag L is a large, soft,
padded kit bag with wheels
and shoulder strap, suitable for
D1 Studio Kit 3 Heads.
Bag M
330212
Fits Profoto D1 Studio Kit,
replacement item, ballistic
nylon exterior, thickly padded
interior, slip pocket with ID
window, two carry straps, and
removable shoulder strap.44
D1 Accessories
-
7/25/2019 Download Issue 112783
48/128
GLASS DOMES
Glass Dome D1101561
Glass Dome D1 -600K101562
Glass Dome D1 -300K101563
FLASHTUBES
Flashtube D1 250331522
Flashtube D1 500/1000331523
GLASS PLATES
Glass Plate D1 Standard331524
Glass Plate D1 Clear331525
Glass Plate D1 -300K331526
Glass Plate D1 -600K
331527
MISCELLANEOUS
D1 Plastic Transport Cap100799
D1 Stand101085
D1 Honeycomb Grid 5100795
D1 Honeycomb Grid 10100796
D1 Honeycomb Grid 20100797
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
49/128
BatPac
901124
Power your Profoto anywhere! The BatPac isa portable power-in-a-bag unit, and comes
complete in a comfortable backpack for easy
transportation. Featuring a dedicated inverter and
a high capacity battery, the BatPac is safe and
very easy to use. With its compact size, this power
source is ideal for location shoots on the beach,
park, or in any location where you do not have
electricity. Shoot with it across town or around theworld. Its innovative design delivers power with
exceptional stability.
The BatPac has safety features offering protectionfrom overvoltage and overtemperature, low power
low battery voltage, etc. This prevents damage to
the BatPac and connected flash units. The Profoto
BatPac complies with CE regulations and fulfills
all international safety requirements. It gives up
to 600W constant power from two integrated
separate mains outlets. The BatPac will power
your D1, Acute lighting systems as well as manyolder Profoto systems. In addition, your computer
cell phone and other AC-operated devices can also
be powered by the BatPac.
46
BatPac
-
7/25/2019 Download Issue 112783
50/128
SEE VIDEO AT:
http://www.youtube.com/watch?v=mbOVj1TpJ1U
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Profoto Presents: BatPacthe portable power source.
-
7/25/2019 Download Issue 112783
51/128
DIXIEDIXON.COM
FACEBOOK.COM/DIXIEDIXONPHOTOGRAPHY
@IAMDIXIEDIXON
DIXIEDIXON.TUMBLR.COM
Getting the Shotwith Dixie Dixon
Interview by Ron Egatz
When Houston native Dixie Dixon was a
student at Klein High School she was paid to
photograph Little League games. Wielding
her trusty Nikon FG, she made ten dollars
per hour, and shot every weekend, including
soccer competitions. Not bad for a kid,
she says, grinning.
-
7/25/2019 Download Issue 112783
52/128
-
7/25/2019 Download Issue 112783
53/128
50
Dixons father was a hobbyist photog-
rapher, and provided her first camera.
Her grandfather was a landscape
photographer.
Not many professional shooters can match Dixons
claim of only working as a photographer, but its
true. She shot for the high school yearbook, andone of her shots made the cover senior year. At
that point she decided she wanted to pursue
photography for a living.
Studying entrepreneurship in college, she learned
how to run a business, which has helped her
photo practice. She launched her business while
still attending school. The business backgrounddefinitely helps in accounting, she says.
During her junior year, she studied abroad with
a fashion photographer. During that time she fell
in love with fashion photography, which is the
genre she is known for. Before graduation, she was
shooting weddings, but got tired of it. I started
shooting fashionable portraits of friends and thenstarted charging for them. My whole senior year, I
started my business and got my web site up and it
was really just shooting fashion portraits.
Since her first camera at age ten, at the ripe old
age of twenty-seven, Dixon already has a long list
of clients and the television show Get Outunde
her belt. With talent and credits beyond her years
shes a photographer to watch. Dixon has quickly
become known for her fashion photography and
portrait work. Shooting with a Nikon D3X as he
main body, Dixon broke down two portraits sherecently completed.
GIRL PORTRAIT
The basic concept of this photo session was to create
natural looking beauty images. I wanted to highligh
the beautiful features of the model, make her skinlook glowy, and make her eyes really pop agains
the background. I looked through a ton of fashion
magazines for inspiration and came up with this
simple concept. I find a lot of beauty in simplicity.
In the studio, I have a basic idea of how Im going
to light something but once you get in there, it
always different, so you never really know untiyou get in there and shoot it. I used a Softligh
Reflector White with the D1 500 as my main light
The light is pretty low - Im probably five-foot three
and its just above my head. With the Softligh
MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY
MAKEUP/HAIR: ROCIO VIELM
GETTING THE SHOT WITH DIXIE DIXON
-
7/25/2019 Download Issue 112783
54/128
-
7/25/2019 Download Issue 112783
55/128
52
Reflector at that height, you get this pretty glow
in your light. I also had two Softbox 1x3s in the
back that were facing slightly towards her and
me so I could get a rim light on the edge that I
overexposed by about half a stop. I used a small
umbrella on the background to light up that pretty,
blue, turquoise paper. I was going for super simple
natural beauty, and that sort of lighting highlightsthe skin and makes it look beautiful.
I used a Nikon D3X and a 105 mm lens for this
portrait. I like cropping in like that and focusing
on the macro elements of the shot. Its interesting
shooting really close-up portraits, because you
really have to get the right angle on the person. I
tend to shoot and crop in-camera as opposed tocropping in post later on. It can get you in trouble,
especially when you work with art directors and
they want room for text, but this was a personal
shoot so I got to choose the way I wanted it. I
took some shots with her whole face and, for
some reason, they werent impactful, so I ended
up going to one side for a half-face shot.
I love shooting strobes in the studio because youre
able to make sure that everything is really crisp
and focused and you can see every eyelash. Im
so not technical. I just get in there and I know
how to use the lights. Luckily, Profoto lights are
really user-friendly. I dont do a lot of measuring
I basically set it up, shoot it, and if I like what Im
getting, Ill stick with it. If I think I need to tweakthings, I move them around or try changing to an
Octa. Profoto is super reliable and Ive been really
blown away by them every time.
GETTING THE SHOT WITH DIXIE DIXON
a
b
c
a. Softbox RFi 1x3'
b. Umbrella
c. Softlight Reflector White
-
7/25/2019 Download Issue 112783
56/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
For this shot, I wanted to create a masculine
beauty image in black and white. With color
mages, your eyes can be more distracted by the
clothes and everything else thats going on, but
with black and white, I feel that youre able to get
more to the soul of the image and make a deeper
connection. If color isnt adding to the shot, try
making it black and white.
I used one Softbox 5 Octa. I used the Softbox
1x3s closer to the subject than on the womans
portrait. I like shooting guys this way because it
really highlights their great jaw line. Bringing the
strip softboxes in closer gives you that spillover
of the light onto his nose and the side of his face.
I used a D700 on this shot and a micro 16 mm
Nikon lens. The exposure was at f/14, 1/126, and
ISO 100.
I look at a lot of pictures for inspiration and its
all about getting the right team together. When
youre shooting beauty, you have to focus on
finding a really great makeup artist. It doesnt looklike it, but the guy has makeup on. I chose the best
makeup artist I knew to get that look and to make
his skin look flawless. The fashion industry is such
a huge illusion and it takes a huge army of people
to make it happen.
GUY PORTRAIT
It's just endless
what you can dowith lighting...
-
7/25/2019 Download Issue 112783
57/128
54
-
7/25/2019 Download Issue 112783
58/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
GETTING THE SHOT WITH DIXIE DIXON
MODEL: BRANDON THORNTON WITH CAMPBELL AGENCY
a
b
c
a. Umbrella
b. Softbox RFi 1x3'
c. Softbox 5' Octa
Lighting is interesting to me because you can
control so much of it in the studio. However, I love
those happy accidents when you end up getting
something totally different than you went out
to shoot. Its kind of like adding to your lighting
repertoire because its in the little detours that
you sometimes end up with the best shot. Its nice
to do the shots youre going for and then leavesome room for experimentation at the end. Its just
endless what you can do with lighting, especially
with all the light-shaping tools Profoto has.
I picked up the D1 monolight and it was so user-
friendly; its super consistent and has a fast recycle
time. Ive used other lighting gear and its not
nearly as reliable so Ive definitely been happy withthe results. Thats why anytime I rent I say, Give
me the Profoto. I dont want to have to get on set
and my lights dont work. Ive never had an issue
with Profoto lights over five years of using them.
I love the Profotos Light Shaping Tools. They are
really what I feel sets Profoto apartall the great
softboxes and beauty dishes. Theres just so muchyou can do with them. In photography, lighting is
everything. It creates the mood, and the mood of
an image is what sets it apart from the rest.
-
7/25/2019 Download Issue 112783
59/128
AcuteB2 AirS LiFe Battery901101
The AcuteB flash pack brings together the
famous quality and reliability of Profoto in a small
battery generator. Offering significantly improved
performance and higher flash capacity all in a
lightweight package, the AcuteB2 is just over 3.6 kg
(8.9 lbs)!
The small size and light weight of the AcuteB2
offers up to 200 full power or thousands of lower
power flashes on a single charge, allowing you
to take your studio light on location for a full day
of shooting!
The incorporated Profoto Air system allows for
remote triggering from up to 300 m (1000 ft) from
the camera.
56
AcuteB2 AirS LiFe Battery
-
7/25/2019 Download Issue 112783
60/128
I have one kit that I take with me
everywhere I go, every shoot, every
humanitarian project, it just always travels
with me. It's a bag with my camera and
lenses and it's the Profoto Acute battery
with one small softbox. To this day I'm
amazed that I can get on a plane with
the whole Profoto kit right there with
my lenses. JEREMY COWART
SEE VIDEO AT:
http://www.youtube.com/watch?v=qWsrges5Hco
STAY CONNECTED! FIND A DEALERPROFOTO.COM
MASTER SERIES: Jeremy Cowart's Mobile Setup
-
7/25/2019 Download Issue 112783
61/128
AcuteB2 AirS/R US/CE901102, 901103
The AcuteB2 600 AirS/R is almost identical to the AcuteB2 AirS. It
offers the same light weight design and unique Profoto Air remote
triggering system, but adds a built-in PocketWizard receiver to
the mix.
58
AcuteB2 AirS/R
-
7/25/2019 Download Issue 112783
62/128
AcuteB Head900938
With our smallest battery pack, the AcuteB2,
there is also a special lamp head: the AcuteB
Head. At a mere 1.5 kg (3.4 lbs), gives you 600
Ws flashes and an innovative modeling light, using
a high-performance halogen lamp that, at 65 W,
gives you the brightness of 90 W. Combined with
ts fan-free cooling, it translates to longer lasting
batteries. The AcuteB Head includes: disc reflector,
flash tube, 65 W halogen lamp, removable frosted
glass cover, protective transportation cap and a
10-foot lamp cable.
Acute Battery Including Cassette LiFe901105
The most advanced and reliable rechargeable
batteries available! These Lithium Ion Iron
Phosphate (LiFePO4), in short LiFe batteries.
They have a lifetime four times longer than
lead acid batteries and can be used in a wider
temperature range. With 20% more flashes per
charge than older battery types and integrated
electronics protecting them against deep-discharge
and overheating, the Profoto LiFe batteries offer
long life and trouble-free operation.
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
63/128
60
How to create asuperhero-esque
movie posterin less than
two hoursWith Andrew McGibbon
It goes without saying that blockbuster
movie posters are the result of countless
hours of postproduction and spending
ridiculous amounts of money. But if you are
willing to take it down a notch, you can do
your very own poster in just two hours!
South African photographer Andrew McGibbon
was recently asked to shoot a promotional
image for a man who was about to start his
own private security company. The two agreed
that a superhero-esque, movie poster-like
image would be suitable (everybody needs a
hero, right?). But time was short and the budget
was limited, so Andrew had to come up with a
quick and easy solution. Here is how he did it,
explained in six simple steps...
-
7/25/2019 Download Issue 112783
64/128
-
7/25/2019 Download Issue 112783
65/128
62
-
7/25/2019 Download Issue 112783
66/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
HOW TO CREATE A SUPERHERO-ESQUE MOVIE POSTER IN LESS THAN TWO HOURS
ba
c
1Picture The Final Result
First of all, get a clear image of what you
want to achieve, says Andrew. What I did
was that I downloaded a bunch of movie posters
from IMDb.com and brought them with me to
the shoot. If you dont want to do that, you can
draw a simple sketch. Regardless of what you do, I
think its important to have some sort of referencematerial. It really helps me as a photographer to
keep track of what I want to do, and it makes
it a lot easier to give the person in front of the
camera proper directions, especially if theyre not
an experienced model.
2Find A Suitable Location
You need very little space to do this, saysAndrew. You could easily shoot it in your garage.
Just make sure the room is dark enough and
that you find a background that wont become
completely white or black when you shoot it. If
the background is too bright or too dark, it will
be much more difficult to insert the background
mage.
3Do The Styling
You can, of course, add as many details as
you like during postproduction, but my advice is
to get as much as possible right in camera, says
Andrew. Its way easier and takes a lot less time.
In this case, the guy hadnt received his company
uniform yet, so we decided to go for a simple, black
shirt. I then sprayed some water on him to make
him look a bit sweaty.
4Set The Lights
The setup I used was very basic, saysAndrew. Its sometimes referred to as a key and
clip light setup.
a. White Backdrop
b. Softlight Reflector White
c. Softbox RFi 5' Octa
ANDREW MACGIBBON
-
7/25/2019 Download Issue 112783
67/128
64
The key light is the main light in the image. In
this case, its the light that looks like sunlight. For
this I used a Profoto D1 monolight, equipped with
a Softbox RFi 5 Octa, standing camera left. The
softbox is very close to the subject, and I am so
close to the softbox that Im pressing against it.
We then have the clip light. Some photographerscall it rim light or hair light, but I prefer the name
clip light. The clip light is the light that hits the
side of his face that is turned away from the
sun. The clip light helps define the shape of his
face and makes it pop out of the image. For this
I used the Softlight Reflector White, also known
as the Beauty Dish. Many photographers use
hard reflectors or strip softboxes for this purpose,but for me the Beauty Dish works really well.
It gives me quite a hard light, but not too hard.
Neither does it burn out the hair or the small yet
important details.
5Shoot!
There are basically three things you need to
get right in camera: the lighting, the styling andthe energy, says Andrew. Weve already talked
about the first two. Now, when I say energy, Im
talking about the eyes. The energy in the eyes
needs to be right. You cant fake that. So, Id
recommend a technique I learned from the write
Constantin Stanislavski: the magic if technique.
It works like this: ask the person youre shooting
that if they were in this or that situation, what
would they think and feel? Their emotiona
response will then be conveyed through their eyesIn this case, I asked the guy to imagine what it
would be like to a superhero that the whole city
looked up to. Once he started thinking about that
everything else just followed.
6Insert Background
Whenever I do a job outside and theres a
nice enough sky, I shoot it, says Andrew. Bynow I have a pretty good library of sky images
which I find often comes in handy, such as in this
case.
So, I cut out the portrait with the help of the
Magic Wand tool and the Refine Edge tool, and
inserted the background image. I then used a
simple bi-color filter to make the image a bit moreyellow on the left hand side and a bit bluer on the
right hand side. I then burned out the image at the
HOW TO CREATE A SUPERHERO-ESQUE MOVIE POSTER IN LESS THAN TWO HOURS
-
7/25/2019 Download Issue 112783
68/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
bottom. Finally, I did some minor tweaks, removed
a few blemishes, pulled out a few highlights, etc.
Thats pretty much it! All in all, I think I spent
about ten minutes in Photoshop, and the entire
process from picturing the final result to havingit on my hard drive took less than two hours. I
started at 4 pm and was done before dinner time.
Andrew McGibbon is currently busy wrapping
up his Influence Project an ambitious project
in which he explores the concept of influence
through a series of portraits of influential South
Africans. The Influence Project will soon be
available as a coffee table book. If you cannot waituntil then, you can see more of his work at www.
andrewmcgibbon.co.za
Original shot Final image
-
7/25/2019 Download Issue 112783
69/128
66
Air Remote901031
Our specially-designed digital radio system allows
complete flash control at your camera or in your
hand, including trigger, flash energy control and
modeling light control. Set up your lights at the
venue and dial in the exposure power as you need
it. The Air Remote mounts on your cameras hot
shoe or syncs to your flash terminal and has eight
channels which it uses to control an unlimited
number of power packs. Whether shooting at
a VFW hall or a cathedral, Profoto Air Remote
gives you the power and flexibility to create
perfect exposures.
These small, handheld devices weigh only 70g
(2.5 oz), including batteries, making them easy to
handle or keep at the ready when shooting formal
events. They pack a lot of function and reliability
into an easy-to-use control panel. Operating at
2.4 GHz, they are approved for worldwide use
Profoto Air is a transceiver, so it can serve as eithe
a transmitter to fire your lights, camera or operate
as a receiver when used with non-Air flash units
Operating from two AAA batteries, at a frequency
of 2.4 GHz, the Air Sync has a range of 300 m
(1000 ft). With range like that, youll never need
another system for a wedding venue or reception
hall. It can sync up to 1/250 second with a foca
plane shutter camera, and 1/500 second with a
leaf shutter camera. Its triggering speed is ove
100 fps.
Air Remote
-
7/25/2019 Download Issue 112783
70/128
Air Sync901032
Air Sync technology syncs flash generators or
groups of Profoto D1 Air units with the same high
performance as Profoto Air Remote. The Profoto
Air Sync provides a simple solution when you only
need to trigger your flash. Its a faster, simpler
alternative for the more fast-paced portrait
environments.
Operating from two AAA batteries, at a frequency
of 2.4 GHz, the Air Sync has a range of 300 m
(1000 ft). It can sync up to 1/250 second with
a focal plane shutter camera, and 1/500 second
with a leaf shutter camera. Its triggering speed
s over 100 fps.
Air USB901034
Profoto Air USB offers all the advantages of the
Air Remote, and then some. You can still control
all your lights from up to 300 m (1000 ft) away,
but now, you can control all of them from your
computer keyboard.
Just load the included software and plug in the
USB Transceiver. Thats all it takes to get you up
and running. Visually see the connected heads on
screen and take control over every aspect of your
lighting. Turn units on and off, power the flash
or modeling light up or down, change recycling
timeanything your flashes can do, you can
now do from your computer! You can also save
an unlimited number of frequently used lighting
set-ups for fast, easy recall later.
Operating at 2.4 GHz, they are approved for
worldwide use.
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
71/128
Anatomyof a Portrait
withTony Corbell
Interview by Ron Egatz
Tony Corbell has long been a fan of Profoto
lighting gear. He did some of our earliest
instructional videos, demonstrating a
wide variety of lighting effects in portrait
photography, including the very popular
one-light, two-light, three-light, and
four-light shorts.
Tony recently completed a workshop in
Santa Fe, and chose to analyze two portraits
taken during that workshop. In his own
words, heres his breakdown of thought,
technique, and execution.
CORBELLPRODUCTIONS.COM
@TONYDUDE1
-
7/25/2019 Download Issue 112783
72/128
-
7/25/2019 Download Issue 112783
73/128
70
AARON
In this case, I wanted to create a low-key, gritty,black and white image. His face just screams for
that kind of a look, I think.
This is a simple studio picture, when you think
about it, but its important to understand whats
going on in order to pull it. Its basically just one
soft light. Theres a Softbox RFi 3x4' to the left of
the camera and I have one of them turned a littlebit farther away from him to the left. This means
that about half the light that would be on his face
is going past him, traveling about twelve feet, and
hitting the background. Its just giving me a little
bit of ambient light on the background. This is a
technique I do a lot when I teach to get everybody
to learn to get the most they can get from just one
light. Often, that means making one light appearas if its one, two, three, or maybe even four lights.
If I had wanted to have light in his hair, I would
have taken that same one light, and I would have
had somebody hold up a Plexiglas mirror over his
head and redirect a little bit of that light from that
strobe right back down onto his hair. I wouldnt
have turned on another light. I try to be as efficientas I can with the number of heads I use. Its a
technique I try to teach students, because it makes
them better photographers. In other words, if
youre a photo student at a school, lets say, and
youre doing a shoot and you need another light,
you just go to the checkout area, and grab anothe
light, or you go down to check out three more
lights or whatever you might need. In the reatrue working world, we dont all have that luxury
Therere a lot of people that dont have more than
one or two or three lights. Also, not everyone lives
in a big city where they can go rent gear easily.
For this shot, I used my Nikon D3, although Iverecently become a convert to the world of Canon
I used a 70-200mm 2.8 lens. The focal length was
probably set to 200, and the exposure was shot at
f/16 and ISO 200.
ANATOMY OF A PORTRAIT WITH TONY CORBELL
a. Gray Seamless Backdrop
b. Softbox RFi 3x4'
a
b
AARON TONY CORBEL
-
7/25/2019 Download Issue 112783
74/128
-
7/25/2019 Download Issue 112783
75/128
72
OL DONALD
This is Donald Blake. Hes been an actor, a workingcowboy, and a stuntman whos been in 200 or
300 movies and likes to claim hes been shot and
killed in about 150. We shot this at the old saloon
on Eaves Ranch, which has been in countless
television shows and movies.
Here, I was doing a demo with my students, trying
to teach them how to mix strobe lights inside andhow you can vary your shutter speed to adjust their
brightness to the light outside. In this case, I used
a Softbox 4x6 with a D1 500 Monolight.
I had the softbox pretty far away from me, so
there was a little room around him. I maintained
that darkness on the left of the space, and the
reason its so rich and deep and black is becauseof a black gobo that I put up, just a black panel on
his right side, camera left, to make sure I didnt get
any influence from the ambient light in the room.
I really wanted the drama of the light falling off
on the left side of this face.
After you determine the exposure for the strobe,
which in this case was about f/16, its just a matterof running the shutter speed up and down until you
get the brightness of the background just where
you want it. In order to do this, I meter using a
Sekonic L-758DR.
a. Window
b. Profoto D1 with Softbox RFi 4x6'
c. Black panel Gobo used to eliminate the influence of any
ambient light from right side of face
a
b
c
ANATOMY OF A PORTRAIT WITH TONY CORBELL
OLDONALD TONY CORBEL
-
7/25/2019 Download Issue 112783
76/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
-
7/25/2019 Download Issue 112783
77/128
74
Light Shaping Tools
The Softlight Reflector also known as The Beauty Dish
gives a soft, yet easily-focused light. Meant to providecharacter lighting in portrait photography, it is superb
for a wide variety of uses.
The gentle slant of the Softlight Reflector makes it ideal for close-up,
beauty photography. From portrait to fashion photography, the
Softlight Reflector is an excellent light source whenever a soft, yet
directional light is preferred. Its is a distinctive alternative to an
ordinary softbox.
By using the optional glass deflector, front diffuser and grid
(separate or in combination), the characteristics and light spread
can be further adjusted to the photographer's needs and wishes.
When used with a honeycomb grid you get a soft, toned-down
edge-lighting effect, with 10 coverage with the silver, and 25 with
the white reflector for more directed light.
SOFTLIGHT REFLECTORS
-
7/25/2019 Download Issue 112783
78/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
MASTER SERIES:
Matthew Jordan Smith's Favorite Light Shaping Tools
SEE VIDEO AT:
http://www.youtube.com/watch?v=Djoi6hFK35o
-
7/25/2019 Download Issue 112783
79/128
My favorite Profoto Light Shaping Tool has
got to be the Softlight Reflector Silver. We
always have it... the light that comes out of
it is amazing. There's nothing else like it. TOM MUNOZ
The silver-colored Softlight Reflector creates a narrow light spread
for crisp beauty and fashion pictures, while at the same time
providing soft shadow definition, thanks to its large reflecting area.It is especially suitable for lighting subjects where contours should
be emphasized.
Softlight Reflector Silver100607
76
-
7/25/2019 Download Issue 112783
80/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Diffuser
for Softlight Reflector100714
25 Grid for Softlight Reflectors100609
-
7/25/2019 Download Issue 112783
81/128
Whether Im doing portraits
or a beauty assignment, or a
hair assignment, my Beauty
Dish is there... I use thewhite most of the time.
Its an incredible light...
a great tool.
MATTHEW JORDAN SMITH
78
The Softlight Reflector White gives a softer, wider
light spread for beauty and fashion images with
a softer tone without sacrificing the directionalquality of the light. It is especially suitable for
lighting subjects where diffused, yet distinctive
light is needed.
The Softlight Kit includes 1 Softlight Reflector
White along with a 25 grid, to narrow the light
when precise control is needed, and a diffuser, to
create even softer light.
Softlight Reflector White100608
Softlight Kit901183
-
7/25/2019 Download Issue 112783
82/128
I find myself using the Beauty Dish all the
time because it creates a nice catch light
in the eyes of your subjects. It's just a
beautiful light. JEREMY COWART
STAY CONNECTED! FIND A DEALERPROFOTO.COM
MASTER SERIES:
Jeremy Cowart, Favorite Light Shapers
SEE VIDEO AT:
http://www.youtube.com/watch?v=Qn05BEj3dMQ
-
7/25/2019 Download Issue 112783
83/128
80
Extra large umbrellas are useful Light Shaping Tools for
portrait-, people- and fashion photography. They createa smooth yet distinctive light, which allows the user to
illuminate an entire person or even small groups with just
a single light source. Great specular highlights and sharp, snappy
detail are also possible.
Profoto's Umbrella XL has a diameter of 165 cm (65"), and fits onto
all Profoto flash heads and monolights. An optional stand adapter is
also available, which allows the photographer to mount the umbrellaonto a light stand, or use it with former Profoto headsor even
with products from other brands! All umbrellas come in a rugged
transport bag.
PROFOTO UMBRELLA XL
-
7/25/2019 Download Issue 112783
84/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Profotos Umbrella XL Silver creates a hard light, perfect for lighting
a large area with a crisp directional light. Whether in studio or
on location, when shooting full-length portraiture of a group, the
Profoto Umbrella XL is perfectly suited for the challenge. The
parabolic shape, allowing the light distribution to be changed by
simply sliding the shaft inside the flash head.
Profoto Umbrella XL Silver100327
Profoto Front Diffuser for
Umbrella XL254651
-
7/25/2019 Download Issue 112783
85/128
82
Profoto Umbrella XL Translucent100328
The Umbrella XL Translucent creates a smooth, yet distinctive light.
This is a shoot-through umbrella, and can give a softbox-effect,
creating a soft light perfect for brides. The parabolic shape allowsthe light distribution to be changed by simply sliding the shaft inside
the flash head.
-
7/25/2019 Download Issue 112783
86/128
-
7/25/2019 Download Issue 112783
87/128
In conjunction with the Beauty Dish, I
always use the 7ft Profoto Giant just to fill
everything; light a whole room...
KAREEM BLACK
84
Profoto's 150 and 210 reflectors, often used with the
photographer standing in front of the reflector, give youthe unique combination of a soft light and still brilliant
highlights. Very popular in fashion photography because of
the quality of their light, they're also popular because they are easy
to set up and dismantle. Both Profoto models offer four focusing
positions of the head, from a kind of spot to flood fill. A special "spill
kill" head adapter reduces stray light. Using optional diffusers the
light can be softened further.
Delivered with:
Rigid stand attachment
Two different extension poles
Lamp holder
Transport bag
PROFOTO GIANTS
-
7/25/2019 Download Issue 112783
88/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Excellent light source for portrait and fashion photography. Large
reflector with 5-foot diameter for a soft, natural light in studio
large enough to illuminate a person, yet compact and handy for easy
transportation and set-up.
Profoto Giant White 150100314
-
7/25/2019 Download Issue 112783
89/128
86
Large white umbrella/reflector with a 7-foot diameter, resulting
in a strong, but very soft light output. The low weight and easyhandling makes the Giant White perfect for location work as well.
A flexible and affordable Light Shaping Tool for portrait and beauty
photography. There are four zooming positions, using two extra rods.
A lightweight and convenient transport bag is included.
Profoto Giant White 210100315
-
7/25/2019 Download Issue 112783
90/128
-
7/25/2019 Download Issue 112783
91/128
88
With their robust, solid construction and versatility,Profoto offers a number of different umbrella sizes
and finishes, all designed in a robust and solid
fashion. They are a must for every wedding and
portrait photographer. These umbrellas are available in Small,
Medium, and Large diameters 33.4", 41.3", and 51.1".
The White Umbrella gives an even, diffused lighting effect with soft
shadow definition. The closer to the subject the umbrella is placed,the softer the shadow will be.
The Translucent Umbrella provides diffused lighting around a bright
core. The lighting can be varied by changing its distance to the
lamp head.
The Silver Umbrella provides focused lighting, along with soft shadow
definition. It is especially suitable for bringing out structural detailsin materials, or if a higher light output is needed.
PROFOTO UMBRELLAS
-
7/25/2019 Download Issue 112783
92/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
White Umbrella Small100611
White Umbrella Medium100616
White Umbrella Large100719
Disc Reflector100654
Designed for use with an umbrella. It keeps light from spilling off
the edges of the umbrella. Very compact design for easy carrying.
Silver Umbrella Small100615
Silver Umbrella Medium100616
Silver Umbrella Large100720
Translucent Umbrella Small100613
Translucent Umbrella Medium100614
-
7/25/2019 Download Issue 112783
93/128
The softbox is one of the most popular Light Shaping Tools.
At first glance, its uncomplicated nature might trick you
into thinking that all softboxes are the same. But as any
experienced photographer will tell you, there can be a big
difference between one softbox and another.
RFi softboxes come in all sizes and shapes. To ensure full control
for the photographer, they have a deeper shape, a recessed front,double-layered diffusers and a highly reflective silver interior.
Optional accessories such as Softgrids and Stripmasks are available
for even more precise light shaping.
The RFi speedring adaptors make the RFi softboxes compatible
with well over 20 different flash brands, ranging all the way from
speedlights to high-end studio strobes.
In short, an RFi softbox is not just a softbox. Its a Light Shaping Tool.
PROFOTO RFI SOFTBOXES
90
-
7/25/2019 Download Issue 112783
94/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Profoto RFi Softboxes
SEE VIDEO AT:
http://www.youtube.com/watch?v=G6qsGKEl2Fc
-
7/25/2019 Download Issue 112783
95/128
-
7/25/2019 Download Issue 112783
96/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Softbox RFi 4x6'
(120x180 cm)
254705
Great for full-body portraits
and lighting large groups.
Softbox RFi 3x4'
(90x120 cm)
254704
Great for full-body portraits
and lighting large groups.
Softbox RFi 1x1,3'
(30x40 cm)254701
Extra-small softbox ideal for
hand-held use on location or for
ighting small objects or areas
within a larger scene.
Softbox RFi 1,3x2'
(40x60 cm)254702
Small, compact size makes
it ideal to use on location for
portrait, wedding, editorial,
and product photography.
Softbox RFi 2x3'
(60x90 cm)254703
The medium sized RFi 2x3'
(60x90 cm) is suitable for
portrait, wedding, editorial and
product photography.
Softbox RFi 2x2'
(60x60 cm)254706
60x60x47 cm. Can be used
as a hairlight, fill light and for
bringing out small details in
portraits. (23.6x23.6x18.5 in)
PROFOTO RFI SOFTBOXES
-
7/25/2019 Download Issue 112783
97/128
94
Softbox RFi 5' Octa
(150 cm)254712
Ideal main light source
for portrait and people
photography.
Softbox RFi 3' Octa
(90 cm)254711
Ideal for people and portrait
photography, optimal size for
jobs on location. The octagon
shaped softbox can be used asa key light for portraits since
it is the most efficient use of
light and has a natural fall off.
18.5" depth..
Softbox RFi 1x6'
(30x180 cm)254710
Ideal to light a full length
portrait without spilling light
everywhere, hair lighting, and
as a kicker light.
Softbox RFi 1x4'
(30x120 cm)254709
This striplight is ideal for many
situations, especially 3/4 and
headshot portraiture. The
exchangeable internal diffuserensures extremely low light
fall off.
Softbox RFi 1x3'
(30x90 cm)254708
Due to its small profile,
this soft box is optimal for
portrait, beauty and product
photography.
Softbox RFi 3x3'
(90x90 cm)254707
Suited to portrait and people
photography, but also ideal
over-head to draw out extra
detail in shadows with a small,diffuse source.
-
7/25/2019 Download Issue 112783
98/128
SOFTGRIDS
RFi Softgrid 50
1x1,3'254620
RFi Softgrid 50
1,3x2'254621
RFi Softgrid 50
2x3'254622
RFi Softgrid 50 3x4'254623
RFi Softgrid 50
4x6'254624
RFi Softgrid 50
2x2'254625
RFi Softgrid 50
3x3'254626
RFi Softgrid 50
1x3'254627
RFi Softgrid 50
1x4'254628
RFi Softgrid 50
1x6'254629
RFi Softgrid 50
3 Octa254630
RFi Softgrid 505' Octa254631
RFi Softbox Kit
901182
The RFi Softbox Kit includes 1 Softbox RFi 2x3',
1 Profoto Speedring for RFi, and 1 Softgrid
50. Creates a very soft light that is perfect for
portraits and allows for precise light shaping.
STAY CONNECTED! FIND A DEALERPROFOTO.COM
PROFOTO RFI SOFTBOXES
-
7/25/2019 Download Issue 112783
99/128
96
STRIPMASKS
RFi Stripmask 7 cm 1x3'254632
RFi Stripmask 7 cm 1x4'254633
RFi Stripmask 7 cm 1x6'254634
-
7/25/2019 Download Issue 112783
100/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
DIFFUSERS
RFi Flat Front Diffuser 1x1.3'
254635
RFi Flat Front Diffuser 1.3x2'
254636
RFi Flat Front Diffuser 2x3'
254637
RFi Flat Front Diffuser 3x4'
254638
RFi Flat Front Diffuser 4x6'
254639
RFi Flat Front Diffuser 2x2'
254640
RFi Flat Front Diffuser 3x3'
254641
PROFOTO RFI SOFTBOXES
-
7/25/2019 Download Issue 112783
101/128
98
RFi speedring adapter Profoto100501
RFi speedring adapter Nikon/Canon100502
RFi speedring adapter Elinchrom100503
RFi speedring adapter Bowens/Calumet100504
RFi speedring adapterAlienBees/White Lightning X100505
RFi speedring adapter Hensel Expert100506
RFi speedring adapter Broncolor Pulso100507
RFi speedring adapter Multiblitz Profilux100508
RFi speedring adapter Photogenic100509
RFi speedring adapter Speedotron100510
RFi speedring adapter Comet100511
RFi speedring adapter
Lumedyne/Quantum/Sunpak/Norman100512
RFi speedring adapter Dynalite 2100513
RFi speedring adapter Sunstar100514
RFi speedring adapter Broncolor Visatec100515
RFi speedring adapter Novatron 2100516
RFi speedring adapter Multiblitz Varilux100517
RFi speedring adapter Photona100518
PROFOTO RFI SOFTBOXES
-
7/25/2019 Download Issue 112783
102/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Ready to Take Your Lighting
to the Next Level?
Check out our RFi softbox tips and tricks!
Choosing the Right Size of
Softbox for the Right Job
pg. 112
Building Your Set,
Softbox by Softbox
pg. 114
Using Softboxes to
Create a Perfectly Even,
White Background
pg. 116
Creating Hard Light
with a Softbox
pg. 118
Creating Long and Even
Highlights with Softboxes
pg. 120
Creating a Giant Ring Light
with Softboxes
pg. 122
-
7/25/2019 Download Issue 112783
103/128
100
Zoom Reflector100785
The versatile and compact cornerstone ofmost Profoto owner's Light Shaping Tool
collection is the newly redesigned Zoom
Reflector. Why? In a word: versatility.
This standard reflector adds functionality to
your lighting system without adding significant
size, weight or cost. The unique Profoto head
zooming feature incorporated into all Profotoheads allows you to slide the reflector forward
and backward on the head. The result is nearly
infinite control the spread of light and intensity
over a wide range, which also can eliminate the
need for additional reflectors or grids.
It is perfect for simulating direct sunlight ina small studio or for pumping a tremendous
amount of light on a background. They also work
well controlling any stray light when using a large
umbrella or when bouncing light from a wall or
ceiling.
For even more control, add Profoto grids or
barndoors to further shape the light. Find outfor yourself why the Profoto Zoom Reflector is
the most popular reflector we offer!
REFLECTORS
-
7/25/2019 Download Issue 112783
104/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
Grid & Filterholder Kit for Zoom Reflector900649
Attachment for new Zoom and former StandardZoom reflector to mount grids, filters and the
Snoot (100651).
Snoot100651
Compatible with Grid & Filterholder
-
7/25/2019 Download Issue 112783
105/128
102
Magnum Reflector100624
The Magnum Reflector has long been regarded asthe sunlight of the Profoto light shaping family. It
provides strong, smooth light featuring maximum
output with a normal beam spread. Employ this
reflector to get direct light with high output and
defined shadows.
To achieve precise control over direction of the light,
the Magnum can be supplemented by the ProTube,10 Grid or Barn Doors. The crisp character and
high output make this reflector very popular as
fill-in light source against direct sunlight.
10 Honeycomb Grid for
Magnum and Narrow Beam
Reflectors100618
REFLECTORS
-
7/25/2019 Download Issue 112783
106/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
The one I am in love with right now is the
Profoto Magnum Reflector. The reason I
love it is because it is so versatile. It can be
narrow, it can be wide. Right now I'm really
into a cold, sharp, light. I like that about it."
KAREEM BLACK
MASTER SERIES:
Kareem Black on his Favorite Light Shaping Tools
SEE VIDEO AT:
http://www.youtube.com/watch?v=dEhzWOzEVwk
-
7/25/2019 Download Issue 112783
107/128
104
WideZoom Reflector100711
This reflector is very versatile with an angle of light
from 40 to 70 degrees. It provides even illumination
when used at short distances. The WideZoom
reflector produces f/64 @ ISO 100 at 2 meters with
a 2400 Ws generator. A more modern, zoomable
version of the classic Magnum reflector.
Excellent as a crisp, brilliant main light source to
simulate or overpower the sun on location, or as
a main light on a reception hall dance floor. This
reflector features every even illumination with a
fast fall-off. With the light characteristics of a
wide angle and normal reflectorand everything
in between. The WideZoom Reflector can be used
in combination with umbrellas to reduce stray
light as well.
10 WideZoom Grid
for WideZoom Reflector100636
REFLECTORS
-
7/25/2019 Download Issue 112783
108/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
TeleZoom Reflector100712
Direct light with maximum output even at large distances, this
modifier can illuminate the entrance to a church on a cloudy day. Its
a perfect accessory to get an even, but very effective light output over
wide distances. Sharing its lighting characteristics with the Standard
Zoom Reflector, this reflector is unique because the angle of light
varies from 10 to 20 degrees. Even illumination and high light output
add to its versatility.
The TeleZoom accepts the same accessories like the Magnum and
Narrow Beam Reflector.
-
7/25/2019 Download Issue 112783
109/128
106
NarrowBeam Travel Reflector100713
The NarrowBeam Travel Reflector gives one ofthe highest light outputs of all Profoto reflectors
Used on Profoto flash heads it great for the location
photographer since it is compact, lightweight and
produces a narrow spread of light.
Disc Reflector100654
The Profoto Disc Reflector is designed for usewith an umbrella. It keeps light from spilling off
the edges of the umbrella. Without an umbrella,
it gives a low-lighting effect. Very compact design
for easy carrying. Standard accessory to go along
with AcuteB flash heads.
REFLECTORS
-
7/25/2019 Download Issue 112783
110/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
The other piece I love that I think is theunsung hero of the light shaping universe
are the Narrow Beam Reflectors, and
the travel one is smaller now. Those are
unbelievably useful! They concentrate the
light like a gridspot does, but they intensify
the light." GREG HEISLER
Gregory Heisler on Profoto Light Shaping Tools
SEE VIDEO AT:
http://www.youtube.com/watch?v=igoU0JpdyZE
-
7/25/2019 Download Issue 112783
111/128
108
The Fresnel Spot projects a clean, crisp beam oflight, similar to that of natural sunlight. Filters
can be attached to the front of the Fresnel for
additional lighting effects. A flash head can
mount directly to it, without requiring an adapter,
and is easily adjustable with its built-in iris control
which adjusts the diameter of its projected beam
and can also be used with all Profoto heads. This
light shaper is excellent for location interiors.
The Fresnel Spot has built-in flashtube, whichincreases efficiency and gives 100% conformity
of model and flash light for total light control
Active fan cooling allows continuous use, optiona
barn doors assist with controlling stray light
and rigid and stable construction allows heavy
duty use.
SPECIAL APPLICATIONS LIGHT SHAPING TOOLS
Fresnel Small100789
-
7/25/2019 Download Issue 112783
112/128
STAY CONNECTED! FIND A DEALERPROFOTO.COM
ProGlobe w/Ring100673
The ProGlobe gives a surrounding light, similar to abare bulb effect or, if mounted high up, like a street
lamp source. It can also be used as background
lighting or placed underneath a photography table.
Cinematographers call this a Chinese lantern. Its
soft, bare bulb effect is perfect for quick location
lighting. When used in combination with a softbox
mounted around it, the ProGlobe creates very even
light with soft shadows.
Spot Small100790
Ideal for creating theatrical lighting effects, theSpot Small projects a controllable, hard edged
spotlight. This high-quality optical focusing spot
can be used to project patterns or masked shapes
onto your set. It attaches to any Profoto flash
head and accepts M size (7 cm) gobos.
-
7/25/2019 Download Issue 112783
113/128
Choosing the Right Size of Softbox
for the Right Job
Creating a Giant Ring Lightwith Softboxes
Building Your Set,
Softbox by Softbox
Creating Long and Even Highlightswith Softboxes
-
7/25/2019 Download Issue 112783
114/128
Using Softboxes to Create
a Perfectly Even, White Background
Creating Hard Light
with a Softbox
RFi SoftboxTips and Tricks
-
7/25/2019 Download Issue 112783
115/128
112
The larger the light source is
in relation to your subject, the
softer the light will be. This
simple fact is one of the mostimportant lessons to learn
about light, and for this reason,
choosing what size of softbox
to use will be one of the most
important decisions that you
will make prior to a shoot.
For instance, if you choose
a larger softbox, you will get amuch more open, softer light
that more closely resembles
daylight. If, on the other hand,
you go for a smaller softbox,
you will get a harder light with
richer contrasts, reminiscent of
interior light.
Take a closer look at the
two smaller images in this
article. The first image (1) was
shot with the larger Profoto RFi4x6 while the second image
(2) was shot with the smaller
Profoto RFi 1.3x2. While the
first image looks almost as if a
window was in the room, the
second image looks more as if a
lamp is turned on. The lighting
also affects the overall mood ofthe image. The second image is
undoubtedly moodier and more
dramatic.
Note that we used only one
rectangular softbox for both
images. Also note that the light
was standing in the same spot
with exactly the same distance
between our model and the
softbox diffuser (when using
a softbox, this is the distancethat actually matters not the
distance between the model
and the flash head).
In conclusion, by choosing
between a large and a small
softbox, we can drastically
change the light and the overall
mood. Needless to say, thereis no right and wrong. It all
boils down to deciding on what
you want to achieve, and then
choosing the right softbox to do
the job.
If you are planning to use a softbox for your next set-up, you
should think about more than simply what shape to choose
or where to put it. The size is just as important - perhaps
even more so!
Choosing the Right Size of Softboxfor the Right Job
RFI SOFTBOX TIPS AND TRICKS
-
7/25/2019 Download Issue 112783
116/128
1
2
-
7/25/2019 Download Issue 112783
117/128
114
The main image (1) in this
article was shot using four
lights: one Profoto Softbox RFi
3x3, one Profoto Softbox RFi5 Octa and two Softbox RFi
1x6. Again, some might be
intimidated by the amount of
lights but the fact is that as
long as you build your set one
light at a time, it is almost as
easy as using just a single light
source!Let us take a closer look at
the second image (2). This was
shot using just the RFi 3x3.
The image is dark, moody and
admittedly not very inspiring.
But that is not the point. The
point is that we begin with
our main light, and when weare happy with the result, we
move on
to the third image (3).
Here, we add the RFi 5 Octa
as our fill light. Now, the
important thing to remember
is that the fill light should not
add to the character, and
instead just blend harmoniously
with the main light. That isthe reason that we chose to
work with the RFi 5 Octa a
large light source that creates
a soft and even light. The
fourth image (4) shows just
the fill light, but what is really
interesting is, of c