portrait

Self Portrait with the Paul C. Buff Octabox

Self Portrait with the Paul C. Buff Octabox

A photographer’s cheapest model is, as they say, themselves. So I put my cheap model to work utilizing the new octabox I got from Paul C. Buff (detailed here).

List of gear:

  • 5d Mark II
  • Einstein Flash Head 
  • Octabox
  • C-Stand
  • Low-rent model (me)

Below are images of the final result of the shoot, as well as a diagram of the set up.

You can do some pretty awesome photos with just 1 light and a nice modifier!

Benjamin Lehman is a commercial photographer who works in San Francisco, Canton, Cleveland and North East Ohio. 

How-To Photography: Anatomy of an Environmental Portrait – Warrior Beat

How-To Photography: Anatomy of an Environmental Portrait – Warrior Beat

Environmental Portraiture

Also known as, “A face in a place”, is by far my favorite type of picture I am asked to take. The reasons are varied; I like dealing with interesting people, I enjoy traveling to new and different locations, and most importantly I like the opportunity to tell a story with my photos. 

As photographers, we usually go into a new project with a mental check-list, or to-do list, of what we want to accomplish. With environmental portraiture, the most important ‘to-do’ is the part regarding the story telling aspect of the photo I am about to take. The idea here is simple: Take a photo that tells the viewer something important about the subject. Nat Geo photographers are gods at doing this. Annie Leibovitz, someone I deeply admire, is another artist who just knocks her photos out of the story-telling-park every time. 

I used to think the story telling aspect would be hard part of the process, and it can be in some very special circumstances. However, with just a little practical self-control (i.e., just keepin’ it simple) you can turn the story telling phase into something that can happen quickly, easily, and enjoyably.

For my example here, I am going to use the guys over at Warrior Beat as my example. Warrior Beat is a non-profit organization that provides professionally facilitated drum circles to US Military Veterans who are suffering from either mental or physical disabilities. They do a lot of great work and are one of the few for-veteran organizations who use art in healing. (Disclaimer: I not only help and work with the boys and girls at Warrior Beat, but I also designed their logo and act as a co-founder.)

Most of the members of Warrior Beat are veterans themselves, having served over seas, fought in battles, and returned home with scars of their own. They are also an organization who’s public profile is rocketing faster than they expected due to the good, and unique, work that they do. 

When the time came that they needed some updated member photos, the challenge was set; how do we take portraits that will give viewers, (who may also be potential donors to their charity), an at-a-glance idea of who they are and what their message is?

The first step in environmental portraiture is the story.

Ok, so putting that to use here’s what we know about Warrior Beat’s story:

  • US military veteran based service
  • Many Warrior Beat members also have a military background
  • They use drums in a therapeutic setting

With these three simple, but important facts we can start to paint a picture for our photos. We want our story to hit as many of these bullet-points as possible. 

Next Step: Location

The next most important part of an environmental portrait? The environment, of course! So, what better place than a military museum? The MAPS Air Museum to be precise. 

A quick note on securing locations

A lot of locations will be happy to donate their time to worthy causes. A military-based museum will more than likely donate their space to you for photos when your subjects are also military vets. This applies to a lot of locations and situations. To repay the favor, offer to send them copies of the photos for use in their own social media, or print publication usage. Be sure to give them a social media thanks (with a link!). Those types of gestures go a long way into building a rapport with groups who may seek out your services later once they see how awesome your photos are!

We walked around the museum for about 20 minutes, trying to find a good location, and quickly realized our best bet was a Cobra helicopter sitting in front of a 2 story US flag. The Cobra helicopter was used in multiple branches of US military services, and the flag itself was just too good to pass up. It totally reads as military, as patriotic, as veteran; right off the bat we can check off two items on our story telling list.

The last item on our check list, tying our subjects in with their facilitated  drumming service to veterans, would be as simple as just having the Warrior Beat CEO hold up a drum for his portrait. 

Photography Gear and Setup

For my gear I used the following:

The good news was, I didn’t have to light the ginormous flag. There was a bank of windows behind it that would take care of that issue for me. But, what that does mean is that, I now have to light my subjects to work with what’s coming through the windows. 

Luckily, with just 3 flashes and some basic know-how on lighting ratios, I was able to dial it in. Specifically, I used the Einstein and beauty dish as my main light for my subjects. I was shooting slight up at my subjects to give them a little more gravitas and presence within the photo frame. This meant I was able to bring the light down a little more than usual to help keep shadows to a minimum. I didn’t want to remove all the shadows, however, since I felt a little sharpness in the photos would help translate the perception that these guys have seen some sh*t, which they have, and have been changed by it, which they also have.

The second light, an alien bees b800, inside of a 4 foot strip light, acted both as a slight fill light as well as kicker light for the helicopter. I needed to brighten up the details of the Cobra, so I just turned the light little by little until I was able to get just the right ratio of light spilling between the copter and my subject.

The last light was a small Vivitar 285HV on the ground near me that just barely threw a little extra oomph at my subjects. Again, I wasn’t trying to eradicate the shadow, but I did want to fill in a little detail in the darker spots, like under their chins, to help define their faces a little better. 

I used my 70-200mm lens so I could compress the distances between subject and background. The idea here is to give my subject a greater sense of scale so he can compete better between the larger helicopter and flag in the background. 

Once the lighting is all dialed, (remember, we’re exposing for the natural light that’s coming in and hitting the flag), it’s time to take some photos and, hopefully, capture a story!

In conclusion

Crafting a story doesn’t have to be the hard part of environmental portraiture. Instead, use some very basic ques from your subject to help guide the narrative. Sometimes you need to go over board and spend a good deal of man-hours and money to handcraft the perfect story telling photo, but other times you can rely on more modest techniques to conquer the same problem.

Benjamin Lehman is a commercial photographer who works in the San Francisco, California, Canton, and North East Ohio areas. 

 

Me, on the floor. Here you can see how I’ve set up my lights, and my subject, in relation to the background. 

The final frame of our story telling, environmental portraiture. 

Wedding of Talon and Jordon Baker at Kingwood Center in Mansfield, Ohio.

I had the unique pleasure of photographing the wedding of Jordon and Talon Baker this last December at the gorgeous Kingwood Center in Mansfield, Ohio. What a beautiful couple and gorgeous location!

 

Benjamin Lehman is a commercial photographer in the Canton, Northeast Ohio, area. 

Akron Canton Regional Foodbank T-Shirt Promotion Photo

OMG! We had the best photoshoot ever recently with our friends at the Akron Canton Regional Foodbank. When they needed a promo pic for their new t-shirt and the designer who created it, we jumped at the chance! (See what we did there?)

_X5A8872-Edit

Jarrod & Ben

Portraits: Warthogs MC

Creating a bad-ass portrait for a bad-ass personality.

The old adage is, a photo is worth a thousand words. This is why many of the industry’s top photography professionals are so adept with story telling through the pictures they take.

When you’re taking a picture of a personality, it’s a good idea to give the viewer some insight into that person’s life – you can do this by including a visual story in your photo. This can be done using a lot of simple production tricks like location, lighting, wardrobe, props, etc… Here I used a lot of negative space, dramatic lighting and some smoke to help tell a story and create a mood.

Akron Canton Regional Foodbank 2014 Annual Report – Benjamin Lehman Photography

I was graciously asked again this year to help with Akron Canton Regional Foodbank’s annual report. Needless to say, I jumped at the chance.

There are few jobs that, once they are done and over, leave you with a sense of true purpose — a sense that a difference has been made. It’s not me who is making the difference, I am just a guy with some lights and a camera. Rather, it’s the people in front of, and behind the lens who leave a real and lasting impact on the fight against hunger.

You can download the complete annual report here.

High ranking corporate executives, reverends, chefs, and volunteers are just some of the people you’ll find on the front-lines , laboring to keep food on dinner tables. The people who benefit from their efforts are neighbors, friends, and family.

In an era where thousands of commercials are constantly asking for, “just pennies a day”, you can become desensitized to the problem. It can be hard to realize that the issue of hunger isn’t a problem that only exists in countries half a world away. It’s a dilemma you can find within walking distance of your front door. It’s the job of the Akron Canton Regional Foodbank, and all such organizes around the US, to create new and innovative ways to combat the many problems associated with hunger.

For this years Annual Report, the design moved away from the environmental portraits of last year, and into a much brighter studio portrait style. The very first page of the Annual Report features the word, “HOPE”, and the photos needed to convey this optimistic message.

After you’ve had a chance to look at some of the pictures below, please visit the Foodbank’s website and support them any way you can. You’re helping more than you can imagine by either making a donation in money, or time as a volunteer.

You can download the entire Annual Report here.

Three Point Lighting Tutorial featuring Paul C Buff’s Einstein Studio Light

Three point lighting can mean any lighting set up that uses, (you guessed it!), three lights. Somewhere in your camera or speedlite manual there is a hastily drawn diagram illustrating a simple 3 point lighting arrangement.

Word of caution though, those diagrams are terrible and will probably leave you in a lurch when photo-time arrives and you go to take your first picture only to realize that your lighting set-up isn’t gonna cut it.

The lighting scheme I am going to share with you today is an alternate set-up; and when done right it opens the doors to some pretty interesting possibilities. First, let’s discus what you’ll need:

  • Three lights
  • 2 strip light soft boxes
  • 1 umbrella/medium soft box/octobox

The biggest difference between this set up and the ones you’ll more commonly find online is that two of our lights will be effectively behind and to the sides of our subject, rather than two lights in front.

Our-Three-Light-Portrait-Setup

Diagram of our 3 Point Lighting Technique.

I forgot to get a good production photo during the shoot. Which by the way, is a no no. You should always get a good production photo during the photo session so, if you have to come back and revisit the set for pick-ups, you’ll have a good visual reference to which you can match the lighting accurately. Luckily, I’m familiar with this set up, so not having a production photo isn’t too bad in this case.

This diagram to the left illustrates the basics of the set up. Two strip lights behind the subject, and one light in front of the subject. The lights in the back are positioned so that they are pointed at the subject’s shoulders. The vertical height of the lights depends on the height of your subject.

With strip lights, it’s important to know that even though they may be very tall, the ‘hot-spot’ of light is still centered in the middle of the box. That means I usually end up adjusting my strip lights so that the middle of the box is lined up with the top of my subject’s shoulders. If that isn’t giving you enough vertical coverage, then tip your strip lights so the top of the box is leaning towards your subject. Why does this work? A light source appears brighter the closer you are to it. Tipping the top of the strip light towards your subject will project more light onto their head, while the brighter middle area of the light will be a bit more dim because it’s slightly further away. Using the inverse-kinematic laws of light to your advantage, how cool is that!?

The light in front of our subject was a 22″ beauty dish. This doesn’t have to be a beauty dish, however. It can be an umbrella, a soft box, even a huge octobox. For our purposes, however, we were going for a slightly zappier, edgier light so a beauty dish was the perfect choice.

We placed the beauty dish on a C-Stand with a boom arm and leavered it over our subject. The light should be just high enough to be out of the frame of our picture. You don’t want it too high, or else you’ll fill your subjects eyes and cheeks with shadows. Keeping it just above the camera’s line of sight will render some nice shadows while still dishing some light into the eyes.

_X5A5833

Strip Lights

For this photo, we really want the edges of our subject to be defined. For this reason, I suggest you adjust the power output of your strip lights before you start fiddling with your main light. I know this is a little backwards from conventional lighting logic, but these strip lights are tasked with making our subject pop out of the background so this is where most of our lighting power will be coming from.

You can tell that you’ve done it right when you do a test shot and your subject is completely outlined in light, but the center of the subject’s face is in near-total darkness.

_X5A5837

Main Light

Next step is to dial in your main light. In our case, it’s the 22″ beauty dish from Paul C. Buff. Also, making it’s debut in my studio, is the PCB Einstein. I’ll get to the specifics of this light a little later on this post, but for now let me just say this: WOW, this light is awesome.

Okay, back to the Beauty dish. Once you have your strip lights producing the right amount of edge lighting on your subject, you are ready to introduce your main light. Start low, as in, power that light all of the way down. We’re trying to add just enough light to bring out the eyes and the features of the face. More precisely, you’re aiming for something like 1 stop under what would be considered optimal exposure. If your studio light doesn’t go low enough in power, just walk the light away from your subject until it looks right.

In my case, the light was about 2 feet away from the subject, with Einstein running at 1 stop above it’s minimum power.  For my beauty dish, I am using a sock diffuser to help spread a little light into the shadows – but even with a diffuser on a beauty dish, your light will remain relatively sharp.

Compare the image to the left with the one earlier. You can see that the main light adds a subtle, but dramatic difference.

Using this lighting set-up gives you a very striking final frame. The edge lighting lifts the subject off the background and the main light adds a ton of mood to the portrait – but don’t stop there!

This lighting set-up can be used outside of the studio. It will work with nearly any suitably moody envorinment. It is, perhaps, a little too dramatic for corporate portraiture, but it works great on athletes, or theatrical personalities.

This technique also works particularly well if you are doing a composite image. So, how do we go about doing that? Well, let’s explore further!

The Background

I started this project knowing that it would ultimately end as a composite in Photoshop. I shot our subject on a gray seamless because the background doesn’t really matter. The gray just gives me a nice blank color to lift our subject off of in Photoshop later. So that leaves us with the question, “What is our background going to be?”

Well, it’s a sports themed shoot, so I went out scouting for sports themed locations. The locations don’t have to be specifically tied to sports either. Basketball, for instance, has a long history of being played in run-down inner-city courts. So go find a shabby court, or even an old alley way. You just need to tie the background to personality of the photo.

IMG_2221-Edit_2-Edit_3-Edit_tonemapped-Edit

I decided to be a little more specific with my photo and I drove around town looking for a suitable series of locations that would match my pictures. I finally found a high school football field that would work perfectly for what I had in mind.

I walked around the field until I decided on a composition and then I began to shoot bracketed shots. The reason for the bracketed shots was because I knew I would be merging these into an HDR image. Why HDR? Well, the light on our subject is dramatic, so the background should be dramatic too!

The picture to the left represents the HDR we’ll be using in our final photo.  I created this by merging 3 photos in Photomatix and then Tone Mapping the result in lightroom. You can use whatever process you are most comfortable with in terms of your own HDR images.

Once we’ve gotten our background prepped, and we’ve cut our subject free from his gray background it’s time to marry to the images into one composite.

How you put your photos together, and the visual treatments you apply are completely up to you. There’s no real step-by-step, and it all comes down to personal style. Since my vision was to have a gritty sports portrait, I spent a lot of time making sure the final image conveyed the attitude I wanted. I also spent a lot of time doing things we normally do with our portraits; retouching, dodging & burning, liquefying, etc…

Below is the final export.

Final Thoughts and little more about the Einstein Light.

I’ll be writing up a full review on the Einstein within the next day or so, but I just wanted to quickly add how impressed I am by it’s features and performance. It played a large part in allowing me to achieve the image I wanted.

In regards to the lighting scheme I’ve laid forth in this post, I just wanted to say it’s not something I came up with on my own. I’ve seen a lot of great work from great photographers, all of which have influenced the way I approached this particular project. I suggest you go out and get inspired too!

 

Benjamin Lehman is a Commercial Photographer in the Canton, Northeast Ohio area.

Commercial Portraiture with the Amazingly Talented Chef and Artist, Steve Baity

steve-watermark (60)

Chef and Food Artist

I love photographing interesting and fun people – it’s part of why I got into this line of work in the first place. Steve is just such a guy. He’s an accomplished chef and food carver. Yes, food carver. He takes everyday food items and turns them into work of art.

Sculpting with Food

As I started to set up for the shoot, Steve began to carve and assemble a gorgeous food sculpture. It was hard to keep focused on my tasks while he was working at his craft. It was way too tempting to just watch him as he worked.

Steve-Baity (55)

You can see a diagram below of the setup used to create these shots.

My Favorite Light Modifier – the Westcott 7′ Umbrella

 

In my search for great, cheap gear, this is one is a must-have

Modifiers let photographers take their light and mess around, get creative. Small modifiers can give you a sharp, zappy light with strong contrast. Large modifiers can even out shadows, spilling light across a surface. Huge modifiers do the same, only they take that principle to the extreme! At 7 feet, this Westcott umbrella is about as big as you can get while still being manageable in the field.

Because it’s an umbrella, albeit a very large one, it folds up quickly and easily into a relatively small volume. That means you can throw it into the back of your small car, or take it with you into the field without having to deal with something more cumbersome like a metal framed light panel. Like most studio umbrellas, nearly all studio light or speedlite brackets will accommodate it nicely.

One thing that really surprised me with the Westcott is how well it works with a single speedlite. You’d expect something 7 feet across to eat up the light from a tiny flash unit, but that’s not the case. A single 430ex II speedlite is more than capable of working with this gigantic modifier with great results. I’d suggest using at least two speedlites to help preserve battery life, but in a pinch 1 speedlite will work flawlessly.

I used this light this past weekend while photographing my step-daughter’s wedding. I only had 5 minutes to get the shot and that included light step up, composition, and posing. Because I only had one light I used a technique where you take several photos of the scene, moving the light around between each shutter release. Once you’re done you stitch the photos together, creating a photo that looks as though it was light with 4 or more giant modifiers.

Below is the final photo, beautifully lit thanks to the Westcott 7′ White Umbrella

IMG_1039-Edit

Page 1 of 3123