Today on the blog the results from the second day of the FotoFair 2026.
During the first day our model was Felisa.
And for the second day we asked Claudia to accompany us during the workshops.

During the FotoFair I teach 2 workshops daily
The workshops are taking 2.5 hours and are taught in small groups so there is a really nice 1:1 experience.
I love teaching smaller groups because you can really dive into the techniques and tips/tricks that are custom made for the group.

The first day I was not 100% (headache and nausea) but luckily the second day it was a lot better.

In a period where more and more larger trade show struggle it’s very nice to see that FotoFair is still going on.
And I really hope they will continue for the coming years.
Because let’s be honest, there are not a lot of outside events where you can learn, shoot awesome sets with cosplayers, old cars, RC boats, agility with dogs, horses, fire breathers and what not more.

For me it was all about “no more boring model shoots”.
So today the results from day 2.

And indeed, sometimes you want reflection in the glasses, and sometimes not
In this case I loved the effect so we actually tried to get them in.

Also want to visit one of the workshops?
Check www.fotografie-workshops.nl for more information and of course the agenda.
if you want to learn about lighting, retouching etc. instead of just shooting a model…. visit the website and see you soon in Emmeloord or on another location.

The post FotoFair 2026 day 2 appeared first on Frank Doorhof.

One of the most exciting events

If you’re into modelphotography, portraiture or any other event where you are confronted with photographing people, this is the conference for you.
KelbyOne is of course a name that guarantees the best instructors in the world and I’m excited to be part of their team.

For this conference I have a super creative class planned with motion and loads of special techniques.
And I’m 100% sure the other classes will keep you motivated and inspired for a very long time.
I can’t wait for the conference, and I hope to see you guys there (online).

Register via : The Photographing people conference
And you also support our work.

The post The Photographing people conference appeared first on Frank Doorhof.

You probably heard this a lot since Covid.
And it’s true, well at least in The Netherlands.
A lot of the especially larger trade show and events never came back after Covid, which I think is a huge loss, but we have to deal with it.

In The Netherlands we have a few smaller events trying to fill the spaces and some are indeed very nice, but we still have one large event left, and one I especially love.

FotoFair

The FotoFair is a very special and unique event.
No trade show floor, no big building with a dedicated room.
No… FotoFair is organized on a large recreation area with a beautiful lake.
All the workshops and lectures are held inside tents, and also the sponsors are selling from tents.
During the show there is a lot of stuff to do if you don’t want to visit the workshops.

Agility with dogs, horses, cosplay, radio controlled boats and a boat load more.

For us it’s a great show because we can just drive the RV next to the tent to build up and park it a few mtrs away from the show area.
(in the past we could even park behind the tent :D)

The workshops

This year the theme for my workshops was “no more boring model shoots”.
During the workshops (which last 2.5 hours) I show several lighting techniques to get more “oomph” in your shots.
But we also talk about the technique, theory, how to work with the model, using light shapers, color management and a lot more.

Today some of the results from the first day with our model : Felisa

The post FotoFair day 1 appeared first on Frank Doorhof.

We all know that you can mount light shapers in front of your strobes to manipulate the light.
However, you can also use materials or objects placed between your subject and the light to create unique effects on the set or on your subject.

The key thing to remember is that the “sharpness” of the shadows is determined by the distance.
In this case, we use a room divider in our set to create some cool shadow effects on both our model and the background.

The key to a setup like this is, as mentioned, all in the distances. Begin by placing your light source as far away as possible and use a snoot with a grid or a reflector with a very tight and thick grid.

We want to ensure that the light is not spilling over but is focused on the room divider.

The “sharpness” of the shadows can be controlled by moving the room divider closer or further away from your subject. When you move the room divider closer to the light, the shadows will become softer and disappear a bit earlier on the background, moving the room divider closer to the model will result in sharper shadows that move further over the wall. As you can see, for this setup, I’m using the divider very close to the model.

Don’t stop me now….

“I’m having such a good time”…
This should always be your motto during a photoshoot.
Whenever you believe you’ve captured the perfect shot, don’t hesitate to experiment a bit further. In most cases, this can involve simply changing the angle or, as in the case of using a prop like our room divider, you can always find a different way to incorporate it into the composition. In this instance, the solution is to… well, let’s just say, choose a different angle.

See the whole class

Hopefully, you’re interested in learning how we shot, edited, and prepared this video. This is just one of the setups you’ll find in my brand-new class on KelbyOne. You can find the class here:

https://members.kelbyone.com/course/frank-doorhof-special-effects-simple-materials/

If you enjoyed this class, be sure to explore my other classes as well. Lighting setups are just one aspect of a photoshoot; it’s also about storytelling and creativity in lighting and color.

The post A room divider appeared first on Frank Doorhof.

And it can be hard. It all depends on the gear you use.
How often did we hear that excuse when something didn’t work out?

A few years ago I did a workshop during Photoshop World where I started out with 3 strobes and “faked” that one by one the strobes failed and I eventually ended up with a torch that was on the stage, and finally asking people from the audience to use their phones to light my model.
The proof is in the pudding. In essence you can create great shots with almost everything, as long as it emits light is my motto.

In fact, sometimes limiting yourself pushes you to be more creative.
And what is more limiting than….. a standard torch.

A new KelbyOne class

I’ve been working with KelbyOne for quite some time now. In fact, I was their first European instructor, which naturally means that when they request a new video, I want to create something fresh and creative. This time, the class focuses on using household materials to capture stunning photographs.
You can find the class here

A torch

Besides using household items like rescue blankets and a room divider (among other things), I also challenged myself with lighting.
One set we decided to try would be to see what you can achieve with just a simple torch.
We all have one in our phones or a more powerful one.
For this set, I’m using a simple focusable torch.

If you’re using a torch for photography, make sure the batteries are fully charged and use a pretty powerful one in a dark room to avoid spill light.

When we began with just the torch, the light was already ok, but I wanted to make it more focused.
However, when you can’t connect grids to a torch, you have to be creative.
So, we used a piece of cardboard and cut out the pattern I wanted on our model.
We started with something like this (I did add some vignetting in Photoshop).

With the cardboard cutout we already get a lot more focus on our model.
I already love this look.
But we can always improve something, Right?

Add some color

Color evokes emotions, and I believe the color red would be an excellent choice for this shot.
As you can see, I’m still using the torch with the cardboard to illuminate the models’ faces, but I’m also employing a red-colored light source to enhance the shadows.
You can use a strobe with a red gel or, of course, a LED tube.

In my case, I primarily use Nanlite PavoTubes.
These lights can be remotely controlled and offer a wide range of colors and effects.

Now it was up to our model Claudia to create interesting shadows on the background with her poses, and of course she had to stay within the light.
Not an easy task, but she is a great model and I absolutely love these results.

See how we did it

We filmed the KelbyOne class with 3 different cameras to make sure you see the set from all angles, and of course you also see the images coming in during the shoot.
This is just one of the sets we did for the class, so if you want to be inspired and learn how to use simple materials and alternative light to create stunning images, make sure to check out my new KelbyOne class.

The post Just a torch some gels and cartboard appeared first on Frank Doorhof.

Tutorials can be a few things

I’ve been creating tutorials for a long time now, and to be honest, it never bores me.
Mostly because, besides explaining the theory behind the techniques, I also love to create more creative setups or use gear in ways it wasn’t really designed for.

So when KelbyOne asked me to record a new class, I immediately knew what I wanted to do.
Create a class where I use household materials to create stunning results.
The class is now online on KelbyOne, so make sure you check it out whenever you want to be inspired.

You can find the class here :
https://members.kelbyone.com/course/frank-doorhof-special-effects-simple-materials/

Topics in the KelbyOne Class

The class is all about using household materials, so we dove into our attic and studio closet to see what we could use.
We ended up with scenes using rescue blankets, a torch with gels and cardboard, a room divider, and a lot more.
This is one of the most creative classes I have ever recorded, so I’m 100% sure you are going to love it.

I show you the lighting setups, the whole shoot (including all the images coming in), and of course, I explain all the techniques and ideas behind the shoot.
And to finish it off, you also get a full retouch session for several of the images.

If you love this class by KelbyOne Class: using household materials to create stunning images, make sure to also check out all the other ones.

Fun and creativity: storytelling

Photography is so much more than just capturing a beautiful model in front of a great background.
All of history, we have been storytellers, and you will find out that you will get much better results when you think more about storytelling than just capturing the light on your subject.
Storytelling can be done with colors, expression, and, of course, lighting.

In this class, I show you that you don’t need to break the bank to create cool sets or interesting looks in your photos.
So next time you are shooting a model, maybe just use a tungsten lightbulb or a torch?

Have fun

This blog (with Claudia) is also about being creative with colored lights

The post A new KelbyOne class appeared first on Frank Doorhof.

In professional photography, speed, precision, and collaboration often matter just as much as creativity.
One workflow has slowly transformed the way photographers shoot in studios, on location, and during commercial productions: tethering. First, I’ll explain tethering and then a few tips on how to protect your camera port and cable.

Tethered photography connects a camera directly to a computer, tablet, or monitor during a shoot, allowing images to transfer instantly for review.
What once seemed like a luxury reserved for high-end studios has become an essential part of modern photography workflows across fashion, product, portrait, and even wedding photography.
I remember that when I started in the studio, I connected my Canon camera with a video connector to a CRT monitor. It was far from perfect, but it worked like a charm.
Nowadays, tethering has come a long way, so let’s take a look at what tethering is and how we can use it, and we end with a tip that will save your camera.

What Is Tethering?

Tethering is the process of linking a camera to another device—typically via USB-C, Thunderbolt, Wi-Fi, or dedicated wireless transmitters.
The moment you shoot, the images will appear on the screen immediately. This is a great way to check focus and composition, or even attach a preset so the client can see the images as close as possible to the result.
You can even project the images inside a cover, for example. Tethering opens up the workflow and takes out the guesswork.
To be honest, I’m not a big fan of the wireless solutions, but if you only need JPGs and have an area without a lot of wifi traffic, it can work like a charm. Personally, I prefer to shoot with a cable.

Instead of reviewing shots on the small LCD at the back of the camera, you can now evaluate full-resolution files in real time.
Software such as Capture One, Adobe Lightroom, and most cameras have their own solutions, making this process seamless, offering instant previews, live adjustments, and organized file management.

At its core, tethering removes uncertainty from the shooting process.

My setup: with the Quick Release Cable Lock with sliders under my camera, and the Advanced Cabel Defensive System

Why Tethering Changes Everything

Instant Image Review

The most immediate advantage of tethering is visibility.
A 27-inch calibrated monitor reveals details that a camera screen simply cannot.
And when you are working on location, you can even use your iPad with software like Cascable or Capture One.

Photographers can instantly inspect:

• Sharpness and focus accuracy
• Skin texture and makeup detail
• Product reflections and imperfections
• Lighting 
• Color accuracy
• Composition and styling
• Use presets to get close to the final look
• Project the photos inside the page/cover to see if it fits the design

This dramatically reduces costly mistakes and reshoots.
In commercial work, where clients expect perfection, identifying issues on set instead of during post-production can save hours, or even entire campaigns.

A better client Experience

Photography is rarely a solo process on professional sets.
Creative directors, stylists, makeup artists, clients, and assistants all contribute to the final image.

With tethering, you can focus on your work while the team or client can see/browse the images and already make their selection.
And this doesn’t just work when they are in your studio. In essence, you can create shared online folders so your client can see the images coming in while you shoot, while he/she is on the other side of the world.
In fact, during COVID, I did a photoshoot with a friend in New York. I remotely controlled his camera and saw the images coming in on my machine the moment I shot them.

Without tethering, feedback is delayed. With tethering, the entire production becomes more efficient.

Faster Creative Decision-Making

Tethering also accelerates experimentation.
Because results appear instantly and at full scale, you can more easily test out :

• New lighting setups
• Different lens choices
• Complex compositions
• Color gels and modifiers
• Movement and motion effects

Creative risks become easier when feedback is immediate, plus you can see if your images work with different looks.
Sometimes a RAW file looks terrible, but when you start editing, they come to life. With tethering, you can very easily attach a preset to the RAW files coming in. I’ve used this countless times myself, and it’s an awesome tool that really helps with the more creative setups.

This is also especially powerful during editorial or advertising shoots, where subtle changes in mood and lighting can dramatically affect the final campaign image.

Improved File Organization and Backup

Modern tethering software automatically organizes images as they are captured.
Sessions can be sorted into folders, rated in real time, and backed up instantly.

That means:

• Reduced risk of lost files
• Cleaner workflow after the shoot
• Faster editing turnaround
• Easier collaboration with retouchers

For high-volume productions, this organizational advantage alone can justify a tethered setup.

Personally, I have my Sony camera setup so that it stores all the RAW files on the card and also inside Lightroom. In essence, you can also attach an external hard drive to your machine to create a third backup. Another solution is using the iPad, for example. On my iPad, I’m using CasCable. With CasCable, I’ve set it up so that the images stay on my camera, inside CasCable, but also inside Apple Photos. This means that when I’m home, my images are already on my Mac, and I can easily drag them into Lightroom. Alternatively, I can work on the files while traveling on my iPad. The flexibility and connectivity between devices are absolutely amazing and have improved significantly over the last few years.

Precision Lighting Control

As you know, I love to get the images right in camera and in studio/location photography, lighting precision is everything.

Tethering allows photographers to check both exposure and shadow play with far greater accuracy than an in-camera preview.
Besides the larger screen, a calibrated monitor also provides a much clearer representation of the final image.

The zoom capability is fantastic, but did you know that Capture One offers an option to check focus from a few meters away? In Capture One, you can use an option that displays all the areas that are “in focus” in a specific color, similar to how your camera displays the focus when you use manual focus.
This is an excellent tool for photographers who frequently use manual focus cameras, such as the RZ67ProII (which I still love).

Tethering on location

While tethering is often associated with studio photography, it’s equally effective on location. When I began teaching workshops on location, I had to bring a laptop, an extra battery, and an umbrella. During a workshop in Los Angeles, my laptop overheated, so we needed an umbrella. Additionally, the screen was barely visible on location, but it still worked.

Fast forward to 2026, and I’m shooting directly to my iPad Pro 12.9” on location. I don’t have to worry about dust or slight rain, and the screen is bright enough that we hardly need a sunhood. Moreover, the battery lasts the entire day without any issues.

Photographers now tether:

• Fashion shoots on location
• Destination weddings
• Automotive photography
• Food and hospitality campaigns
• Architecture and interiors

Lightweight laptops, high-speed SSDs, and wireless tethering solutions make mobile workflows more practical than ever.

The Gear That Makes It Work

A reliable tethering setup typically includes:

• A compatible camera
• High-speed tether cable or wireless system, I’m using the IQwire 10mtr cables
• A laptop or tablet
• Tethering software
• Cable management accessories
• External storage or backup drives

The thing you have to take into account is that a tethering cable is not just a USB-C cable.
When you use a standard or lower-quality tether cable, you run the risk of fire or damage to your port when the cable is damaged.
A dedicated high-end tethering cable is often one-directional and has extra protection against damage from accidents.

I’ve been using the cables and solutions from IQwire for years, and they have never failed me.
In fact, a few years ago we started selling them ourselves because a lot of the attendees of our workshops wanted a 10-15 meter lightweight tether cable with a proper protection system.
And because technology never stops, we are now already on the third generation of cables since I’ve started using IQwire.
Truly the next generation in Tethering, so when you are looking for a reliable system, make sure to check out IQwire.

Reliability matters. A dropped connection during a fast-paced commercial production can interrupt momentum and cost valuable time.

One of the most asked questions

One of the most asked questions is: “Why longer than 4.7 mtr?”
You might think that 4.7 mtr is long enough, but there is one vital thing you have to take into account.
We don’t want the cable to be a tripping risk, so it has to stay flat on the floor.
If we take into account that our laptop is on 1.5 mtr height, and we shoot from 1.5 mtr height, we only have 1.7 mtr room to move around.
When we switch to a 10 mtr cable, this not double but actually gives you 6.7 mtr to move around, a huge improvement.
And if you need more, IQwire delivers up to 15 mtr.

The Psychological Advantage

One of the most overlooked benefits of tethering is confidence.

When you can verify exposure, focus, and composition instantly, you can shoot with greater confidence.
Clients feel more comfortable because they can see progress in real time.
Teams communicate more effectively because everyone is looking at the same image.

That confidence changes the atmosphere on set.
Shoots become more intentional, collaborative, and efficient.

If you discover that the model continues to gaze at the screen, you can always place a flag in their field of view and claim it’s for lighting purposes.

Final Thoughts about tethering

Photography has always been about seeing clearly.
Tethering extends that vision beyond the camera itself.

By enabling instant review, real-time collaboration, accurate color evaluation, and streamlined workflow management, tethering transforms both the creative process and the final product.

But it also gives you a risk.
When you shoot on the card, there is no real risk for the camera.
However, when you shoot tethered, there is always a cable hanging from a small port, and your camera is connected to your laptop/iPad.

So it’s important that before you start tethering, you take care of a few things.

Protect your investment

As mentioned before, I’m using the IQwire system, so let’s take a look at how you can build a proper, protected system.
First, I’ll give you the rundown of my own system. And how I protect my camera port and cable

I’m using the 10-meter IQwire 10G cable.
I’ve used the 15 meter for a while, but found that in our studio the 10 meter is easier to use.
Both cables performed equally well in connecting and speed.

Under my camera, I’m using a slider system called the Quick release Cable lock (version1)
Thanks to the slider, my cable is always locked, preventing wear and tear when I need to route it through another solution (more on those later).

I’m also using the Unpanned Cable Modifications Detterent protector (the orange mount)  on the side of my camera. I primarily use this because, during workshops and events, the likelihood of people bumping into me is quite high. If they hit the cable, it could damage the port. The way it’s currently connected, in combination with the shorter connector of the new IQwire 10G cables, makes it almost impossible to damage the cable or the camera.

The tip I promised is in what I always call the PigTail.
You can opt to route your cable through the Quick-release Cable lock, but you can also use a small cable between your camera and the main cable.
You can of course just use a pigtail, but if you want it nice and also protect your main cable, you can use the IQwire Advanced Cable Defense system,

When you use the pigtails, and someone steps on your cable, the connection will be lost, not because your camera or laptop is on the floor, but because the cable is disconnected from the box. This happens to me at least twice a week, so this system is worth its price in gold for me.

Ok, so now we have seen the pro setup, let’s take a look at a slightly less pro setup.

My advice on how to protect your camera port (and cable)

With the CableBlock, the cable is secured to your camera.

I would highly advise the 10-meter IQwire cable.
Also, when you buy the cable, you will get a free cable block.
A super simple but clever solution to secure your tether cable to your camera.
The CableBlock is Arca compatible, smaller in size so you can still open your battery compartment, you don’t need a coin to connect and disconnect it, has soft feet so your camera is not damaged, the corners are rounded for your comfort, and most importantly…. it’s red.

In essence, this is a safe solution, although I would still highly recommend connecting a pigtail on the camera side.
You can use a simple USB-C to USB-C female to male cable. Do make sure it’s NOT a charging cable, but a fully functional USB-C cable.
If you use our cables, I can highly recommend using the Advanced Cable Defensive System
Or you can also get pigtails  from our own selection via our webshop

IQwire developed a short cable and a lock to make a breaking point. You can use one cable on the camera side and the other on the laptop side. This set is € 95,00. We also sell the short IQwire cables without the lock for €70,00. But you can use a simple extension cable too (€19,95)

On the software side, I can highly recommend Cascable on the iPad (or desktop).
It has a lot of options to make tethering easy, and it connects great with Lightroom and Apple Photos.
On the desktop, I’m using Adobe Lightroom. Since it added support for the Sony cameras, it has been rock solid for me.

I hope this blog post gave you some more information about tethering.
If you have any more questions about how to protect your camera port and cable, feel free to reach out.

Unboxing the new IQwire 10G cables  (DUTCH)

Read this blog about loosing your images 

The post Read this before damaging your camera appeared first on Frank Doorhof.

But it can also give a new set of challenges.
Today in the blog, we take a look at the behind-the-scenes video we shot during an awesome location shoot in the Tulips with our model Claudia.

You get to see the lighting setups, the explanation of the technique, and, of course, the final results.

The post Watch this before shooting on location appeared first on Frank Doorhof.

Is what we hear from a lot of people when they visit our area.
And indeed, we live in a pretty nice area of the Netherlands, but there is one period that is always extra special: Tulip time. This blog is about lighting a model in tulip fields

Now, in all honesty, I’m not really a flower kind of guy, meaning I don’t feel the urge to jump on my bike and start shooting some tulips.
We did it in the past, but I’ve grown up in this area, and somehow you get used to it, I guess, and every time when I think “I have to do something with a model…” well, they are gone already.
Maybe you know the feeling.

So when Claudia approached me to do a shoot in the tulips, I had my excuse.

Location, location, location

If you graduated from a commercial school, you probably know this expression.
Location is everything. And locations enough you might think, but that’s a bit more difficult over here.

Don’t be an a$$

When I was younger (than today), you could just walk into the tulip fields and take some pictures, and sometimes you could take 1-2 tulips for yourself. There was no real problem.
Over the last few years, everything changed. I don’t have to tell you how messed up the world is, but also in smaller areas, this is felt.
The tulip fields that were open to the public for a few years are now protected and illegal to enter.

Why? You might ask.
Well, because a lot of people don’t realize they are a guest on someone else’s territory, working with something (the bulbs) that person has to sell to feed their family.
Over the last few years, tourists and visitors have been misbehaving like “beasts,” just jumping around in the tulips, lying in the fields for a photo, picking whole bouquets for themselves, and if someone would tell them “please behave,” most of the time, aggression is the answer.

So when we started to look for a location, it was a bit of a worrying experience, the moment you start about a photoshoot… well, let me say it like this.
PLEASE behave and destroy a good opportunity for others.

A special location

Moms are awesome (as we all know), but when they know someone, they are also saving your bacon
This is how we ended up shooting at a beautiful location with loads of tulips.
Today I want to share some of the images we shot there, and in the next blog, we will take you behind the scenes during this special photoshoot.

But let’s start by taking a look at the shots and how I shot them.

Set 1: Combining natural light and flash

For the first set, we decided to use a nice red dress.
The idea was to throw it in the air and create some “motion” shots.
However, it was incredibly windy, so we didn’t really need a lot of extra motion

Lighting-wise I’m using one Geekoto GT200 with the Nanlite Fresnel
And as an accent light, one Geekoto GT200 without any lightshaper.

Gear

The reason I’m using the Nanlite Fresnel is the light output.
The main advantage of hybrid strobes is, of course, the possibility of shooting at HSS. (high speed sync) meaning you can use a faster shutter speed and a more open aperture for a nice shallow depth of field, but still lower the ambient light.

Ambient light

The reason you want to lower the ambient light is simple.
One, it looks cool, but it also looks cool because the colors pop more.
On YouTube, I actually got a comment that I oversaturated the colors….
Well, believe it or not, but I did not.
The thing is, that as soon as you lower the Luminance of a color, the color looks more saturated. This is why those “day to night” shots always look so incredibly popping with colors.
A Fresnel adds some extra contrast to this without making the light too “harsh”, and it gives you a lot more light output than, for example, a small or large softbox.
I can HIGHLY recommend everyone to get at least one of those Fresnels.

On location, I try to stay away from two things.
The first one is shooting the subject with the light too close to the camera. For me, this gives me a “glued-on” effect, which I find very unrealistic in most cases.
By placing the light slightly from the side, you get much more depth and a more natural-looking shot.
You can choose to shoot under the same angle as the sun. But in this case, I wanted something a bit more “surreal,” so I opted for one strobe without a lightshaper under the same angle as the sun (just lower) and my main light almost opposite of this.

Of course the images on top are nice, but always try different angles.

And of course, also some extra low angles.
For that extra special sauce

Ai or Hi?

With all the AI (slob), it’s often hard to see what’s real and fake.
So I’ve decided, as soon as it became possible, to NOT use AI in my images, unless you see it clearly.
In other words, I’m using AI to extend backgrounds, maybe add some hair in a gap, etc.
All the stuff you would normally do with the clone or healing brush. It’s just faster.
For me, it’s super important that the shot comes out of the camera and not out of the computer.

Which doesn’t mean I never use it…. I love going full AI with Cosplay shots, for example.
Let me say it like this: if I use AI, it’s VERY clearly seen.

So when Claudia asked me to add some tulips in the front, I was a bit like “well, yeah, but…..well, ok, I’ll do one.”
And that turned out to be this one.
As you can see, it looks great, and that’s why I mention it’s AI

Set 2: Fashion shots

Scouting your location is always a key element.
Find different angles and locations before you start your shoot, or while the model is changing clothes.

For the second location, I’m using the same setup but with a different balance.
We did bring a Geekoto Quicky softbox (one of my favorite light shapers), but we did not use it due to the strong wind, and I actually liked the Fresnel a bit more in this setting.
Also, in the second location, we of course changed some angles and clothing.
It’s easy to make small adjustments, but I think it’s a vital part of your shoot if you want some different options to choose from.
Sometimes you shoot something on location and think you shot the best images ever, only to come home and, to your horror, find out you don’t like the angles or the clothing choice.
Of course, this never happened to me
In fact, in the car back, I actually thought I messed up some of the shots that later on became some of my favorite ones.

Set 3: Portable power, lighting a model in tulip fields

It’s no secret I love low angles, so for the last set we asked Claudia to sit on the ground.
You have to realize that tulips are planted in rows, and you can see on the images.
This also means that if you shoot under one angle, you will see the rows, but if you shoot from another angle……
I absolutely love these images.

But when we shoot it like this….
We also of course had to shoot it in the other direction.

As you probably also know, I love the landscape mode.
It gives the image a lot of room to “breathe”.
I would actually love to call “negative space” “positive space”, because it does so much good for your images.
But sometimes, portrait mode is best.

Although I love all these shots, I think this last one is my absolute favorite from this session.

Conclusion: portable power, lighting a model in tulip fields

I hope you enjoyed the photos and the technical info.
But I hope the best tip you got from this article is to behave on location. The reason we have strict (drone) rules and can’t shoot on tulip fields anymore has nothing to do with the “law” but with people who did not behave, and they had to restrict the possibilities you have.
So if you shoot somewhere, make sure you have the proper permissions.

And lighting-wise.
Always make sure you bring spare batteries (HSS in the bright sun eats batteries), and when it’s windy, a light shaper like the Nanlite Fresnel is great.
And when you use softboxes or umbrellas (which I would highly advise against in windy sets), make sure you use sandbags on your stands.

See this blog about: Using the foreground to add dimension to your images, a workshop outside with pregnant Nadine 

Check out this video when we first used the Geekoto Flashes 

The post Mastering the model shoot on a very colorful location appeared first on Frank Doorhof.

To be honest, the higher the level of difficulty the more fun a photoshoot can be.
When working with high contrast lighting and focussed light sources it can be very easy to fall into the trap of not having enough light on your subject/set.

Let’s take a quick look at some of the solutions.

Bounce
An easy solution to just grab a large softbox (or bounce from the ceiling) and set this 3-4 stops lower than your main light and open up the shadows.
You could also try to do it in Photoshop or Lightroom with the shadows slider.
If you use fill in lights you will also take away some of the magic that a high contrast image has.
However it’s a technique that sometimes is necessary, especially when a model is wearing dark clothes.

Accent lights
The first thing I always try is to solve it with accent lights.
For me the perfect accent lights are small strips with grids.

These are perfect to focus the light on one area and the grid prevents spill light.
The reason strips work great is that they are relatively small so you can place them close by, limiting the spread of light.
But you can also use them in both vertical als horizontal position (and everything in between).
And I often use them as main lightsource if a small softbox just doesn’t have enough “reach”.
Because the striplight is a rectangle you can light a wider area without spilling over to the sides like with a standard softbox.
Sometimes just changing a small softbox for a slightly longer striplight can solve the whole problem, and light the whole subject just the way you want.

Smoke
Another option is using smoke.
Smoke is a diffuser, reflector and mood maker.
And you know the most fun….. combining everything together.

So the next time you want to use high contrast lighting and you want to make certain details jump out, try the striplight.
In this video I show you one of the ways to light up details in a very dark shot, for super moody results.

The post Real moody shots are not easy appeared first on Frank Doorhof.