We are so thrilled to be bringing you this part of the website. From the initial concept of ‘Flash Masters’ we were passionate that the value of the brand was not just through the awards it gave to you, our members but through our personal passion of education. Through our incredible ‘Hall of Fame’ Ambassadors to our talented members and award winners we will be collating, with your help a catalogue of behind-the-scenes work. We no doubt see images and think ‘I would LOVE to know how they shot that!’ This is where you can come and find out!
We are so excited to see this part of the website develop and populate with your incredible work. We certainly urge you that if you don’t already do so to start taking behind the scenes photo or video showing the light positions and where possible the flash power and any modifiers used.
As this part of the website grows, we will try and categorise the content based on the type of photography (weddings, seniors, portraits) so you can quickly find inspiration and education whether sat in your studio or out on location.
From January 2023 this part of the website will be moved exclusively to the member zone.
Jessie & Dallin - Collection 2 Silver Award 1
Taken with a Nikon D750 and a 24-70mm f/2.8 at 10 seconds, ISO 3200, f/2.8
Jessie & Dallin - Collection 2 Silver Award 2
Shot with Nikon Z6ii and 24-70 f/2.8 S lens. Settings: 1/200, f/4.5, ISO 200
Maike den Houting - Collection 2 Silver Award 1
Flash 1, 2 & 3 are V860ii speedlights. These 3 flashes all have a colorgel: red, green and blue from left to right. They are all on a stand at equal distance and equal height. I placed the flashes higher than the model, so the shadows are at a lower position than the model itself. I chose this height of the flashes on purpose so you get the feel that she is the leading dancer and her colour shadows are dancing along. I think I held my camera between the stands with the blue and the green gel.
The 4th flash, an AD200, is positioned at around 4 o' clock (so camera right) with a very small softbox on it. I think you can see the shadow of this softbox as a yellow spot in the upper right corner of the backdrop (a shadow caused by the blue gelled flash).
Shot with Nikon Z6, 1/200, f5.6, ISO100 at 32.5mm.
I uploaded the SOOC shot for you, so not an actual behind the scenes.
Scott Tibbles - Collection 2 Silver Award 1
Neil Ridley - Collection 2 Silver Award
Chuck Grosz - Collection 1 Silver Award
I used Magmod MagGrid and inverse square law to narrow the light to avoid spill on the environment, and Sphere to soften the light. Shot on my Canon R5
Jessie & Dallin - Collection 1 Silver Award
We used two AD200 lights for this image. One of the lights is placed about 6 feet behind the couple with a MagSphere and full Magmod CTO gel and is pointed up at the tree. The second light is about 15 feet away from camera right with a Magmod 1/4 CTO gel pointed at the long grass.
For this image we used a Nikon Z6ii with a Nikon 24-70 f/2.8 S lens.
Neil Redfern - Off camera flash portrait with Christmas fairy lights
Arno de Bruijn - Green Bottle Wedding Setup
For this green bottle wedding setup we used the San Pelligrino bottles at the venue and lit them from the left side with a speedlite and green MagMod gel. We lit the couple with a zoomed = gridded speedlite (loop light/butterfly light). Behind the couple we aimed a bare speedlight towards myself for a super nice rimlight/hairlight/behindlight effect. That's all... super easy, awesome and effective. Camera settings: Canon EOS 1dX Mark II + Transmitter 1/160 F/8 ISO 640.
To check out more of Arno’s work and get an unbelievably generous discount on his Online Off-Camera Flash workshop visit his profile in the Hall of Fame!
Neil Redfern - Off camera flash portrait underwater
Jesse & Moira La Plante - Bridal Portrait taken in harsh midday sun
As you can see, the sun was very bright and high in the sky but slightly behind the couple, which added a nice hair light to them. However, when setting the ambient exposure for the highlights in the scene (the clouds behind) the couple were almost silhouettes in the frame. Using 1 AD200 on full power with the MagMod MagBeam to throw the light at the couple, Jesse and Moira were able to balance the subjects with the stunning scenery behind. Also, by using the MagBeam it meant that Moira who was holding the light was able to stand out of the frame and therefore didn’t need editing out in post-production. It was also much safer than a softbox because it was a windy location and Moira didn’t fancy taking a flight off the top of the mountain, whilst clinging onto a MagMod MagBox!