Light It has gone live, the embargo has been lifted, and I can finally let the word out! For the past few months I’ve had to keep my trap shut about a really cool photography resource in the works. On top of keeping this secret I’d also been producing content to help in its creation. Well after months of hush hush article writing and illustrative photoshoots I’m happy to finally share the good news that is Light It magazine, and I’m proud to announce that I am the monthly author of the “Small Flash” lighting column. Here is a quick blurb fro the press release:

“Light It: The How-To Magazine for Studio Lighting and Off-Camera Flash is the first digital photography lighting magazine made exclusively for the Apple iPad®. It features the industry’s top experts on photography lighting. The free debut issue boasts more than 50 pages of articles, lighting techniques, equipment overviews, and more. The digital-only format allows for stunning photographs, videos, and web links for a whole new reader experience.

The free debut issue of Light It features contributions from executive editor Scott Kelby, with features from editorial photographer Zack Arias; Help-Portrait founder Jeremy Cowart; and one of today’s most influential photographers Joe McNally. Regular contributors include Matt Kloskowski and Rafael “RC” Concepcion from TheNational Association of Photoshop Professionals (NAPP) and KelbyTraining.com; sports, adventure, and editorial photographer Tom Bol; senior portrait photographer James Schmelzer; fashion photographer Frank Doorhof; wedding photographer and Guinness record holder Jason Groupp; commercial photographer Erik Valind; and Brad Moore.”

I am really honored to be involved with this new publication. The abilities, careers and achievements of the other contributing photographers are incredible. Whats even better, is personally knowing most them, I can honestly say they are some of the best shooters and teachers out there. That’s definitely great company to be in. It’s also a huge leap to put so much talent and production muscle into a magazine and then launch it solely on a new platform – the iPad. Digital is the direction our industry is going and its awesome to see Scott and the Kelby Media Group jumping in with both feet.  Its been a blast working with the editors and designers unbound by the printed page. They have pretty much given me a blank slate to share more photos, tips and techniques with you in exciting new ways.

If you don’t have an iPad or haven’t downloaded the first issue for free yet, you can check out my article above. For more info on the magazine and a glimpse at a few of the other articles check out the website here and the cool promo video below. Thanks for checking it out and I can’t wait to share next months issue with you!

Enter Sarah’s Seaside Resort. The property is one of three owned by a local architect, whose aesthetic is to capture the spirit and atmosphere of “Old Florida”. Well, he succeeded. From the beautiful palm tree flanked pool deck, the tin roofed and their back patios opening onto the Gulf of Mexico I couldn’t imagine a more ideal location. After a quick phone call, and a promise not to disturb any guests with our pretty model and flashy photo gear, we got the go-ahead to shoot. When shooting on a location like this it is always a good idea to get a property release as well as the usual model release. In addition I made sure to offer use of select images to the owner for their website.

I was fortunate enough to work with an amazing team on this shoot, which allowed us to keep the number of people on set down, but still offer a high production value. This also meant for a smaller footprint insuring we did not disturb anyone at the location. It was my first time working with Shelley Giard and she wore a number of hats that day, and wore them all well. The day of the shoot she offered us a variety of looks through hair styling and makeup on top of pulling all the wardrobe together weeks before. Above and beyond that Shelley offers a different perspective on set, picking up on minor details in the scene or pose that will sometimes get overlooked by the photographer. Two sets of eyes are better than one when the devil’s in the details.

Another exciting part of the equation was the opportunity to work with our model Brynna Nolte. We had worked together on productions in the past and with such an awesome up beat energy, I was excited to get her in front of the camera lens. Having built a good body of work in Miami, primarily in the fashion and editorial industries, she transitioned well into the more carefree catalog looks of the day. Just the shear number of goofy faces she pulls off in the short BTS video I included are a testament to her versatility.

The last leg of the tripod falls to my good buddy Adam Rohrmann. Somehow this man stood in as my first assistant all day, did battle with a giant sail aka Scrim Jim, and still managed to shoot and edit this great Behind the Scenes video. There’s no doubt this is why he is such a key component to the Kelby Media Group’s video department. It really is a pleasure getting to work with such a talented group of people some days! Make sure to check out more of Adam’s video work and other great instruction over at Kelby Training Online.

With all the pieces in place the weather even decided cooperated with us. One benefit of shooting on location in Florida is that if you don’t like the weather you’re working with you can always wait 5 minutes and it’ll probably change. We lucked out though and other than some wind out on the beach, things stayed pretty even keeled. This allowed me to work with a lot more natural light than I usually do and still produce consistent results. I am always prepared to walk into a scene and light every aspect of it, giving me the control I need. Instead of using flashes I was able to get this control on a couple shots through the use of different reflectors. Primarily a large Scrim Jim (used both as a reflector and then as a diffuser) and the highly versatile Lastolite TriGrip.

For the bathing suit image below we relied on all three of the previously mentioned tools at our disposal. I would never advise someone try to shoot a model in direct midday sunlight in Florida, but sometimes you have no choice and it’s good to know how to deal. I’m no stranger to harsh light, having grown up on the beach, so I knew the key would lie in taming our direct sunlight first. To do this I had Adam fly our large Scrim Jim wearing a diffusion panel to soften the hot spots on Brynna’s left side, hoping that he wouldn’t be blown away in the process. Now that our exposure had been evened out a little I built some light back into Brynna’s front side with a strobe and 5′ Octabank. I removed the front baffle to produce a crisper light to mimic the sun we just knocked back. The icing on the cake was one final reflector on Brynna’s right side to fill in whatever shadows we had left and add a little sparkle to her eyes. These last few images show a quick before and after we stepped in and controlled the light.

Check out this quick video from Day One of our shoot. I quickly go over some of the gear we used at the beginning, then jump into the shooting. (FastForward to 1:11 if you’re just here for the pretty pictures!)

The whole production took place in one large field by my old house. I had been driving by this field forever and finally decided one day to pull over to take a better look. By this time it was quite over grown after standing unattended for the better part of a year. I ended up trekking in a ways and found that an old railroad used to cut across the field and there were the remains of a loading dock and what was a rock quarry at one time. What a perfect place to setup a base camp! The whole shoot really did feel like we were isolated on a location much more remote than we really were. Each direction you looked the landscape and plant life changed and blocked off the outside world. It turned out to be the perfect place to show off a number of looks without the need to move shop once.

I had initially planned to shoot just one day, starting at sunrise and going on until the midday heat said otherwise. Only after seeing the beautiful sunset over that field the evening I scouted it, I made the call to split the shoot over two days, to take advantage of the great light twice. I don’t think Raylin is any more a morning person than I am, but come the day of the shoot, she arrived on set ready for Safari. We don’t have to worry about lions or anything lurking in the undergrowth here in Florida but nonetheless Raylin exhibited bravery just jumping in with us and immediately falling into poses. After two days of crawling through the Florida scrub to get the shot(s) you’d think I had just returned from a safari myself, but every scratch and scrape was a price happily paid for what we came away with.

For this dramatic sunset shot we used two Westcott Strip Light Kits. They gave us a softer light yet still allowed for a lot of control, which I used to selectivity light the greenery around Raylin, producing a cool natural vignette. The back light received a full stop CTO gel to warm it up and mimic the temperature you would expect from the setting sun. Keep reading to see the lighting diagram and some BTS shots from the day.

It’s a good thing we got out there when we did too, because not even a week later I drove by, and apparently the management company had found a lawn mower big enough to level the whole field down again. Talk about perfect timing. Peace!

The wedding itself took place at the very heart of the city, in it’s iconic Forsyth Park. The large fountain, for which the park is known, is situated in the middle of the park and the ceremony took place at its feet.

For the shots of the actual ceremony I certainly didn’t want to look a gift horse in the mouth and try to needlessly overpower such an already beautifully lit scene. The strong back lighting of the setting was a concern though. To remedy this I placed one large strobe off to the side, and balanced it before hand to offer just a kiss of fill light when shooting into the sun. For me the real beauty of adding this light was in the extra kick it added as a rim light when shooting from the fountain looking back. It separated the couple from the background wonderfully, and brought out that 3rd dimension we strive for when working with a 2D medium like film.

Now husband and wife Ryan & Kristin exited the stage and took a spin around the block as friends, family and the security guards slowly dispersed. With such a beautiful location, and only one chance to make a unique photograph of it, I was fortunate to have a pair of models who quite literally leapt (the fence) at the idea of shooting in, rather than just in front of, our fountain. Once the shoes had been kicked off and our daring couple were risking incarceration to a frolic in the fountain for photographs (say that 5 times fast) the pressure was on to create something spectacular. With so much competing for attention in such a dynamic scene I needed to isolate the subjects to really make them stand out. To do this I enlisted the aid of Will Foster, a local SCAD Photography Student, armed with a strobe, battery pack and a 28″ Westcott Apollo soft box. The resulting light was just what we needed to bring out our bride and groom amidst the busy nature of this neat location.

The following morning we stole out onto the streets, after shaking off the previous nights drinks and dancing, with hopes of adding a few more great images to our already overflowing collection. I had seen a stairwell that stuck in my mind two days prior when we first arrived and I couldn’t wait to see it in the morning light.

I know that I walk into most situations looking to add light, or like in the instance of this wedding ceremony at least accent the light we are given. In places like Savannah though the beauty of the unadulterated light we can find ourselves bathed in is certainly not lost on me. Example, these shots on the stairway down to the cobblestone streets of the old waterfront.

After getting some fun images up top and witnessing Kristin gracefully descend the stairs in a killer pair of heels, I had the couple cuddle up for our final setup of the trip. After a few “pretty” frames we moved onto to something a little sexier both physically and lighting wise. This particular spot really begged for something more dramatic and even Gothic romance like if that’s what you would call it. I knew instantly what I needed to do. I brought out one of my bigger strobes and then focused the beam with a grid spot. This allowed me to darken the rest of the setting, after turning up the power on my light, and created an added bonus of a natural vignette.

After such a great experience and utterly falling in love with the city I have to wonder why I haven’t made the drive up here before. I hope you enjoy the images and I can’t wait for a chance to get back here and shoot some more. Thanks!

-Erik V

It just happened to work out that this job was to create a keystone image for Representative Bill Young‘s reelection campaign. (It was great to see the above image put to use as a newspaper ad, as well as a direct mail piece and a web spot.) Earlier this year I had the opportunity to meet the Congressman in Indian Rocks Beach at a Hands Across the Sand protest. That day people all around the state of Florida walked out onto the beaches and held hands in protest of the recent oil spill in the gulf and the push for more offshore drilling. I was happy to see just how many people came out to make a statement and grateful for support like that of the Congressman’s as well.

For this shot though, Representative Young would not be in the photo. Rather a hundred of his long term supporters would be. The plan was to spell “BILL” in the sand with people. Of course this meant the image would have to be taken from a higher than usual vantage point, and unlike our friend Joe McNally, we didn’t have a helicopter available that day. Driving a bucket truck from thirty plus feet in the air was pretty cool all the same.

After scouting the location and working a rough estimate of how big the group shot would actually be we formulated a plan, and a backup plan, and one more plan just in case… In the end Plan “A” went off without a hitch and was a lot of fun. A big thanks to everyone that came out and to the Sheraton Sand Key for allowing us the use of their backyard for the shoot.

Below is a quick video from our adventure on the sand. Also you’ll find a few images from the protest earlier this year, including a very impromptu portrait of the Congressman. After 2 or 3 frames in the very unFlorida like temperatures that day we were both ready to head back indoors. Thanks for looking!

This brought something to mind concerning experimentation and getting stuck in a stylistic rut. Looking back over some of my work and conversations I’ve had with fellow photographers I realized how easy it is to get attached to a certain lighting style or technique. We work so hard to perfect the technical side of your craft that sometimes we lose sight of why we light.

“What light is light, if Silvia be not seen?
What joy is joy, if Silvia be not by?
Unless it be to think that she is by
And feed upon the shadow of perfection
Except I be by Silvia in the night,
There is no music in the nightingale;
Unless I look on Silvia in the day,
There is no day for me to look upon;”

- Two Gentlemen of Verona (Act 3, Scene I)

Light is light. Don’t light for the sake of lighting, light for your subject. Love the techniques but don’t marry yourself to just one style. In the end they’re just tools in our belt.

Lighting diagrams and setup shots after the jump.

“Designed to help you boost your training and experience, Photoshop World offers three days of pulse-pounding training from renowned experts in the field and a once-in-a-lifetime experience guaranteed to enhance your skill set and help your work soar to new heights!

Along with more than 100 classes over the course of three days taught by noted Photoshop and photography professionals, Photoshop World includes a number of interactive pre-conference workshops and an Expo open all three days. The Expo is attended by some of the biggest brands in the world showcasing the latest & greatest technology, products and services, giving people the chance to check out the coolest Photography and Photoshop-related gadgets and gear.”

My friends over at NAPP insisted that I had to go and experience it myself. I took it on good authority, as they are the ones that produce this epic event, and seeing that it was just a short drive down the I4 corridor that splits our beautiful state I figured what better time to see what it was all about. I’m sure glad I did!

The night before everything kicked off the crew over at NAPP News started creating a buzz online about an official “tweetup”  out on the patio of the Rosen Center Resort, where everyone was staying. As I understand it a “tweetup” is a meet up that is organized on Twitter… and it works! We had a ton of people swing through for a drink and a hello, including a lot of the headliners like Scott Kelby and Joe McNally, who I quickly threw in front of the lens. You see just that morning Adobe had just released the latest Beta version of their new Lightroom 3 software and it had a cool new feature… Tethered Shooting! So that evening was the first time I had a chance to try it out and rather then taking a snapshot of my foot in the hotel room, I dragged some gear down to the Tweetup and decided to give it a trial run, in a real world setting. The program performed admirably and everyone quickly started hamming it up for the camera. Who knew so many photo industry people were just dying to get on the other side of the lens after a cocktail or two!

I couldn’t have asked for better assistance that night either as my Adobe Expert friend David Rogers was manning the laptop and not long after Tom Hogarty (Lightroom Product Manager) and Bryan O’Neil Hughes (Photoshop Senior Product Manager and Lightroom Product Evangelist) arrived on the scene and started fielding questions from the crowd. That is what’s great about Photoshop World, its an opportunity to go right to the source.

The best part of the whole experience though, came from meeting so many talented and great people in the industry. The energy was tangible and everyone so passionate about their path in life. To be a “professional” creative and find friends among like minded people really is a blessing.

- UPDATE – Apparently everyone at the Tweetup and the gang at Adobe had as much fun as I did that night! David and I have been asked back to photograph the event again and this time use the full version of Lightroom 3 as it has just been released. If you are planning on attending make sure to come out for the fun. See you in Las Vegas next week!

Join Adobe & The National Association of Photoshop Professionals (NAPP) at the #PSW Tweetup! 8/31 7:30-11pm @ Mandalay Bay (Vegas)

If are not able to attend, keep an eye on the Tweetup Vegas – Flickr Group to see all the great photographs as we post them. Here is the link to everything from Orlando’s event earlier this year PSW 2010 Orlando too.

Here are a few shots from Orlando’s Tweetup:

Belleair Beach is one of those places that people work for. They work their entire lives to be able to afford a home on the edge of these sands, and everyday thereafter is a pleasant reminder of how beautiful life can be here. For anyone that hasn’t made that purchase yet there exists the issue of how to physically get from the street you drove in on, past these dream homes, to the beach itself. Normally the city provides some sort of paved gash in the pillars and palisades for people to traverse, but Belleair really did it right. You walk a path pleasantly shaded by overhanging sea oates and palm trees which opens to a boardwalk over the dunes expanding out onto the seashore.

I found this cut-through while riding my bike around searching for a classic beach location to photograph. The approach here struck me as so pretty that I decided to setup a shoot around someone’s trek to the beach rather than the ever popular “girl on the beach” shot we see so much of where I live. When it came to casting someone for the shoot I immediately thought of Liz. She is a local girl working in the Surf / Swimwear retail industry so there was nothing far fetched about shooting her on a skateboard in a bikini on her way to the beach. Now the light quality from the Westcott 50″ Apollo I was using is beautiful regardless, but it was simply breathtaking the way her skin shone under it. She’s the kind of girl with a sun-kissed golden tan in the dead of winter (although winter doesn’t really get too serious here in paradise).

At this point all that was left was to style the shoot. I couldn’t think of anyone better to help out on this than Larry, over at The Island “Surf” Shop on Indian Rocks Beach. It doesn’t hurt that he and his dog, Mojo, are my surf-side neighbors and have a long history of outfitting this stretch of beach with everything from flip flops to paddle boards. We quickly put together a collection of hats, beach bags, sunglasses, and lastly a long board for transportation. Then off we went to make the photographs, with the skate board doubling as a handy way to haul the gear.

One major challenge when building up a shot in a location like this is the sun. At midday it doesn’t always cast the most flattering light, and if you position your subject in the shade to combat this, everything else will probably be quite over exposed. There is an upside though, if you know how to get there. The sun makes for one heck of an accent light in a number of capacities and when properly balanced with other lighting, the sky reveals that deep blue we love it for. After framing up a couple spots I took a reading for the ambient light needed to pull out that beautiful blue I just mentioned. With this set, we began the process of building in the light needed to make Liz pop. This was accomplished with a strobe light controlled through a Westcott 50″ Apollo softbox with some fill light kicked back in using a Westcott 72″ Scrim Jim. Another light was used to bring out the green in the foliage behind Liz, as it fell into some pretty heavy shadow from the sunlight. Make sure to check out the Lighting Diagram for a better look at the setup. After working through a few different looks under this lighting we migrated down towards the beach shedding modifiers as we went.

In the end there’s nothing quite like that soft glow left lingering on the horizon just as the sun sets into the Gulf of Mexico. The last few images below were taken after successfully chasing the fading daylight and enjoying another unadulterated sunset here in paradise. Enjoy!

Liz Beachwear Shoot – BTS – Belleair Beach, FL from Erik Valind on Vimeo.

In essence they saw that I live and breathe lighting and photography and love to share my knowledge and energy whenever I get the chance. Naturally when a fellow Westcott Top Pro called to say he would be in town recently we quickly got to work on organizing a workshop to do exactly that, share our knowledge.

With the help of Westcott and the Tampa Bay area’s large Meetup & Strobist communities we filled up all the available workshop slots in 24 hours! On top of that, local photographers Jim Sykes and Kathy Porupski let us use their studio, perfectly located in the Ybor City Art Community.

As people started to arrive the day of the workshop I was stoked to hear that 2 attendees, Michael and Mel, had driven from as far as Atlanta, GA and Jacksonville, FL to attend. It was an amazing opportunity to share my passion with people obviously eager to expand their own knowledge and create some awesome photographs along the way.

The images in the BTS (Behind the Scenes) video below were all made by the guys and girls that attended our workshop. Im not sure if it was the instruction, or just the raw talent everyone brought to the table, but they rock. Enjoy!

Westcott Top Pros Workshop – BTS – Tampa, FL from Erik Valind on Vimeo.

Also be sure to check out more great shots from this event at the Group Flickr Pool.

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Abby couldn’t have picked a more beautiful animal to ride that day; I was amazed at the personality our horse exhibited too. He reminded me of the family dog at times, only this guy weighed in at +1,000lbs. Abby on the other hand, much less than a 10th his size, exerted a firm yet gentle control you’d expect from a rider many years her senior.

After making our rounds and getting some of the great shots above, Abby changed into her riding gear and we got down to the shot I was really excited to create… the JUMP!

Click here to view the Lighting Diagram for this shot.