Profoto isn’t just a leader in manufacturing some of the very best lighting equipment in the world, they’re also a leader in education and great content. I clicked on “Inspiration” on the website and it opened the flood gates to one story after another. Each profile is unique, demonstrating a special talent or application. True to the topic description, they’re inspirational!
I pulled the three links to the stories above to show you the format and give you a sneak peek into what’s waiting for you on the website. Just click on any of the three stories to enjoy more stunning work and be introduced to some incredibly talented artists.
But, I wanted to share one more. the post about one of my favorite photographers and friend, Brian Smith. Seth Chandler did a terrific job of capturing this story about Brian’s experience working with Profoto’s B1 Off-Camera Flash System while photographing a fire-breather.
Interested in seeing more of Brian’s work? Just click on any of his images below to visit his website and galleries!
Click to read more Profoto Stories
Images below copyright Brian Smith. All rights reserved.
by Seth Chandler
Whenever Pulitzer-prize winning photographer Brian Smith works with new equipment, he likes to put it to the test in the field. Recently, he tried out Profoto’s new Sony-compatible Air Remote TTL-S by photographing a fire-breather on location in the limited window of the golden hour before sunset.
“When I’m trying something new, I want to test the limit, throw in a few variables that I can’t control—like fire,” says Brian, whose Pulitzer came from photographing the Olympics, a world in which fractions of seconds mean everything.
“Things often work flawlessly in the studio and then you go out on location and find out what the problems are,” he notes. “Photography is easy when the stars align. The trick is to pull it together when it looks like a disaster.”
To get his images, Brian used three Profoto B1 Off-Camera Flashes,
one light with the OCF Beauty Dish White
above facing the subject from slightly above and two B1s with Profoto Zoom reflectors
and ½ CTO gels
behind the subject. He and fire eater Cirque Bishop started by doing some test runs to get the framing right and get some ideas for different options.
“Getting the light to 95% of what you want is one thing. That last 5% is difficult,” he explains. “The back lights create a rim. They open up details but keep the feeling that you want. They don’t overpower the scene but show it the way they eye sees it but the camera doesn’t otherwise capture.”
Staying out of the line of fire
When shooting, Air Remote TTL-S was not only immensely useful, it was almost a life-saver.
“A big plus was the ability to change the output of the flash heads from the Air Remote instead of literally walking through the line of fire.”
Brian also took a close-up portrait of Cirque wearing hoodie using through-the-lens metering and high-speed sync. “I had not used Profoto with TTL or HSS, so I used both,” he says.
“High-speed sync is great for when you want a rich, saturated background but shallow depth of field.”
And what did Brian think of the Air Remote TTL-S after 30-odd years of shooting manual?
“It definitely won me over. I particularly like that once you have a TTL exposure you like, you can simply switch the remote to Manual to lock in that flash output.
“With the Air Remote TTL-S, there’s no delay and you don’t lose the sync speed. I could shoot at a native 1/250 without issues. The Profoto equipment was bullet-proof. No missed sync issues. The flash fired perfectly at 1/6400.”