Well, this was the second to last workshop for 2009 and it had its own challenges. The weather wanted to be a problem, and we were unsure of out talent pool. Talent was wonderful and the weather… while being a little stubborn on Sunday, finally opened up and gave us a beautiful bright, clear afternoon. We had photgraphers from all over the area. Buffalo, Ohio, Connecticut… a great cross section of shooters meeting and shooting at the place where three mighty rivers converge.

Wet weather nearly derailed the first outdoor shooting we did on Saturday, but the gray skies and mist eventually gave way to good lighting and innovative photographers. I want to show you a few shots from Pittsburgh, along with some behind the scene shots of the workshop.

Next year is shaping up to be a fun one as well. We have changed up the curriculum and added some AV items to it. Lighting on a bigscreen as well as the studio work we are doing. Laptops will display talking points as well as the AV and the “live” shooting. Lots of hands on, and structured lighting on day one. Day two will be involved heavily with location work… lighting, composition, logistics and working with live subjects.

Before we start, some news from Lighting Essentials.

We will begin to utilize our Flickr forum as an extension of the workshops. Thoughts are to create a private discussion area for the students of LE only, and to invite some industry professionals to interact with the students. Stay tuned for more information. Students check your LE Member’s Area for access information.

Recent Posts Around the Internet:
The Future of Photobooks: Lively and important discussion.
Photographers and Social Media: A Report.
Got an iPhone? Got an overwhelming desire to make lighting diagrams? Combine the two passions here.
Bill Vaccaro’s “Roadside Attractions” is pretty cool, as is the work of James Knight Smith.
Thomas Friedman’s idiotic ramblings in the NYT caught the attention of Austin Photographer, Kirk Tuck who had some things to say.
Here on LE we had a couple of posts that are pretty applicable to this time of year… “Twenty + Non-Photographic Essentials for Photographers” – think about gifts – and “Using the Lightmeter and ‘Placing’ the Light”.

And now we are off to Pittsburgh to sample a few of the images the photographers sent me. And, BTW, if you have attended a workshop and have a shot or three you would like to share, send it over with your name as part of the file name and we’ll get it up soon.

This shot was with one speedlight, and the photographer, Jessica Cornwall, wanted to add some snap to this shot, and bring Matt into the exposure with at least a matching light. Backlight was immense at this point and there was a bit of glare. Jessica knew exactly what she wanted the image to say, and set the light to beat the ambient sun about 2/3 stop. Not enough to darken the surroundings too much and have the shot seem un-natural, but enough to get Matt to pop off the page, and keep his face lit within that mighty backlight.

One speedlight at full power was used to light Matt. Jessica placed it so a little of the light ‘sprayed’ on the concrete buttress, which added a bit of whimsy to the shot and also gave it some depth. We stayed close to the light because of the breezes coming up the valley. Notice how the dramatic shadows of the railing cast back toward the camera, and Matt’s face seems well lit.

Dawn Weyman wanted to beat the sun a little more to provide a more dramatic look to her model. Using a VAL (Voice Activated Lightstand) she brought the light in from the top and created a small pool of light for the model to work with. Dawn’s VAL carefully watched the model and made sure the light wouldn’t cause unattractive shadowing across the face. The power of the strobe was dialed to be a stop and a half over the ambient, and Dawn let the shadows fall where they did. The effect is pretty cool. This is an easy to reproduce light, and can be quite effective in all sorts of ambient situations.

Here is the resulting shot from the above image. Little Photoshop needed when the image is exposed and lit correctly.

In our next shot, Jessica wanted the model to look like she was in the same light as the city. As you can see, we were in the late, late afternoon shadow, and the city was in the late afternoon light. Jessica placed the speedlight to give her a bit of sidelight to separate the model from the background, and then shot from a very low position to eliminate the foreground as much as possible, and place her model in front of the city background. Setting the strobe to match the sunlight, she created a fun and natural looking shot of her model playing on the little structure.

As you can see below, the resulting image was one of pretty, effective lighting. The background is not too bright nor does the shot have a ‘Flash’ look to it.

In the shot below by Dawn, we had some bigger lights outside. Alien Bees and a Vagabond gave us plenty of power to make this shot with soft, elegant light. Dawn placed the model where she wanted to get the composition just right, then we lit around her. A bounce umbrella for the key is opposite the sun. This would lend some drama to the shot as the background is clearly lit from the opposite side. A 42″ translucent diffuser was added to block some direct sun on the models face, and a third speedlight was added as a near to camera axis fill. We put a Stofen on it to soften the effect a bit, and dialed it down to a mere ‘pop’ of light to fill the transition (light to dark) across the front of the model.

Dawn’s shot shows a sophisticated light and a beautiful model in an exotic location (actually it is the little park in front of the Steelers Stadium). You can see how well she blended the light and diffusers to present the model in soft, flattering light. I love how the light across her shoulders is gradient, and how the model just seems to pop!

We wanted to do a big shot with all the models and some big lights. As the sky grew darker, and it threatened to rain, we got started. We knew the background needed light as it was very, very dark and in the soft, but definite backlight. The sun was setting to camera right. We also wanted to do a more modern shot with rim/side light from both sides, while preserving the ‘key’ from the front.

We set up an Alien bee 1600 for the background and anchored it with its own Vagabond (Battery). Turning it on full power gave us a nice amount of light for the background and to keep the models separated from the darkness.

Two matching AB’s were mounted with matching silver umbrellas and placed slightly behind and to the side of the trio. A fourth AB was fitted with a beauty dish and mounted to a boom to allow the photographers to keep the key light on axis and lighting up the transition on the models.

The resulting image shows how the lower camera position eliminates a lot of the parking lot and brings the eye to the models. The backlight was aimed down to provide a bright to dark gradient across the background which plays well with the ‘evenly spaced’ light of the models.

Another of Dawn’s shots from this set:

This is our intrepid Pittsburgh talent and photographers: As you can see, we take ourselves very seriously.

Thanks for visiting. If you enjoyed this article, pass it on to your friends by using our social network tools at the top right of this post. Follow me on Twitter for photography related posts and an occasional rant. Workshop information can be found at Learn to Light.

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Hi, and welcome to Lighting Essentials, a place for photographers.

I do believe that is the first time I have used a welcome, and it had to be done. I guess. Stats show that I am getting new people all the time. Actually I was a bit surprised at all the people who are coming to the site. Thanks to all of you, and welcome, of course.

We are at the end of the workshop season and this weekend will find me in sunny south Florida. Anna Maria Island to be exact. It is the smallest little spit of land that completes the frame for Tampa Bay. At Bean’s Point there you can see the water from the Gulf of Mexico and Tampa Bay meet. It really is a pretty cool place.

We have our little band of intrepid image makers, two condos, models and delightful surroundings… all the makings for some remarkable photos. In addition, I have two professional photographers joining me for some additional insight for the students. Billy Kidd, a pro from Orlando and Chris Gerber, a pro from Minneapolis are joining us for the weekend. We will be discussing and doing photography for three days. I love that.

That is the end of 2009 for Lighting Essentials Workshops. I will spend the remainder of December working on two other projects, redesigning the workshop for next year, finishing the small book and some video. We hit it again next January with a Phoenix workshop, then San Diego and Seattle. Seattle has added two additional workshops for advanced shooters. Smaller in size and broader in scope than the regular workshops. More on this as I rebuild the workshop pages… watch for that. The new design is taking shape and I am about to get it in production.

I would like to thank the folks who took the workshop, worked as hard as they did, and sent me nice notes (and they will be on the new site, for sure…). To the models who spent long hours with us, thank you. I consider you all to be part of the LE Family.

A couple of posts that I think you should take the time to read:
Frank Ockenfels III is interviewed by APhotoEditor, as is Sam Jones. Rob also interviewed my friend, Selina Maitreya. You can find her audio interview with me here.
Speaking of Selina and her incredible MP3 Audio Program… did you know that as a reader of this site, you can save half the price of the program? Yep! Visit her site at “The View From Here” and order the series. Normally it is $199, but enter FOSLE at checkout and receive $100 off the price. I believe it may be the best hundred bucks you have ever spent in photography – especially if you are an emerging photographer looking to find a voice and get noticed.
Heather Morton continues to follow two entry-level photographers as they build their books and their business. This is a wonderful project, so if you visit, be sure to leave some comments for these two guys who are working so hard to give others a glimpse ‘behind the curtain’ so to speak.
And if you haven’t kept up with the Going Pro section here at LE, take a few minutes to bookmark the posts. There is something for everyone.

Well, let’s take a look at a few of the images taken at the Toronto Workshop.

First up is this shot of Krista on the couch in Adam Belnap’s wonderful new studio outside of Toronto, CA. Brick walls, windows… check out those windows, and an environment around the building that makes it a shooter’s dream studio.

The shot is by Ian Hay:

I am drawn to this image for a number of reasons. I love how they (the team that Ian was on) took the lines of the floor and the window and used them as a graphic element. The windows do not tilt inward and the line that is part of the flooring leads directly to the middle of the couch. Graphics! Found and used.

Lighting it proved to be a challenge… there’s a lot of reflective glass there. As I teach in the workshops, they built the lighting based on an agreement of what the shot was supposed to look like (in their minds) and how they were to achieve that look.

Starting with the key light from camera right they used a bounce umbrella to control the spill and to deliver a smooth wash of light over the subject. Careful placement and angle of the umbrella assured there would be no reflection in the window. This can be painstaking work or you can sometimes get lucky. I think they worked this for a while.

Adding a second, fill light from camera left was an interesting compromise between the tools they had at their disposal. They decided that the shoot thru umbrella provided the soft, center weighted light they wanted so it was added. Keeping it low enough to not be seen in the window, and high enough to not cause a ‘Halloween’ look was worked out.

Test shots showed they needed to add a kicker light to sparkle up the shot. A bare speedlight was added to camera left, slightly behind the model and to the side. The power was dialed to be a little less than the key and fill, but the angle let it give a nice highlight to the shadow side of her.

Here is the setup shot:

Here is Scott Martin’s image from the team shoot above:

His horizontal approach and interesting pose brings a different look to the lighting setup above.

The dark brooding sky adds a nice, mystical touch to the image. The symmetry of the lines all leading to the subject and the poppy, glamour lighting make for a great shot.

Next up is a shot by a group working with Aleksandra. It was getting to late afternoon and the clouds were really dark and menacing. They chose to shoot her on a dirt road that lead to an industrial building in the background. Again there is a group of three shooters.

Hien’s shot of Aleksandra:

Keeping the separation of all that dark clothing against that impenetrable dark background was one of the challenges. Posing Aleksandra was not. She was wonderful, as were all the models in Toronto. Amazing. Hien used three lights to keep the subject lit and also for some drama.

Using the road as a compositional element to lead into the subject (and then mysteriously fade behind her) the group set up their key light on a stand in front. Zooming out to form a pool of light on her face, they then positioned it to Hien’s camera position to make it slightly, ever so slightly, off axis to camera left. This light gave the front light for her face. The light was then manned by a human to keep the axis of the light on the axis of her nose to eliminate any cross shadows.

A second light was added to camera right, slightly behind the subject. It was also bare and above the models head, angled down. Set to the same exposure as the main light, it also had to be flagged to prevent flare. This light separated her from the background very well.

Adding the third light on a human boom (and as you can see in the photo below, a very handsome human boom – heh) set to the same exposure as the other three and aimed to slightly graze the subject and throw some light on the road behind her… this added depth to the image and kept it from being too flat.

This is the setup shot for the image above:

Photo of the setup by James Harmon.

James Harmon’s shot above uses the same basic lighting, but a change in lens, angle and the use of the camera right third light changes it up quite a bit. A little light spill across the front of her and the dramatic zoom effect of the key light add a bit of lighting drama to this image.

Karen Weiler took this shot (above) of Aleksandra with the same basic lighting. She changed up the side lights a bit, and moved the subject to dead center of the road. Adding little graphical elements like that can make a shot have purpose. She moved camera right side light to be a little less on the subject and to add just a little to the shoulders. She had the light aimed up, so it wouldn’t spill too far down the dress. Camera left’s side light was moved to more fully light the background. As in the shots above, the key light is handled to make sure the axis of light and her nose are straight on.

Sometimes a single light is all you need. Navy Nhum was working in a freight elevator and wanted a dramatic shot of Aleksandra. She chose a single umbrella in bounce position to ‘pour’ the light over the subject without spilling it all over the elevator.

The pose of the model, the surroundings and the patina of the old metal elevator all lent themselves to a dramatic shot. The choice of the bounce umbrella meant that the light could be controlled and not light up the elevator with a flat light. You can see how the natural gradient gets darker as it goes up the wall. The bounce umbrella’s black backing made the light flow where Navy wanted it to flow.

Here is the setup shot from Navy’s photograph:

(Hmmm that damn handsome human boom does get around, ya know)

This shot of Heather, one of our models who is also a heck of a photographer, was done by Ian’s team.

This group worked really hard on this set of images. They found a spot in the adjoining store room to Adam’s studio and set this up. The main (key) light is my wonderful SpeedLightProKit Beauty Dish. It was set first to give the light they wanted to use to create the overall shape to the image. Adding a shoot-thru umbrella for fill from camera left provided the basics to the lighting. These lights were adjusted to give a 2:1 ratio for the model.

They added a light for her hair and it was set on a stand and brought from behind the background, and from camera left. Getting that light to stay in that position was a challenge met by leaning chairs and gravity.

Testing the shot, they found that the image looked pretty good, but lacked some real pop. A fourth light was added to come through the semi-transparent background right behind her. This shot took on a new life with the addition of that last light.

Again, I love the symmetry of the shot, the graphical look of the piece and Heather’s ‘S’ curve against all that symmetry. Below is the setup shot for this image.

A few more images with brief descriptions.

Navy shot this image with natural light from camera left and a single strobe for blending (matched) from camera left. A soft, cross process look to the presentation delivers a very romantic image of Hailey.

Karen shot this image of Krista with two canine admirers. She used a speedlight in a shoot thru umbrella for the main, keeping it a little above the ambient. Adding a second shoot-thru, dialed down to match the main, for a hair light added a nice, subtle separation to the subject.

One more image from Ian. This shot was done with two speedlights.

A speedlight from the camera right, and a speedlight from camera left, behind Krista presents an interesting shot in the woods. This split lighting creates nice drama for the environment.

And thanks again to the amazing Adam Belnap, captured here by David Giral in a rare moment of repose.

I may add some more images to this post in the next 24 hours, so check back. I am expecting a bunch of images in soon from the Toronto shooters.

Thanks for a terrific workshop, Torontonians. I look forward to returning next year. I am working on my schedule for next year this week, so the signup starts soon for the first half of next year.

See you soon on LE, folks. And thanks for reading. If you would share this with friends I would appreciate it. You can use the social icons on the top right of the page to send it to twitter or del.icio.us or whatever.

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I don’t use this site to overly promote the workshops, but this Mexico workshop is rather special. We have people from all over the country coming to these Rocky Point Workshops.

Location: Las Palmas Resort in Rocky Point, Mexico

Flying in to Phoenix International? Let me know and we will get you down to Rocky Point with our caravan. Rocky Point is a safe trip into a safe area of Mexico. We do, however, travel as a caravan.

This is a full participation workshop.

We do more shooting on this workshop, and focus on environmental portraiture and beauty portraits. It is everything the other workshops are, with a more intense schedule. We are all staying at the Las Palmas so we start really early and we work until folks want to turn in.

The main casita (3000 SQ FT) serves as our base, with projectors, lighting gear, tutorials. a swipe file and more. We meet there mornings, midday, and at night. We process and edit, while working with each other to raise the bar. I do recommend you have a laptop. We do have a wireless access, so you can check email as you are working.

Special for this workshop:

The Girls of Rocky Point Calendar is being shot during the workshop and you have the opportunity to be involved. The shoots are early morning and late afternoon – before and after the workshop – and are totally voluntary. If you want the experience of working with models in a professional shooting atmosphere, this will be an outstanding experience. There are 5 shooters involved, and you can work with them on the shoots. You will be able to make some shots of your own at these shoots.

We eat, drink and speak photography the whole weekend. And we shoot, edit and print as well.

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As the workshops wind down for the year, there is a sense of excitement growing for the next season of Lighting Essentials workshops. Some changes are in order, and some tweaking of the workshop’s standard fare is also coming along.

We are looking to hire a booking manager to help coordinate the workshops and we are still looking for hosts in cities where there is an interest in learning lighting. If you are being a host, drop me an email and let’s discuss it.

I have been so honored to work with so many talented and excellent people. It truly is an exciting thing to see some of the images that the workshop creates. I may have missed some great shots as I go through our Flickr pool, and if so… drop me a note and I will get them linked.

BTW… we are also very pleased to announce Briana’s dance calendar. “Dancin’ 2009″ is a fun way to feature Briana in her favorite element of dance. If you love dance, or have someone in your family who does, check out this offer from Bri.

Available at LuLu.com

Let’s take a look at some images that caught our eye…

First up is Dan Baker’s shot of Briana in Detroit.

Edwin’s shot of Bri on the stair really kicks it. Heh, sorry.

ArtCPhotos turned in this shot of Stacia. In the street.

Here’s Stacia again, this time by Perl Monger.

Quiet and reserved portrait of Briana in Detroit. This one by Ciskon.

Jeff Keen, our Detroit host, shot these two images of Bri.

Richard Whisner’s shot of Briana in Detroit has wonderful color.

Derek added some great Photoshop things to this shot of Stacia.

Perl_Monger got this great capture of Kymmy.

Dan Baker makes an illusion in this shot:

Artoris had Kristina do some interesting things with all that hair in Atlanta.

Photographic Images got this capture late on the first day in Atlanta.

Ciskon grabbed this setup shot in Detroit:

Another shot of Kymmy from Richard.

Nice use of negative space and white background.

Steve Crowers caught a ‘timeless’ scenario in Philadelphia.

Here’s Ed’s take on the same image.

Shari caught this moment with Marleen in Philadelphia.

Bosslafs added some post-processing style to this shot from Philadelphia.

A quiet study by Giwo also in Philadelphia.

Shari caught this pose by Briana in Philadelphia. Love the post on it.

Shari saw this event happening and shot the snake handler.

Steve shot Briana outside the studio in Philly.

Steve caught a little flare, but it looks kinda cool…

Edwin captured this classic studio shot in Detroit.

I will keep this page updated for a few more days. There are still images coming in to the pool from Atlanta, Detroit and Philadelphia. To see the Lighting Essentials Pool on Flickr click here.

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Two weekends in a row I have had workshops… three counting next weekend in San Francisco. Wow… that’s some serious travel… Seattle, Bermuda, San Francisco. Sheesh, extreme distances…

Seattle was a blast, even though we had a small group. Lots of models and I am sure you have all seen the images on Flickr (lighting-essentials forum). Wow… lots of good shots.

Bermuda. What do I say about Bermuda? It is small… 26 square miles of island way the heck out in the middle of the Atlantic Ocean east of North Carolina. It is a tropical Island with colorful homes, businesses and some of the most wonderful people you will ever meet.

They drive too fast (posted speed limit is 35 and ain’t nobody doin’ less than 55) on scooters and bikes. They have the most amazing affinity for having fun and they paint their homes pink, yellow, blue and chartreuse. Seriously beautiful scenery even in the towns.

We visited St. Georges and I fell in love with that place. Old and quaint with colorful walls, doors, buildings and lots and lots of textures, it is simply a photographers paradise. We are going back to shoot there on Monday after the workshop.

Speaking of the workshop… we started the day at around 9 at Clearwater Beach. Guess why they call it Clearwater? Yep… you can see the bottom even way out in the water. After the warmup and the lighting tools talk we started putting some of what we had learned to use.

We had 4 models, great models, from Hamilton and they really brought all the enthusiasm to the workshop we could expect. Dynamos.

I captured this image of ‘Kita when she was working with her first team shoot. I don’t shoot very much during the workshops as it is mostly about the workshop attendees, not me. But occasionally I do catch a shot or two.

Here is one I grabbed of Oterro, our male model for the day.

And here is Oterro jumping in the sea. I gotta tell you, this guy is really a solid talent.

Here is a shot of one of the roads we took this morning. Cool.

Here are some shots I did of the workshop folks having fun and shooting their asses off at Clearwater Beach Nature Preserve.

Sunday went super well. That is to say, we did have a few model glitches. Seems that a fashion show came to town and used up some of the models that Ivan had for us, but it ended up that the few we had were so terrific as to be totally amazing.

We started at Fort Hamilton which is in the city of Hamilton… the main city in the Island. It overlooks the entire Bermuda area. Headshots were done in the old cannon turrets and the models were loving all the textures that they had to play with. We then set up some headshots in the location – blending the existing ambientm, sunlight and strobe for a very nice feel. This included a study in how the flash sync isn’t an absolute… it’s a choice.

Lunch was an incredible dish served in Bermuda. The tender herbs and spices blended together for a rich, rewarding chicken experience. Yep… they got KFC in Bermuda. Bermudians love KFC. LOL.

After lunch found us in a tunnel with ringflash, a grassy area where Otero was leaping with his sacrificial ceremonial really awesome for real sword. This guy jumped all day long. What a tremendous athlete. We ended the day with a blow out lighting excercise on the steps of the old fort. One ABR800 for a main light and 4 speedlights all around for kickers… this shot really rocked and I am so hoping that someone will post a few of these soon.

Thanks to all the Bermudians for their hospitality, warmth, enthusiasm and great fun. I will be coming back to see my new friends again. Hopefully soon.

Tomorrow is a personal day. Allison, Ivan and I are heading around Bermuda by boat to find some stuff to shoot. I didn’t shoot much at all during the workshops, but tomorrow… watch out… gonna fill more than a couple of cards.

Here are a few shots from today…

This was the last shot it turned out. We had Kita and Otero as Mayan lovers on the steps. Shot with a ringlight as main, and four speedlights all around the subjects to add interesting light and speculars, the shot was a favorite of everyone.

A few from the town today…

It’s Monday now.
Got up before dawn for a trip to the Island tip to try to catch sunrise.
Photos later today…
Look to the end of the Alison shots.

Alison and I just got in from shooting the sunset and she is running off for work. She left a few of the images she did over the workshop and I will share them with you here. I need to point out that these are simply processed images right out of Lightroom and have not been Pshopped in any way. Alison is a recent High School Grad in Bermudavand is heading off to Kent, UK, to study the law. Alison Begman’s images:

Single speedlight held by humanbooms and high over camera left.

Softbox with fill in sunlit Fort Hamilton, Bermuda.

Umbrella and portable studio strobe, Bermuda.

Speedlight and reflector and sun. Otero was quite a sport to do all we asked him to.

Single Speedlight and careful metering of the ambient.

Single speedlight, reflector and human boom.

Umbrella main light with no fill inside a dark gun turret wall. Additional speedlight for backlight.

Otero brought his ceremonial sword and Alison had him jumping till she hot her shot.

Otero with shirt flying. We helped a bit, but the shot is dynamic and fresh.

Michael Jones just sent one of his shots from the last setup of the day. Bright, bright sunny afternoon, so we made our own reality on some mythic looking stairs. There are a lot of lights in this shot. It took a while to set up. The models are hot and tired at this point, and yet… look at the emotion they brought to Michael’s shot.

Here are a few sunrise pics I got this morning. Loved the clouds.

And the seaweed made beautiful little patterns on the sand.

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I have so much fun teaching at the workshops, and try to get my enthusiasm for photography and great lighting to be a contagious element. When I see a photographer maybe struggling a bit to get something and then it sparks… that makes my day.

Recently I took a tour through some of the workshop attendees to see what they are up to. Some of them really knocked me out, and I haven’t even gone through that many. I thought I would share some of their images with you here.

As you view the images, click on them to be taken to their Flickr Page and see more work by these up and coming artists.

Evan Romine took the workshop in March of this year, He had only picked up a camera two months earlier. His work has been constantly improving and he is really doing some amazing work these days.

Alex Bussa took the workshop in March also. He is kicking some major, well, he is doing some nice work and had some beauty images he recently did featured here recently.

This shot by Tanya Shields was done at the Halifax workshop and is a real stunner.

James Jones has been to two workshops, one in phoenix and the Mexico workshop. Here is one of his more recent images.

James Williams took some wonderful shots at the Houston workshop. I love this one.

Another one from James here… great post processing and a dramatic image.

Paul Clarke got this great shot at the Halifax workshop. Using the sun and clever use of flash for a dramatic look.

Here’s another one from Tanya at the Halifax workshop. Beautiful blending of light without losing detail in Briana’s white dress.

Sami T shot this great shot of Briana at the Boston workshop.

Paul Clarke in Halifax captured the spirit of “Briana the Biker Chick” with 5 strobes all around her.

Nuno Santos from Boston got this shot of Briana while we were discussing the Inverse Square Law and how it applied to distance of the subject from background.

One more from Paul Clarke in Halifax.

Kameleon got these images at the Maine Workshop where Bri modeled the entire day.

Foxpony took some wonderful images at the Tampa workshop.

Dana Lane got these at the Boston workshop. This is from the demonstration of the practical uses of the Inverse Square Law… light falls off as it moves away… but you use that to your advantage as a photographer.

I will do more of this, because… well, wow, some of the folks are doing wonderful work and I want to feature it.

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