Ok, so it’s almost that time of year again – Saint (St.) Valentine’s Day. Yes, you can go and get the card from Clintons or Hallmark. You could order the Thornton’s chocolates. Others will be slightly more nervous as they plan how to get their girlfriend, boyfriend or significant other to their favourite place and pop the question. Some will be wondering if the huge heart they have spent an afternoon drawing in the sand on the beach will still be there before the tide gets it. In Kent it’s mainly shingle so it’s even more of a challenge. So, for some St Valentine is about a big statement and a possible new beginning in a formalised way such as marriage. For those already together it’s about reaffirming, remembering the why and how and about having fun.

The name “Valentine ” is derived from valens, meaning worthy. Whether you’re starting anew or affirming the old, your story is worthy of celebration and retelling. We’re in the business of helping people tell stories, through photography. If you’re thinking of doing something different this Valentine’s Day, or getting engaged then we’d love to hear from you. Gift vouchers are available for location or studio shoots for couples as a gift for a girlfriend, boyfriend, wife, husband or significant other. And for engaged couples – well, we’ll even refund your shoot if you ask us back on your wedding day.

One light – from the front it’s flat, but from the side and back it creates shadow which means you can alter how something looks. You can create form and shape by adding shadow or adding highlights. I like to backlight where I can (on location, the sun does this) but try where possible to add reflected light before a second light, where it’s appropriate. Here’s a few examples from the gallery below, reading from left to right:

Row 1 – Image 1 – single light to the side, soft but no separation; Image 2 harder light with shadows which model the chin;  Image 3 – backlight to hair create separation.

Row 2 – Image 1- Backlight is more from above with reflected light (tri-flector) pushing from below and flattening shadows; Image 2- softbox and backlight; Image 3, same but more like sandwich lighting.

Row 3 – Image 1 – single light camera right and high key set means that ration of 2:1 achieved by reflected light alone; Image 2 and 3 – Canon speedlite to the the rear and off camera left.

After a cold start, rain and some strong winds, I spent some time on Sunday morning on the beach at Whitstable for 1-2-1 training on shooting in variable light. My client had brought some of her family as willing subjects and one of things that came up from a different photography course provider was the idea of manual mode being redundant because of AV. I hadn’t heard this before as for me manual mode is simply brilliant. If the lighting conditions are constant, or you keep your position to the subject and light fairly constant then manual exposures won’t change. They’re locked in, unlikely to fluctuate the way Av can when it gets confused by elements of light and dark being picked up as you move around, zoom in and out etc. With rapidly changing conditions Av has many benefits but it still requires a degree of exposure compensation. Manual of course is my preferred mode for working with off-camera flash.

The pictures below highlight a couple of things and they were taken against very string directional light one minute and then cloudy skies the next. Here’s a couple of observations.

• Back-lighting -  great for portraits with reflected light to front
• You can shoot into the sun but the risk is lens flare and a washing out, low contrast etc. You can put contrast back in afterwards. Into the sun can also give a retro feel.
• Shadows can be fun as long as they are not from you!
• The subject doesn’t always have to face the camera
• Neutral and unchanging backgrounds mean that you can shoot in manual mode without too much trouble
• Meter, set your exposure, frame it, shoot it!

This was a quick one hour retro shoot using just one off-camera flash. Speedlites when used with a softbox can produce a less harsh and directional look, but you do lose power. I had left the shooting time until later in the afternoon so that the sun would be a bit lower in the sky, and just got away with the speedlite on full power, close in, with the softbox. It’s expecting a lot of it to fill in the shadows of a very powerful sun. If you would like to know more about training in lighting or other aspects of photography please do get in touch.

Shooting after 10am, the sun was climbing steadily and so the shadows were escaping fast. The first scene by the large warehouse doors near Creek Creative off Abbey Street required making our own shadows because the sun was behind the building. Light stands, radio triggers, both lights at full power and using their distance to set the ratios (it’s faster when you’re dodging the traffic because one of your stands is in the road!). ISO 100-200 and F4-F5.6 at at least 1/125th for the 24-105L, 1/250th for the 70-200L lens. UV filters off because I was shooting partially into the sun. The remaining scenes were without flash, looking for backlighting where possible and at 90 degrees to the prevailing light. If you’re interested in shooting urban street-based portraiture, please do get in touch for a training session.