The brand new Geekoto Lantern in action

July 23, 2024/0 Comments/in blog, Visions and technique/by Frank Doorhof

The New Geekoto Lantern

It’s always fun to play with new gear, and light shapers always have a special place.
And let’s be honest the light shaper defines a large part of how your image will look. This blog is about the new Geekoto Lantern.

Having new light shapers triggers creativity

The new Geekoto lantern has a few tricks up its sleeve.
First of all, like all Geekoto softboxes we use, the lantern is super easy to set up and collapse and also has the removable speedring you guys love.

What does the Geekoto Lantern do?

The big difference is in the way the lantern projects the light.
With a normal softbox, the light travels first through a diffuser which makes the light source softer and larger, after which it leaves the softbox through the front diffuser. If you want to narrow your light beam you can use a grid. But that’s about it.

Now let’s take a look at the Geekoto lantern.

The Geekoto Lantern on the Geekoto GT400

As you can see the lantern doesn’t just aim the light forwards, but it also lights from the sides.
Now this has some huge advantages.

At first, you might think that this is the perfect softbox for product photography.
Especially with product tables, you can super easily light your product and the background with a lantern.
But also for newborn photography, it’s great to create a beautiful floodlight effect.

So you might think that this is like an umbrella a softbox for the more “broad” lighting setups.
However, the lantern actually shines in the more high-contrast setups.

Let’s take a look at some examples.

Normal softbox with grid

One of my favorite setups is lighting the model from the side with a medium-sized softbox.
I often add an extra light source on the opposite side to open up the shadows and also to light the background.
With the main light, I cannot light the backdrop enough when it’s a more darker color. This is why I use the accent light often in a striplight configuration which I use horizontally or slightly horizontally. This makes it possible to light both the model and the background with one light source.

By aiming it slightly away from the background I get a very nice even light fall off on the background.

The first image is just with the main light.
The light used is a Geekoto GT 400 with the 36″ softbox + grid

As you can see adding the accent light creates not only a beautiful lens flare but also lights the model and the background (I love striplights).

But let’s switch to the Geekoto Lantern

The main reason I love the lantern is that it makes it possible to throw a lot more light on the background creating a totally different look.
So let’s take a look at how that works out.

Also here first a setup with just the lantern, and the second one is with the striplight on.

It’s no battle

Remember that it’s a matter of which one is better.
I like them both for their lighting.
The first setup is great for a more high-contrast look with a darker background.
The second setup has a much nicer wrap-around effect and “glues” the model and background nicer together.

The cool thing about the lantern is that it gives you a totally different kind of light shaper due to the translucent sides. And that is not just better for portraits but also when you shoot full body images. It makes it possible to place the light very close to the model and still light the bottom part. Something that with a normal softbox that close can be very tricky or even impossible. Now you can place your light super close and still light the background and bottom part of your model.

I would highly recommend getting one for your studio.
We added them to our webshop of course.
On the webshop you find all the gear I use and like.
The lantern can be found here.

We also used the Geekoto Lantarn on the Click Live show in the UK in juni. Check out the BTS video

What happens when you change it to Black and White?

May 9, 2024/in blog, Visions and technique/by Frank Doorhof

What happens if you change your photo to Black and White?

The choice between black and white, or color can be tricky.
For me personally I sometimes shoot something with the intent to make it black and white. But then when I see the results I often keep it in color, because I just love the way it looks. And what happens if you change your photo to Black and White?

Sometimes you might shoot something that is very colorful and you don’t even think about black and white. That’s why I post this today. Luckily with digital, we can of course do both 😀

The horror clown is back!

Well she was here just 2 days ago, so she was not really gone 😀
But as you could have seen in the previous blog post about the horror clown, the color was pretty colorful. So this is the kind of set where you might not immediately think about a black-and-white conversion, but…. think about this.

Black and white doesn’t just mean we take out the color.

In fact, you can still manipulate the colors via the H(S)L adjustments in Lightroom. A bit like in the old days photographers did with filters. We can now manipulate images to our hearts’ content in our RAW convertor.

The idea of black and white in this setting is not to take out color but to inject a lot of mood and make the images more creepy. And that’s the cool thing about black and white. I sometimes make the joke

“if you mess up a shot, add a lot of contrast and noise, make it black and white, and voila instant art”

It sounds weird, but it’s really true.
If we look at a color image that is just slightly out of focus or has a shadow that’s not 100% correct in color we immediately see this as “bad”. But make it black and white and we see it as mood, or we don’t even notice it. Now that doesn’t mean that all my images that are black and white are “bad” images of course. But some street photography images have been “saved” that way in the past 😀

But let’s first take a look at the original blog post about the horror clown.
Now that you have seen the color versions, let’s go to black and white.

As you can see the images get a totally different vibe and look.
For me even more creepy than the color versions.

Learning all about lighting in our workshops

For me teaching the workshops is not all about lighting.
Personally, I think there is a lot more than just lighting or a cool/fitting backdrop.
A good photo is a cooperation between the model and the photographer. So coaching and making a model feel at ease is vital. But after that, the real creativity comes into play, and during the workshops, I try to focus at least 80% on creativity.

This can be with lighting, but also with the storytelling part.

As mentioned in the previous blog post, working in “super creativity” model can enhance your skills way above the level you would achieve if you only shoot what you are hired for. Plus if you can shoot images that your client is not used from you it could very well be that he/she asks for something a bit more creative.

Visit www.frankdoorhof.com and www.photography-workshops.eu for the workshops in Dutch and English.

A horror clown in our studio (in color)

May 7, 2024/in blog/by Frank Doorhof

Storytelling with a horror clown (in color)

For me, storytelling is always a vital part of my photography.
Even when I photograph a CEO or artist I always try to dive into the person/product/company to get something that really fits their company/person perfectly.

And sometimes you just go all out.

The fun with workshops

Teaching workshops is one of the things I love the most. Working with a group towards a result and in between explaining all the techniques, and ideas, work with styling, poses, and of course props. The images you are going to see today might not be something you shoot every day, but… and that’s the thing a lot of people miss.

If you can walk 10 km with ease, it’s no problem to walk 2-3 km.
This might sound a bit weird, but this works for many things.
If you can shoot super creative situations, and know how to handle your lighting, poses, and how to coach your model to do the most bizarre, weird, or awesome stuff it becomes MUCH easier to coach a CEO or to shoot a super creative image for a product.

Storytelling

In today’s blog post the results from one set with our model Felisa.
And although you don’t recognize her, the choice of model is vital for these kinds of shots.
One might say, she is just wearing a clown suit and props, so what’s difficult?

When you take away the expression in the face, it’s all about body language, and believe it or not this can be incredibly difficult for a model, and photographer to pull off.

I think she did great.

So let’s take a look at some images first, and then I explain a bit more.

let you model try to grab the camera and it looks really scary

The idea of this shoot with the horror clown (in color)

I don’t really like to repeat myself, but sometimes ideas are just so much fun and open for changes that you can repeat them with a fresh outcome.
Many years ago I was invited to introduce a new Phase One 101MP camera in a studio in New York.

Let me first say I love New York so the prospect of shooting in a studio there is always exciting.
The problem was that I “had” to use a gray seamless background for some images and that day I didn’t feel like using that so I decided to just place the model behind it, cut a hole, and let the model just stick her head through and later hold the camera. Great shots and loads of fun.

A few years later I did a similar thing during a trade show in the UK. Both were more fashion and fun-related.
For this workshop, we wanted to do something completely different, and as a horror fan, the idea quickly popped into my head that it would be awesome to shoot it with a killer clown.

Getting props to tell the story

I already did something with a big knife in the past so this time we wanted to do something a bit more “big”.
A hammer is fun, but what about a chainsaw, with a little bit of a hint to my all-time favorite actor and character Bruce Campbell/Ash.

Of course, we needed some backlighting and smoke.
So I used a Geekoto GT400 in the back with a large reflector and red gel.
The reason I’m using a large reflector is because I needed a lot of light due to the seamless paper. If you would use a gelled softbox it would not emit enough light to pull this off.

In the front we experimented with a softbox and a striplight with a grid, you can probably spot which is which 😀

So let’s take a look at the rest of the images.

If you also want to visit one of my workshops and learn all about light and storytelling? Check www.frankdoorhof.com or www.photography-workshops.eu
We will be in The Netherlands, Belgium, and the UK this year for events and workshops.

Read the blog about the Outside Fashion Shot for Sunglasses with model and stylist Nadine

This blog is about Working creatively with seamless paper

This is the blog about a recent workshop: storytelling to set the mood

Mixing light sources in the studio flash vs continuous lighting

May 1, 2024/in blog, Visions and technique, Webinars and instructional videos/by Frank Doorhof

Mixing lights can be awesome

And something we sometimes have to do! Because the location we are shooting in has some very strong lights, or maybe lights that cannot be taken out, or that just look interesting to include. There can be many reasons why to include lights that are in your set/location. So continue reading about mixing light sources.

Video about mixing light sources

In today’s video, I talk about how I included the studio lights in a photo with Claudia during one of the workshops.
I also explain the main lighting setup and show the results from that set.

If you have any questions feel free to drop us an email and who knows you will see your question answered in one of our next posts/videos.

Want to visit a workshop?
visit www.photography-workshops.eu for our Dutch workshops, but also for all our workshops abroad like the UK and Belgium.

Check out this blog about Claudia and the white background with just 3 umbrellas

Tag Archive for: studio lighting