If you are a photographer who use off-camera flashes to photograph weddings or portraits, you are my kind of people. You like to create punchy images that separates your subjects from their backgrounds and make them truly stand out. Am I right?

The Problem

But we all experience a well-known scenario.

There you are, ready to make some sweet images of a wedding couple dancing the night away at their reception.

Your assistant or VALS (voice-activated light stand) is away in the Bahamas. You need to move that off-camera light down and out by about 32 degrees because your clients are losing themselves to the music and have moved from where you thought they would be to this new spot, near Uncle Bob and Aunt Maddy.

But you are about 30 feet away from the couple and the off-camera light you set up with a PocketWizard or a RadioPopper is another 10 feet away from them, making it near impossible for you to move like Spiderman to adjust the light angle and or direction. You are SOL.

Frustrating, right? I know your pain. I have felt it. Often.

The Solution

Thankfully, there is a new solution coming and it's called Panlight. I spoke with Mike Garrard, its inventor a few weeks back. As a Kickstarter campaign, it has already surpassed the goal he set. With only about 18 hours to go before the end of the campaign, this is the time to jump in and order one of these units. I am doing it myself because this is a tool that will come in handy if you are a wedding or a portrait photographer.

Now imagine you impressing the heck out of your clients by being able to adjust that off-camera flash remotely, from where you are standing. Can you feel that pain melt away? Your assistant could be sipping drinks on a beach for all you care, but you will be making bank with all the great images you will be creating for your clients. Sorry, but VALS may indeed become dinosaurs if you begin to use the Panlight. Plus, you won't have to jump around and get in Uncle Bob or Aunt Maddy's grid, like you used to. And, if those two had cameras anyway, you can wish them the best of luck as you go from one amazing lighting scenario to the next. Who wins? You do.

The Win

Yes, it can be that simple. Skip on out of this blog and check out Panlight now on Kickstarter or on the Panlight website, to learn more. But remember, once the Kickstarter campaign ends, prices will go up.

A special thanks to Kate McElwee, a Boston-based wedding photographer who introduced me to Mike Garrard of Panlight. And yes, she is backing this campaign as well.

Behind The Scene Look: How I Got That Shot

The image you see below was created as part of an engagement session. It was towards the end of shoot when we were at a beach and sun had already gone down. The park visiting hours were already over and there was a cop driving everyone out. And it was cold, the chill factor in the wind was sending shivers down our spines. We quickly grabbed couple of shots and drove out of the park.

This shot was taken with the help of an off camera flash, Nikon SB900 inside a Lastolite 24″x24″ softbox, triggered with my trusted Pocket Wizards. The following is a lighting diagram showing the set up for this shoot.

The flash had a full cut CTO (color temperature orange) gel on it. I wanted to give the feel for the post dusk bluish night sky. So I turned my camera to tungsten white balance. This gives the blue tint to the whole image. To compensate the blue tone on the subjects and bring the skin color back to normal yellow/orange tones, the flash had the orange gel on it. The full cut CTO gel fully compensates for the tungsten white balance.

Another challenge was that we required the light to be very close to the couple and we wanted wide angle shot to include more of the background for context. So the assistant was in the picture.

The Photoshop Work

To fix that we took two shots, one with assistant lighting the couple and in the shot. Before the second shot, the assistant ran out of frame and switched off the light. So the second shot was taken with the couple without any light. Once we take these two shots it is very easy to do a composite in Photoshop:

1. Open both the images in Photoshop as layers, with the image with assistant as the top layer.

2. Auto align layers (Edit –> Auto-Align). When we don't use a tripod there is always a slight movement of the camera and the frame changes. To compensate for that, we have to align the layers.

3. Once the layers are aligned, select the top layer and use layer mask to mask out the assistant. Now we are using everything else from this layer except area where assistant was. That area is picked up from the layer beneath.

4. Make other changes as required.

And, voilá, we have our final image. Do you have any questions? Feel free to ask below!

Zack Arias is a name that is now synonymous with learning to use your off-camera studio strobe or speedlight, starting with just one light and one modifier, in manual mode.

Whether you attended one of his workshops (or like me, two of his workshops) in the past or sat and watched and rewatched his first video tutorial called, OneLight Workshop, I am going to bet that you have experienced one or two personal eureka moments about using your flash.

For some of us, his teaching liberated us from the confines of “natural light.” For others it was a financial boon, allowing us to seek out new clients who not just expected beautifully lit images, but demanded them every single time. A lucky few, got to do both really well. In any event, Zack's OneLight video and workshops were likely my number one recommendation for anyone who is shit scared about using artificial light because Zack has an incredible knack for easing you into your comfort zone with the technical stuff and jargon.

You see, I was one of you. I cringed at the idea of messing around with buttons and dials on the back of my speedlight. Even though I felt compelled to buy a flash, I resisted using it for a very long time. Can you relate to that? I lived in a constant state of fear of being called out or embarrassed. Heck, I was a photographer and not knowing how to use an essential tool of my trade meant only one thing – my training was far from complete and that I had to learn the fundamentals. Zack's video workshop was just the ticket for me back then.

Zack's videos in this second version of his workshop is just as thorough as the first version. I am here to tell you that you will learn how to use your flash after watching this video. You will experience a sense of ease and comfort using your speedlight. Seriously, if I could learn it, I know you can.

Zack's delivery is as if he is talking to a new friend of his – cordial, patient and sometimes funny. He is very methodical and deliberate. The video and audio production is as good or even better than the first version and the editing is spot on. The first few videos are in black & white; a conscious decision, I am sure, on Zack's part to get us to watch and listen to him and not be distracted by anything else that you may see on his set.

OneLight 2.0 is over seven hours of video, across six distinct chapters. It's not something I watched in one-go. I had to pace myself and I suspect you will do the same.

He begins by discussing gear; the minimum you will need to use your flash off-camera. One thing Zack is consistent on from the older dvd to the newer videos is to remain committed to learning about light using one light & one modifier. It's sage advice especially when it is all too tempting to buy soft boxes, umbrellas, beauty dishes and grids. Zack also goes over what type of modifier he recommends and why. Pay close attention to this as it will likely save you from wasting oodles of money on lighting products you don't really need.

I'm halfway through it! It should come with every light sold, the world would be filled with greater photographs! It's brilliant! – Bill Gekas

Zack takes on exposure and what affects your image. Those are of course, shutter speed, aperture, iso, flash power and flash to subject distance. He goes over each factor, showing us examples using Carl, a stuffed squirrel. I urge you to watch this section multiple times so that it all soaks in.

Zack's new workshop is only available as a download for $75. I recall paying double that for the first version of this video tutorial. That said, Zack has kindly offered Tiffinbox newsletter subscribers a special and significant discount through May 31st. Yes, you have to subscribe to the newsletter (top right blue box is where you need to punch in your email address) to receive and use this code. If you miss the first newsletter with the special code, don't fret. Subsequent email blasts will carry this special code. This is the first of many exclusive offers that I will be bringing my subscribers. So, that's yet another reason to stay subscribed.

The next chapters, if you can call it that, are Zack actually showing you and walking you through three of his shoots. Were you ever curious to know why or how a photographer made one decision over another? This is your chance to eavesdrop. Seriously, this is pure gold!

Zack ends the videos with a review of some of the images he has captured. He talks about what he feels were successes and which images he would throw away. Ever hear another photographer acknowledge his or her shortcomings after a shoot? I found it refreshing to listen in on what worked for Zack and what did not.

All this for $75? Wow! (subscribe to my newsletter in the top right blue box to receive a special time-limited 25% discount code only for my subscribers).

He has done an outstanding job and he is selling it cheap, too cheap if you ask me, it’s a steal. – Armin Sarow

If there is one thing I would have liked to have seen but did not was a short slideshow with music at the very beginning of the video. I told him privately that I had wished these images were teased to us so that we could anticipate seeing them created throughout the video. I am not sure he will take me up on my request/suggestion. Also absent from this new version is a handy “field guide” which came with version 1.0. Looking at Zack's online store, I noticed that he is working on a new version of the field guide and it will be released for $10. Again, that's incredible value.

Some early testimonials about OneLight 2.0 from the Twitterverse:

“It's even better than the original. Definitely not the ‘difficult second album'.” – Sean McCormack

RJ Bradbury writes:

I purchased the One Light V1 and the book/mag. I get the technical but I still pre ordered One Light V2.0 … Why?

Well a few reasons really:

Zack & Meghan and those who's names I don't know have been a huge influence in my work. They all work hard either at camera, or behind the scenes to help others. Thank You.

You can always.. ALWAYS learn something. Know the basics? Ok good then read between the lines and listen & watch subject interaction, listen to the thought process.

Hell I thought I had done everything with my 60″ Umbrella (cover on, cover half on, cover off, Shoot through, Reflective, Poor mans Soft box, choked down the shaft, close / far, In Front, Behind, To the Side) Yet I have never thought about pointing the dam thing up in to the sky to keep light off the ground! That stuff will save you time in post and that's golden.

The money helps Zack and his family out & goes towards a source of much needed signal (#DEDPXL) in an ocean of bullshit and noise. Is this a family show?

It's a bargain even at full price. Good solid content that's well produced, but I can watch tutorials on YouTube for free … Yeah ok that's true with bikini models, bad exposures and all about the gear. Do yourself and your photography a favor buy it, watch it … then go shoot!

Wait it can't all be good? – Mostly. The Final Thought video is a different format but its an easy fix with a converter if needed.

Fred Glasser writes:

Zack’s done a tremendous job with OneLight 2.0. While I pre-ordered it & have only had for a few days, I’m already halfway through it. It’s that good. He’s super-articulate & incredibly thorough, and everything follows a very logical progression. It’s ideal for folks looking to get comfortable with off-camera flash & studio strobes. Even seasoned pros looking to hone their skills & take their game to the next level will benefit. As a full-time shooter who uses off camera lighting constantly, I can’t recommend enough. For the price, it’s an utter no-brainer.

I bought this new lighting workshop by Zack when he first launched DEDPXL, his new education website for photographers. When I first saw the price ($50), I thought he had made a mistake. Most follow-up resources that photographers usually pitch are higher in price, not lower!

Lots of people have asked me whether it makes any sense to buy this second version when they got so much out of the first one. It's a fair question, but an incomplete one in my opinion. If you are in this business for the long haul, you should be constantly learning. Yes, exposures, shutter speeds and ISO's haven't changed much between the two videos (no they haven't changed at all). You probably may skip that (I did not). But the three different shoots and the self-critique Zack offers is significantly different than the DVD version. As I mentioned above, how much would you be willing to pay to learn that from a working pro? I know I didn't think for more than a fraction of a second when I decided to invest in Zack's new video.

Zack also told me privately: “I'm building an “extras pack” of slides, sample images, and gear list based on requests since the release of OneLight V2.” Booyah! So, if you buy it now, you get ALL of the downloads, plus some goodies that he is working on for all of you.

Do you want to elevate your craft? Are you scared of f-stops and shutter-speeds and can't figure out what affects what? Are you confused and are you looking for some clarity? Well, let me tell you that you and your business will be better off by buying OneLight 2.0 from Zack today. (last pitch of the post: sign up now to receive my newsletter for a special discount code)

Lastly … shutter-speed controls ambient light, aperture controls the amount of light falling on your subject from the flash … there, Zack, I have got it … finally!

As a creative person in business, I am sure you strike that fine balance between craft and commerce. Most of us toil on the craft but forget that what we love doing can and also should earn us a living wage.

I've been listening to a few industry leaders who not only talk-the-talk but also walk-the-walk. Their solution is this: approach your genre of photography with a system in place.

You see, when you have a process to follow each and every time you photograph someone, you actually gain a creative edge, not lose it. Stay with me for a moment.

Here is what happens at least for me. I've noticed that the more I follow a script or a series of steps consistently, I am able to gain on time which in turn allows me to “play” and be creative even more. It's a win-win scenario that finally dawned on me.

Now, I've found one big stumbling block for photographers is the use of off-camera flashes. When photographers state that they are “natural light” photographers in their website biographies, I have to wonder if they are simply declaring that they: a) do not own a flash or b) do not feel they can learn flash photography because they feel it is too complicated.

For those photographers who wish to specialize in high school senior portraits, it is now even more important to know and use off-camera flash. Why? Very simply your clients are expecting their images to pop and there is really no other way to not only enhance their experience working with you, but also see that the final images are so very different than what their friends in school have received from your competition.

There are lots of resources now to learn flash photography. But there is finally a useful guide book that will walk you through a system to use studio strobes or off-camera flashes, especially if you are photographing high school seniors.

Jen Basford, Edmond, Oklahoma based high school senior portrait photographer is an industry leader in her niche. Not only does she have a busy studio, she also founded Seniors Ignite, a conference for senior portrait photographers. Next year's venue is at the very swanky The Westin Lake, in Las Vegas, Nevada.

Jen is no stranger to Tiffinbox either. You can read her posts “3 Marketing Ideas For Senior Portrait Photographers” or “Are Senior Portraits Your Target Market?”

It is Jen's system that you will learn about in the Fashion Lighting Guide For Senior Portraits. If you ever felt like tapping a pro to ask them “how” they light or pose their high school senior clients, this is the guide book to get. It's available between Monday, September 16th and Sunday, September 22nd. Check the timer below. If you see all zeroes below, the deal is gone and Jen tells me she isn't bringing it back anytime soon (if at all). This isn't some pushy sales ploy trying to get you to buy it. If you feel that you need it after reading this mini-review, I trust that you will jump in and buy it before the buzzer goes off and disappears. So, are we cool?

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In the 71-page Fashion Lighting Guide For Senior Portraits, Jen offers us a peek into over 20 of her go-to lighting setups. She walks you through indoor and outdoor shoots. The guide is peppered with examples of her work, so just as soon as you see a lighting setup, you see a series of examples that show you how Jen was able to accomplish this.

Each lighting scenior includes the detailed setup, a few comments from me on the setup, and several posing ideas using the actual lighting.

The bonus? All of this is also available for your iPhone or iPad, so you could take the guide with you on shoots and refer to it as you photograph your high school senior clients.

Now, Jen's clients are almost all high school senior girls. So in the event Jen publishes an update to this guide, I have just one request: let's see some examples of how she would light and pose high school senior boys as well.

This deal is pretty sweet, but I am going to make it even sweeter for you.

Not only will you get yourself an excellent go-to guidebook, but if you buy it using my affiliate link (that supports this blog), I'll create a private Facebook group where you can upload images you've learned to create from the guide, for individual critiques by me.

You want in? So, here is what you need to do:

1) Buy the guide today for $149
2) LIKE the Tiffinbox Facebook Page
3) Forward me your receipt (showing your name)

I'll add you to the exclusive group. Please note that I need at least 10 people to sign up before the timer goes away. And, the learning can go on! How does that sound to you? Sound off below!

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Buy the Fashion Lighting Guide For Senior Portraits Now!