Let’s get straight into it.

Video Tutorial

Gear Used

You’ll need at least one off-camera flash. If you have a second flash, even better. Stick around to the end of the video to see a bonus technique that uses two flashes. On top of the flash, Pye uses a MagGrid 2, MagSphere 2, and a CTO gel to control, shape, and even color the light. The bonus technique uses a MagSnoot 2.

C.A.M.P. Framework Overview

In case you’re not yet familiar with Pye’s C.A.M.P. Framework, it breaks down as follows:

• Composition: When you arrive at a scene before you touch your lights or even your camera, just think about Composition. Figure out the scene and type of shot you want to create.
• Ambient: Adjust your ambient light exposure in-camera. Here’s a simple trick. When you’re going for drama, you’re going to expose darker in the camera and use a higher flash power. When going for natural, you’ll expose brighter in camera and use a lower flash power.
• Modify: Add or modify light as needed to get the look you’re after.
• Pose/Photograph: With the light in position, go ahead and pose your subject and take some shots. Change your angles to capture multiple looks with one pose.

Final Images

Video Tutorial

Gear Used

Two off-camera flashes. Today I’m going to be using my Profoto A10s, but any flash you have will work just fine. In terms of MagMod gear, I’m going to be using version 2’s of the MagShoe, MagGrid, MagSphere, and the MagGels.

Final Images

#1 Wrapping Backlight

One of my favorite techniques, just backlight your subjects for a beautiful and moody glow. Here’s one of my favorite ways of doing it. 

Grab a MagGel 2, pop on a color of your choice. I like using orange to give the flash a nice and warm feel. Next, pop the MagSphere 2 on top.  For this technique, I love putting them into a closed pose where they’re looking at each other or touching foreheads.

You’re going to position the flash directly behind the groom’s shoulder facing up. The goal here is that the flash fires and wraps around our subjects as it bounces off their clothing and skin. 

Final Images

#2 Double Backlight

Let me show you one more backlighting technique, the double backlight.  This time, we’re going to use one flash for each person. One for him, one for her. Instead of it being right behind them, we’re going to place it 10-20 feet behind them. This is going to change the lighting pattern to more of a edging or rim light effect. 

Put each flash onto a stand and place them at the same height, I like it around the couples shoulder height. I’m going to add a CTO gel, because again my style is more of the warm natural tones. But pick whatever color MagGel you like, then go ahead and add a MagGrid 2 to each flash. 

For this shot, I’m going to have them do a dance floor twirl so we can see her dress open up. With the couple positioned, I’m going to place the flashes around 10-20 feet behind them and hidden behind where they’ll be. 

Final Image

#3 Hollywood 2-Light

Since we have two flashes setup, let me show you a variation of a two-flash technique I call the Hollywood two-light. Because it’s a lighting pattern often used on production sets.  You’ll need two lights for this one. On each, place a MagGrid 2 to control light spill. If you like, you can also color each light to create a more dramatic look.  For fun, I’m going to use a blue gel for him, and a warm gel for her. 

You’re going to place your subjects back to back, and we’re going to position the lights behind them and angled forward. If you were looking top down on the scene, it would look like this. 

#4 Softbox Short Light

Now, let me demonstrate a one-light short lighting variation that I’m constantly using.  I’m going to grab the MagBox and set it up quickly with one or two AD200s. Next, we’re going to find a wall or simple background like this one. From here, I’m going to position her behind him and we’re going to light into her side to create a silhouette of him that frames her face. 

Final Image

#5 Boomed MagSphere (in-between couple)

Ok, let’s get a little crazy. I want to show you a technique that allows you to get your flashes into a unique position, which you can then remove easily in post. You will need an assistant for this one, but if you don’t have one, since you’re at a wedding you can ask pretty much any groomsman or bridesmaid to help out.

Let’s get an AD200 or any flash onto a stand that you can boom out. I’m going to place the MagSphere 2 on top to diffuse and send the light everywhere.   

Final Image

Studying opposing colors helps you better understand which colors work together in a scene that can help train your eye to see them in elements you are shooting it. Understanding the color wheel can also help dictate what colors your clients should wear in order to pop in certain scenes rather than blend in. Seeing color in everyday scenes starts by studying images training your eye to notice how color is being used, once you’ve trained your eye you can even start adding color into scenes to make them more complex and elevated.

Let’s discuss a couple of ways of how to capture vibrant colors in photography with the help of some of our insanely talented community of photographers from our Lightroom Education & Lightroom Presets Facebook group:

1. Colored Gels – Off-Camera Flash

Part of using colored gels with flash means discerning the difference between using gels for corrective or creative purposes. Most wedding and event photographers are used to having a CTO gel on hand for indoor shoots to match the ambient light from overhead ceiling lights in order to correctly portray skin tones with accurate color. However, colored gels can be added to bland & boring scenes to make for a more interesting image. You can even combine in-camera white balance shifts with colored gels to enhance or alter the colors of your skies.

Amber Henry – Website | Instagram

“For this image of my client Alyssa, I wanted to make it look like she was under the bright stadium lights instead of standing in my portrait studio. I decided to create the colors of her team using two MagMod MagGels to achieve these beautiful bright pops of color behind her and sprayed atmosphere aerosol in front of them to really help the color spread. The colors make the image more personal to her because they are the same as her team and highschool. We took several variations of this image in different stances and kept the color pallet the same to look killer in her album spreads.”

Joe Baker – Website | Instagram

“I have always wanted to do a boxing session with a female boxer, but I wanted to use someone that actually knew how to box and not just a model wearing gloves.  Searching Instagram, I found this model via a local boxing club and she was very much down to do it. As soon as she brought out her gloves, I knew that I wanted to do a color or gelled shot.  I wanted to make sure that it was more than just a “boxing” pic and the red color just helped up the “intensity” of the shot. To give the background some more interest, I used a red gel behind her with smoke (aerosol atmosphere).  Selecting a wide-angle lens to create some distortion, I gave her the nod to just work the bag and I just fired away and ended up catching my favorite shot of 2019!  This is a three-light setup; gridded beauty dish from above, gridded strip box from camera left and the third light with a gel and just a standard reflector.”

David J Crewe – Website | Instagram

“Shot on a Nikon D800 with 50mm f/1.4G and Lit with 3 Profoto B2 lights. 1 in a large soft box (white) behind the deep red paper from savage universal shooting through the circle cutout. 1 camera left with a blue gel and 1 camera right with a red gel.”

“2. Color Temperature – In-Camera White Balance

Color temperature is a numerical system for measuring color on a warm-to-cool spectrum. Often times we shift to Auto White Balance to save time and have one less menu item to worry about but there is so much creative potential that lies in varying your color temperature in-camera. To help you better understand how to shift your white balance in-camera, we made a quick one-minute tutorial!

Traci J. Arney‎ – Website | Instagram

“When you are shooting in the Caribbean, the color of the water is absolutely everything but sometimes, you need to break up that expanse of blue with some other color to help tell the story. As we were exploring the island, we came across this incredible little graffitied boat sitting in the waves. The power of that intense yellow color playing against the complimentary teal and blue waves gives warmth and emotional impact to the image that stopped me in my tracks.”

Angie Nelson – Website | Instagram

“This photo was taken 15 minutes post-sunset on an extraordinarily cloudy day. The color you see here is real! Sometimes our Blue hour turns into a purple hour. I’ve only ever seen it a couple of times in the decade I’ve lived here, and I was so happy to be shooting on a day when it was happening!”

3. Color Toning – Post Production

A great way of how to capture vibrant colors in photography that may or may not have existed in your natural scene is to edit or enhance in post. While some disagree in altering the natural state of a photograph, it can be argued that editing is all part of the creative process. There are three ways to edit color in Lightroom and endless possibilities with Photoshop.

Shivani Reddy – Website | Instagram

“Instead of implementing colored gels to add color to my frame, I decided to work with the colors and tones of this image to emphasize the warmth of the sunset. Even though it’s such a small part of this frame, the orange glow from that rectangle ended up being the inspiration to make this image have a strong warmth. I used the Visual Flow Preset System to dial in the right tones and used the Dark Mode preset specifically to underexpose the image. I then cooled down the couples’ skin tones to make sure they weren’t looking like oompa loompas and this was the final result!”

4. Colorful Scenes

Don’t want to use color or add it in post? Another way of how to capture vibrant colors in photography is to simply look for it within your scenes. Often times we look for neutral backgrounds to not overpower our subjects but try straying out of your comfort zone and seeing how color can be part of your storytelling. These image examples either used a colored product or found scenes where color exists to help balance out the image:

Devon McCabe – Website | Instagram

“My partner Hector Vazquez and I executed this shot for our LGBTQ couple after they expressed how they wanted to incorporate smoke bombs into their wedding. We knew this had to be executed after dark, as their ceremony was closer to sunset. We decided to incorporate their entire bridal party, each person holding 2 colored smoke bombs, to essentially make a rainbow. We placed a MagSphere behind the group to light up the smoke bombs, and a MagGrid on an AD200, camera left to illuminate the couple. Our couple fell in love with this shot, and it has now become one of our staple display images. We love working with LGBTQ couples, and love to show diversity in our imagery.”

Jess Bell – Website | Instagram

“There are few dog breeds that look more dynamic in photos than a Dalmatian. Their striking and instantly recognizable black spots on a white background are a joy for many artists. The dogs’ owner and I opted to photograph the dogs with brightly colored powder applied to their bodies, which poured off them as they ran and jumped in my studio. The powder amplifies the action, the color draws the eye, and the strobes freeze everything with crisp detail. These factors make this image one of my favorite and most successful photos.”

Pye Jirsa – Website | Instagram

“This image was from our smoke bomb photography tutorial. It took some time to mess around with the position of the smoke bombs so that you could still see Shiv, but ultimately it ended up working out!” Smoke bombs are a great way to add color to your image while also adding a whimsical or mystical element to your scene.

Alexsandra Wiciel – Website | Instagram

“If you take a look at my work I am constantly using and adding color into my images. I saw a piece of crazy shiny wrapping paper at Hilary & Katie’s wedding and thought “I wonder what would happen if I photographed through it?” And this was the result!”

Marissa Joy Daly‎ – Website | Instagram

“I used the colorful painting behind the bride as a vibrant, geometrical background to make the photo more unique than most “hairspray” photos. The color in this photo is what makes it so good!”

David Mendoza III – Website | Instagram

“Vibrant colors routinely find their way into my work. This sculpture is only of my town’s only public art pieces and had been something I wanted to incorporate into a photo when the opportunity presented itself. The bride had met her partner in Peru while traveling and for a while, her family had no idea who this person was…only that they brought out the vibrancy in her. With that in mind, I wanted to highlight her while keeping them a mystery. It could be a person of any gender, race or color and that mystery contrasted with her joy and the color is what pulled together a strong and fun image.”

Lissette & Orlando Suarez‎ – Website | Instagram

“When I first met up with this couple for their engagement session they were both dressed in black. It was also cold and rainy outside so we were forced to come indoors for the shoot. So right from the start, I knew I wanted to bring in lots of colors to brighten up the look and feel of the session. No better way to feature and contrast their black outfits than placing them against vibrant colored walls. Previously, before the couple arrived I scouted our location. I came across the entrance to the bathrooms which had bright blue and orange walls with extra-large gender restroom emblems. I knew immediately I was going to use that for the shoot but I wasn’t exactly sure how I would do this. It’s in a dark area of the venue and management does not permit tripods or light stands on the property. They are not fond of big flashy lights either. Nonetheless, when I saw the couple’s dark outfits I went straight to the bathrooms with them. You could imagine the look on their faces when I told them I wanted to shoot there. Anyway, when we arrived I had to figure out a way to use just one handheld speedlight so I wouldn’t get in trouble with management. I posed the couple by each emblem but with their backs to the colored walls illuminated by the light fixtures. These lights created even more contrast between the wall and their dark outfits. The colors were brighter and the couple almost had a silhouette feel to their bodies. I then had my wife hold the light from camera left with a MagSphere and MagGrid. I had her feather the light so it could reach both of them without casting on the wall too much. In a perfect world, I would have preferred more than one light but if I was going to get this shot we had to go with what was possible at the moment. We had to take several shots because we kept getting interrupted by customers wanting to use the bathroom. Honestly, it’s a miracle they didn’t call the security guard on us.”

Tanya Parada – Website | Instagram

“Incorporating color for this couple was a must! I wanted to show off their fun, youthful, goofy sides! Venice Beach area is full of murals and art that are unique and colorful. I knew it was the perfect place to do a morning session with this couple. For this photo, I saw the colorful lines and knew that it would be a great photo to try a reflection shot with. The laughs were all them! Just a super fun-loving couple!”

Of course to learn even more about lighting modifiers and how to use them in all different kinds of portraiture situations, be sure to check out our Flash Photography Training System which includes our best-selling lighting courses:

• Lighting 101: The Fundamentals of Flash Photography (On-Camera Flash Mastery)
• Lighting 201: Single Source Off-Camera Light Shaping
• Lighting 3: Location Lighting for Dramatic Portraits (Advanced Off-Camera Flash)
• Lighting 4: Creating Every Natural Light Effect Using Flash

For each modifier, we will include a description, pros & cons, and uses for various lighting gear and sources. There is something in this article for everyone, no matter what the budget.

Reflectors

DESCRIPTION: When shooting outdoors, reflectors are extremely powerful tools, and when used correctly they can be used as the main light, fill light, rim light, etc. You can bounce a flash off of the reflector or simple angle it to catch sunlight and push that light towards the subject.

PROS: One of the cheapest, fastest ways to create and control soft light sources. Bouncing flash off a wall or ceiling is also very effective and simple. It’s also very portable compared to lugging around a softbox or light stands.

CONS: Reflectors can waste light power, (brightness) and your non-reflector bounce options are extremely limited if a ceiling is high, or any off-white color. It can be difficult to create consistent exposures, especially if an assistant is hand-holding a reflector and you’re bouncing flash from on-camera. You also risk losing a lot of light power since there isn’t much control from your on-camera flash.

USES: Active or fast-paced situations such as on-location sessions or lifestyle portrait shoots, where you want to create soft diffused light but need to be moving around a lot. Reflectors are more practical for sunlight, while on-camera flash-bouncing is more practical for indoor walls and ceilings. Here is a great example video that shows how you can use a simple on-camera flash and the white side of the reflector to create a portable softbox.

Scrims

DESCRIPTION: Diffuses sun, other natural light, or off-camera flash. The modifier (and flash) can be held by an assistant, or one or both can be on light stands. Instead of bouncing, light passes through a scrim and is diffused.

PROS: Big, soft light, not too wasteful, easy to set up, relatively cheap.

CONS: Light spills everywhere, and there is potential for unwanted shadows if the scrim cannot fully cover the entire subject from the sun or light source.

USES: Best used when you want to do two things at once: create shade from the sun, and add your own light to the equation. Usually, the most flexible uses are when framing waist-up or similarly close portraits. Otherwise, it’s slightly less practical and controllable compared to other light modifiers.

Shoot Through Umbrella
DESCRIPTION: best used for emulating soft, window light. A shoot-through umbrella uses off-camera flash, is collapsible, comes in various sizes, some cheap and some very expensive. Hands down one of the best modifiers to have in your kit.

PROS: Creates a soft and large light source that you can take with you no matter where you go.

CONS: Can be a little obtrusive because of the size. It has a wide spread because there is no cover for the umbrella, making it hard to control the light spill. Can create shadows on the wall that distinctly giveaway the type of light source used.

USES: Simple lighting setups where you need to quickly set up 1-2 lights, get a light source that is bigger than a bare strobe, yet still bright. Great for photographing large groups and soft portraits.

Rewind: Photography Lighting Equipment – The Best Light for Your Budget (2021 Update)

Softboxes or Octaboxes

DESCRIPTION: Uses off-camera flash or strobes, is collapsible, all kinds of different varieties, some are super cheap and some are very expensive. Needs light stand, or “light on a stick” monopod. (See our Flash Training System for more!)

PROS: Great balance of portability and light control, doesn’t spill everywhere, much easier to get huge directional light sources especially if you have a grid. Many options are very affordable and fast to set up. (umbrella boxes)

CONS: Some options can be pricey, some aren’t exactly effortless to set up.

USES: The better your lighting is, the less post-production you’ll have to do, and the more clean and polished your images will look. A softbox is great for shooting a single subject, a couple, or an entire family, either in-studio or on-location. Add a flash grid to the softbox, if you’re in a setting where you want to minimize spill on foreground/background.

Here are some of the best softboxes for speedlights:

• MagMod MagBox
• Profoto 2′ Octagonal Off-Camera Flash Softbox
• Westcott Rapid Box 26″ Octa Softbox
• Glow EZ Lock Octa 48″

Beauty Dishes

DESCRIPTION: Uses off-camera flash or strobes to create soft, beauty portraiture light. You can watch the full video on how we created the shot above here!

PROS: Very soft yet highly controllable quality of light, thanks to specific grid accessories.

CONS: Many do not collapse, require a lot of flash power, and can become rather expensive when buying a complete system.

USES: Anything from general portraiture to high-end fashion work, as long as you have the help (assistant) to manage it, and the time for setup and break-down. Very good at keeping light focused on the subject and off of the foreground/background, allowing you to shoot a very complex scene with ease.

• Profoto OCF 24″ Beauty Dish with Deflector Plate
• Profoto OCF Magnum Reflector
• Glow 22″ White Beauty Dish for Bowens Mount

Light Controlling Modifiers (Grids & Snoots)

DESCRIPTION: Used to stop, cut down, or “shape” light direction or spill. (Usually when already using one of the previously mentioned light sources.)

PROS: Pin-point light-shaping abilities, similar to spotlight effect.

CONS: Some grids either cut too much light or not enough depending on the necessary modification. Usually, lower quality grids tend to have more light spill or less gradual light fall-off which defeats the purpose of using a grid.

USES: Small accents (hair, rim lighting, etc.) Also good for wide-angle shots that need a spotlight on a subject within a scene, anything from an environmental portrait to an ultra-wide angle first dance shot.

• MagMod MagGrid
• MagMod MagSnoot
• Profoto A1 Grid Kit
• Profoto Snoot

Speedlight Diffusion

DESCRIPTION: Uses to diffuse or soften the light output of an on or off-camera flash.

PROS: Quick, simple soft or diffused light, highly portable, efficient.

CONS: Not soft enough or not softer than an umbrella. Some options still have some specularity. Each one of the options below does different things so please be aware of that prior to purchasing.

USES: When you wanted to soften or diffuse the light on your subject instead of pointing a bare bulb towards them. If you are working an event or wedding, having a softer or more diffused on-camera light source will yield better results.

• MagMod MagSphere
• Gary Fong Lightsphere
• Fstoppers Flash Disc Portable Speedlight Softbox
• MagMod MagBounce

Colored Gels for Flash

DESCRIPTION: Colored plastic sheets used to shift or correct the color of light output. Come in a variety of colors for creative or corrective purposes.

PROS:  Ideal for shooting creative flash photography and an easy trick to transform a scene.

CONS: Must understand how each color affects each scene’s ambient light exposure in combination with your in-camera white balance. Sometimes, it can come off as cheesy or

USES: Creatively alter the look of your scene or correct skin tones to match the ambient light. Learn how to visually change your camera’s white balance here.

• MagMod MagGels
• Profoto OCF Gel Starter Kit

To learn more about lighting modifiers and how to use them in all different kinds of portrait shoots, be sure to check out our Flash Photography Training System, available for digital download and also as part of our SLR Lounge Premium subscription!

The original MagBox was the perfect beginner softbox, 24″ in diameter and portable for travel and on-the-go shooting. Today, they launch their 5th Kickstarter campaign to announce their new MagBox Pro lineup:

• MagBox Pro 42 Octa
• MagBox Pro 36 Stripbox
• MagBox Pro 24 Octa
• MagBox Pro Grid
• MagShoe 2 
• MagBox Large Case

Each product is meant to integrate seamlessly into their magnetic ecosystem and with products you already own. Both softboxes are intentional and feature-packed – scroll down to read all about them!

How to Purchase MagBox Pro Softboxes & Accessories

MagMod has used Kickstarter for their previous launches and loves being able to reward their earliest backers with discounts and stretch goal rewards. You can pre-order the new softboxes on Kickstarter to secure your purchase. Orders are said to ship in September 2021.

MagBox Pro 42 Octa

• Integrated Built-In Storage Pocket for Diffusion Panel
• New Super-Fast Zip on Fabric Diffuser
• Optional Magnetic Grid for Fast & Easy Light Control
• Durable Lightweight Rip-Stop Material Shell
• Hassle Free Setup and Teardown
• 42” Diameter
• Integrated Gel Slot for Instant Color with MagBox Gels
• Silver Reflective Interior
• Works with Speedlights or Strobes

“If you love soft light, then you’ll love the MagBox Pro 42” Octa. This big new Octabox has time-saving features like the super fast zip on diffuser, integrated built-in storage pocket, magnet attaching honeycomb grid for light control, a simple setup, and integrated gel slot, making it the fastest, easiest and most awesome large octabox for photographers. At a 42” diameter the MagBox Pro 42 Octa gives you the softness you are looking for in a package that is super fast to set up and tear down. Designed to work with speedlights or strobes, the 42 Octa is a super versatile tool that makes switching back and forth between small and large modifiers in the MagMod ecosystem a cinch. Also includes a new upgraded lightweight rip-stop material shell for extra durability. With a softbox this user-friendly, it’s never been easier to create beautiful, soft light on your subjects.”

Pre-order here.

MagBox Pro 36 Strip

• Rectangular Shape for Precise Light Control
• Ideal for Edge or Rim Light
• 3 Feet / 1 Meter Tall
• Integrated Built-In Storage Pocket for Diffusion Panel
• Use with Optional Magnetic Grid for Fast and Easy Light Control
• Open Obstruction Free Center Design
• Works with Speedlights or Strobes

“Strip boxes are a popular tool for portrait and product photographers. The new MagBox Pro 36 Strip has time-saving features like the super-fast zip-on diffuser, integrated built-in storage pocket, magnet attaching honeycomb grid for light control, a simple setup, and integrated gel slot, making it the fastest, easiest, and most awesome strip box for photographers. The perfect size at 36” tall the new MagBox Pro 36 Strip gives you the softness you are looking for in a portable package for shooting on the go or at the studio. Designed to work with speedlights or strobes, the 36-inch Strip is a super versatile tool that makes switching back and forth between small and large MagMod modifiers a cinch. Also includes a new upgraded lightweight rip-stop material shell for extra durability. With a softbox this user-friendly, it’s never been easier to create beautiful, soft light edge light, rim light, key or fill. This strip box is versatile.”

Pre-order here. 

MagBox Pro 24 Octa

● Integrated Built-In Storage Pocket for Diffusion Panel
● New Super-Fast Zip on Fabric Diffuser
● Use with Optional Magnetic Grid for Fast and Easy Light Control
● Durable Lightweight Rip-Stop Material Shell
● Hassle Free Setup and Teardown
● Mounts in Seconds to MagRing or Speedring Adaptor
● Soft Portable 24” Light Modifier
● Integrated Gel Slot for Instant Color with MagBox Gels
● Popular Octa Softbox Shape
● Silver Reflective Interior
● Open Obstruction Free Center Design
● Works with Speedlights or Strobes
● Perfect for out in the field, at weddings, or even in studio

“With time-saving features like the super fast zip on diffuser, integrated built-in storage pocket, magnet attaching honeycomb grid for light control, a simple setup, integrated gel slot, the MagBox lets busy photographers rock off camera softbox lighting without breaking a sweat. Designed to work with speedlights or strobes, the 24-inch MagBox is a super versatile tool that makes switching back and forth between small and large MagMod modifiers a cinch.Also includes a new upgraded lightweight rip-stop material shell for extra durability. With a softbox this user-friendly, it’s never been easier to create beautiful, soft light on the fly.”

Pre-order here. 

MagBox Pro Grid

“This modifier magnetizes to the MagBox instantly and effortlessly, saving photographers from the annoying and clumsy experience of other velcro-style softboxes. The instant snap-on sound when the MagBox Pro Gride attaches feels automatic, secure, and is more satisfying than a perfect knuckle crack.” It comes in all the new softbox sizes: 24, 36, and 42.

MagShoe 2

• Upgrade in materials and design to support larger boxes
• Easy to use, no more small screws and nuts to deal with
• Ergonomic pistol grip offers easily handling
• Works perfectly in combination with the MagRing
• Place on stand or hand-hold
• Compatible with virtually any Speedlight flash
• Includes 1⁄4-20 adapter for flashes like the AD200 or to mount LED light panels and GoPro cameras.

“The MagShoe is a universal, ergonomic cold shoe bracket you can operate with one hand. Just slide in your flash, turn the lock 90 degrees and you’re golden. It’s a must-have for any photographer who wants to work faster, easier and awesome-er. The new MagShoe 2 includes an upgrade in materials and design to support the larger MagBox Pro softboxes like the MagBox Pro 42 Octa and MagBox Pro 36 Strip.”

MagBox Large Case

When we mentioned how MagMod listened and executed, it’s evident in the design of their new MagBox case. The case is built larger than before to house the newer-sized softboxes and, most importantly, comes with an adjustable strap (a massive improvement from the original)! You can see in the product photos above that this eliminates the need to store your lights in a separate bag because it all fits in the case.

MagBox Pro Lifestyle Product Images

MagBox Pro Sample Images

In this scene, the sun was going in and out of the clouds making it hard to create a consistent set of images that looked cohesive. So, instead, I decided to use my off-camera flash to ensure I get that golden light in each and every single shot. Let’s walk through some tips on how to achieve this look:

1. Have the Right Amount of Flash Power & Accurate Color

Here is the gear you’ll need to re-create golden hour lighting:

• 200-400 Ws of Flash Power: the sun is too large a source of light to replicate, but you can get close enough depending on your composition to emulate it. You’ll need plenty of power to get a nice even spread of light. For this tutorial, we are using 2 Godox AD200s.
• CTO Gels: in order to mimic sunlight you’ll need your flash to match the color of the light emitted from the sun. I love using MagGels on my speedlights because it’s a fast and simple solution to switch the color of my light.

2. Place Flash Far Behind the Subject(s)

Get your flash far enough back that it’s hitting everything that you’re capturing within the frame. This is probably the most common mistake photographers are making when they try this technique because they bring the flash too close and you’re not covering the entire environment like the sun would.

3. Decide on your Composition and Shoot!

We discuss in Lighting 3 how important it is to decide on the intention of your image and your lighting using an acronym called C.A.M.P:

• Composition: What do we want our scene to look like? Where do we want the camera to be? What’s the angle? What do we want our subjects to be doing?
• Ambient Light Exposure: Choose the intention of the scene. Do we want a dramatic image (darkening the ambient light and using more flash) or do we want a softer image (brightening the ambient light and using a more natural power of flash)?
• Modify/Add Light: Are your subjects visible in the frame or do they need to be chiseled out? Do you need to add an additional light source?
• Pose & Photograph: Take your shot!

For this lighting technique to work we need to make sure that the light is convincingly being used to re-create the sun. I chose to get a little lower to avoid seeing the flash in all of my shots or worry about concealing it, in addition, I used the foreground of the nature between me and the subjects to create depth and separation. Our camera settings for this shot are: 1/500th of a second, ISO 100, f/2.0. Here is the final image:

Make sure you check out MagMod’s biggest sale of the year this upcoming week for Black Friday! If you try this technique out make sure you share your results with us in our Master Lighting & Off-Camera Flash Facebook Group. If you enjoyed this tutorial then you should also check out our Lighting 4 course which dives deep into creating natural light effects using flash – this is an advanced lighting course that is fully comprehensive and will give you 20+ different, unique lighting recipes.

Trevor Dayley gathered up these photographers, (Including SLR Lounge’s own Pye Jirsa), and arranged a photo-challenge day giving each team just 10 minutes to plan and create their images for each challenge. Using their creative minds they grabbed up the various MagMod challenge related modifiers to create some pretty unique and inspiring images you have to see to believe! You can follow along with the teams as they brainstorm and plan out their images, make adjustments, and then bring it all together in the end for something epic….oh and you can also enjoy some of the “trash talk” between the Photogs in the BTS portions of the video as well. So without any more rambling, let’s dive into the video below.

[Related Reading: Versatile MagMod Lighting Setups for Outdoor Portraits]

Here’s a Breakdown on the Timestamps for Each Challenge and the Gear Used by the Teams

1:09 – First Challenge “You Gellin’?”

• Creative Gels
• MagBox Creative Gels

8:20 – Second Challenge “Just Snoot Me”

• MagSnoot

15:45 – Final Challenge “Stay Focused”

• MagBeam Kit
• MagBox with Focus Diffuser:

21:07 – Winner Announcement! 

So what did you think of the video? Did it give you any new ideas on how to create some fun and unique images? Did this make you want to play with colors more in your image? Let us know what you think in the comments below. If you’d like to see more of the images from each challenge and read up on some additional details, be sure to check the official MagMod Blog Here.

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