Steve Sint Memorial

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Posted on December 9, 2015 at 8:38 pm by Steve Sint · Permalink · Leave a comment
In: Uncategorized

Wedding Photography Workshop

July 8th through 14th,  2012

at Maine Media Workshops & College

 

What students say:

“Steve has encyclopedic knowledge of photography and posing and shares all.”

- SC

“I have never learned so much on any one topic in one week at any point in my life. It is truly “immersion” in a field you love, led by a world-class instructor, what an amazing opportunity!”

-R.C.

“One word – OUTSTANDING! – from accommodations, meals, lectures and shoots; everything was superb.”
- F.C.

 The Digital Wedding Photographer @

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Posted on May 23, 2012 at 2:37 am by Steve Sint · Permalink · Leave a comment
In: Photography Mentor Program, Workshops & Lectures · Tagged with: ,

Strike a Pose!

“The whole idea of posing and the real trick of it,” Sint says, “is that you’re aiming to make people look natural.” So why not just let them stand there…naturally? “Because people can stand naturally, without any direction, and maybe they’ll look great–and maybe they’ll look not so good.” And “not so good” is not so good at all when it comes to a photograph. “How people stand often has to do with their physical attributes and how they see themselves. People who study themselves a lot in mirrors, the `beautiful people’–believe me, they know how to stand. The rest of us often need help.”

But making people look natural is only one part of posing, although it is the part that people most often think of when you say the word. “The other part of posing,” Sint says, “and I think the more important part, is for the photographer to eliminate or hide some things that people don’t necessarily want to show. Careful posing can look very natural, but more important than getting people to look natural, you can hide some weight, eliminate a double chin–in other words, make them look better. And if they look better, they’ll be happier with the pictures.

“The job of posing, then, is not only to keep people looking natural–and well-posed pictures don’t look posed–but also to accentuate their good points and diminish, if not banish, the bad ones.”

 

 

Excerpt from interview in Shutterbug Magazine.

Posing Is Problem Solving…But Why Bother?

 

 

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Posted on May 23, 2012 at 2:36 am by Steve Sint · Permalink · Leave a comment
In: Posing · Tagged with: , , ,

PopPhoto Book Review

“Steve Sint’s book offers everything you need to know about making it in the wedding photography industry.”

PopPhoto (click for full review)

 

wedbk4_cvr_1024

 

Available on Amazon.

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Posted on September 9, 2011 at 10:59 am by Steve Sint · Permalink · Leave a comment
In: Books, Steve Sint on the Web

Thorsten asked: When metering light, where do you point the dome of the meter?

Thorsten wrote:
Great little BTS video. I watched very closely and think I know the answer to my question, but not 100% sure, so here goes – when metering do you point the dome of the meter at the key light or back towards the camera (for the sake of simplicity, I’m assuming a single light source)?
Photographers the world over seem to have strongly held opinions on this issue and instead of clarifying the question this only seems to add to the confusion. What has your experience shown you to work best? I realise there probably isn’t a single simple answer to this, but any thoughts you have on this will add to my understanding of handheld metering. Thanks.

Hi Thorsten,

Funny you should ask – I’m in the process of preparing a webinar for Sekonic meters that covers the exact topic you are asking about (among others).

The answer is a bit more complicated than it first appears because most often there is a second light source (or fill card) lighting my subject or I am not photographing a single subject but a group of subjects instead.
Here is the technique I use:
1. If the two light sources are of similar or only slightly differing intensities (power level and distance) AND there are multiple subjects being lit I aim the meter’s dome at the camera.
2. When I am metering a single subject and my two light sources are of similar or slightly differing intensities, I position the dome of the meter so that it points at an imaginary point approximately about half-way between the lens axis and the main light. I often call this “feathering the dome” towards the key (or main) light.
3. As the difference in intensity between the main light and any secondary light source increases (say over 2 f-stops), or as my single subject turns towards the main light I aim the dome directly at the main light instead of feathering it at all.
4. Lastly, if I am lighting a group of subjects, and they are arranged so that they all are turned towards the main light and all the subjects are approximately the same distance from the main light I aim the dome directly at the main light.

Using the four techniques above seems to give me the most consistent exposure levels from image to image but I mention the difference in metering technique between single and multiple subjects because if you feather the dome when photographing multiple subjects the subject farthest away from the main light always seems to get short changed in its exposure level which (in turn) makes the subject closest to the main light seem to be most important (which is often not the case).

Importantly, before I start using a single reading with a dome receptor I most often read each light source individually either with the dome retracted (on Sekonic meters) or using a flat receptor (on meters not equipped with a retracting dome), or blocking secondary light sources from hitting the dome with my hand so as to read each light’s intensity individually. So, it might be said that I first decide how steep a ratio I want between my multiple light sources and the adjust my metering technique to take that difference into account.

Finally, I read background or hair lights by pointing the dome directly at those light sources and placing the dome in the same place as the portion of the subject or background I am lighting and the adjust these light’s output to fit into the exposure setting I’m using to light the primary subject of my image.

The real point is I always try to use a consistent technique that is dependent of the subject and lighting I’m using.
As an example of this, in the image below there is an approximate 2.5-3 stop difference between the main light and the fill light on the primary subject, I aimed my dome at the main (or key light), and the light wiping across the background was set at the same intensity as the light reading for the primary subject be reading it individually.

I hope this info is helpful to you.

Seconic has a book excerpt from 

on Incident Light Meter Positioning

 

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Posted on June 12, 2011 at 7:49 am by Steve Sint · Permalink · 4 Comments
In: Tools & Organization, Working with Flash · Tagged with: , , , , , ,