So I used a couple of 50W battery LED worklights to light the owl and area around the wall. One of the problems at night is that you often can't see your subject and if you can't see it, you can't photograph it.
Very grainy picture with night owl camera system full#
The lens was a 70-200mm on a full frame body. All made use of Profoto's freeze mode to stop the action. The main light (front left) in a beauty dish, back/right side light with a 10 degree grid and barn doors to control light spill and kill flare and the background flash was in a 1m softbox about 2m up. Lighting-wise, this was shot with three Profoto flashes (B1 and B2 units) triggered via the AirTTL controller. In night photography, anything you want to include in the picture has to be illuminated - obvious but easy to forget! Woodland tends to be pretty dark after sunset, so I had to light the trees that I wanted to see as background with flash. I thought that it might be interesting to include some of the environment rather than the more normal owl and black sky shots so I set about designing a lighting plan. I've removed the leather falconry leggy bits (a technical term) with a photo editor as they were a bit messy. This is Pearl, one of Coda's Barn Owls a moment after take-off as she turns to fly towards us for a food treat. We had a great time lighting up parts of the Lee Valley with assorted flashes and photographing some of Coda's beautiful owls (although we did manage to surprise a couple enjoying a, shall we say, romantic encounter in the dark. (The workshops use captive birds so that we can repeatedly practice the techniques covered). I was over with my friends at Coda Falconry the other week trying out some new locations for my next flash workshops.
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