The Seminar that changed my style of lighting.
I had been attending the West Coast School of Professional Photography for several years now. It was a one week intensive instructional period with a featured instructor and their specialty. Every year, the school sponsors evening classes from other instructors and opens it to the entire school to attend. That's where I got to see Dean Collins. He was the most influential instructor of all the others I had learned from because he knew his lighting techniques backwards, forwards, upside down, right side up. When he offered a one week class the following year, I signed up for it right away.. Best $$$ I spent.
The one mantra that I got from him was two fold. 1 - the larger your light source, the softer your light will be. and 2 - the closer your light source, the softer your light will be. His main light at that time was a Larson 52" Starfish. It was generally positioned just out of camera view (very close to the subject). They were not cheap but I purchased one knowing that I had to have one.
That was my main light for many a year after that. I have used different variations of it since then but this was the original. How did it change my photography? I was entering PPA Print Competition since the mid 70's. I would get one merit (out of 4 prints) or I would whitewash. It was an every other year thing. When I returned from the school and implemented the lighting system where I was employed and the lighting style on location, I stared doing sessions with it with the solid intention to use it for print competition What happened? The first prints I entered after attending that seminar, I got four out of four prints accepted with 3 of them accepted into the Traveling Loan Collection (best of the best). These are two of the prints utilizing the Starfish in the studio.
Because I was striving for my Master of Photography Degree during that period, the 7 merits boosted my points towards the degree.
I was able to learn from Dean Collins several times after that until cancer ended his career.
The one mantra that I got from him was two fold. 1 - the larger your light source, the softer your light will be. and 2 - the closer your light source, the softer your light will be. His main light at that time was a Larson 52" Starfish. It was generally positioned just out of camera view (very close to the subject). They were not cheap but I purchased one knowing that I had to have one.
That was my main light for many a year after that. I have used different variations of it since then but this was the original. How did it change my photography? I was entering PPA Print Competition since the mid 70's. I would get one merit (out of 4 prints) or I would whitewash. It was an every other year thing. When I returned from the school and implemented the lighting system where I was employed and the lighting style on location, I stared doing sessions with it with the solid intention to use it for print competition What happened? The first prints I entered after attending that seminar, I got four out of four prints accepted with 3 of them accepted into the Traveling Loan Collection (best of the best). These are two of the prints utilizing the Starfish in the studio.
Because I was striving for my Master of Photography Degree during that period, the 7 merits boosted my points towards the degree.
I was able to learn from Dean Collins several times after that until cancer ended his career.
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