Photography News issue 22

Photography News Issue 22 absolutephoto.com

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Profoto B1 & B2 In the spotlight Finding out how photographers use the Profoto B1 and B2 off-camera flash kit in earnest, we spotlight two pros. Second up is Chris Yates

Chris Yates

Part two

If you are a day-to-day professional photographer looking for quality, consistency and reliability, consider the B1 or B2

What has been the most memorable shoot you’ve worked on using the Profoto system? I would say that was the first photo shoot after replacing my previous lighting system. Whilst my shoot technique hadn’t changed, just by changing the tools I used I saw a significant improvement in the detail and output. What kind of photographer do you think would get the most out of using Profoto systems? Without any generalisation I think the systems are so adaptable that any photographer requiring a lighting system can employ them. If you are a day-to-day professional photographer looking for build quality, consistency and reliability you need to consider the B1 or B2. What’s a typical lighting set-up for you on a shoot? For static studio and location shooting I always lean towards using an RFI/OCF Octa simply for the nice wide spread of light and if required add a second rectangle

Chris Yates’s images are published worldwide in various editorial magazines, covering a broad range of photographic genres and always relying on the Profoto B1 or B2 for his lighting. Which genre do you most enjoy? Fashion; I think it always comes back to the fashion show element. For example with the show catwalks, the backstage aspect, the pre-looks, the editorials and look-book work. It is continually evolving from season to season. However, it is always great to cover as many genres as possible to show your potential clients what you can do. The market is flooded, budgets are tighter than ever and you need to have as many strings to your bow as possible. What kind of role does lighting play in your line of work? Youalwayshavetocreatethebest-lit images from a content perspective so my first consideration is ‘how am I going to engineer the light in the shoot environment to ensure

I have a consistently lit shot?’ A lighting system to me has to be stable, suit the requirement and be up to the job whether that be in the luxury of a studio environment, on a press call or out in the sticks in the elements. Why did you decide to invest in the Profoto systems? I travel around a lot to assignments and I was looking at a solution that offered reliability, build quality and, more importantly, a superior light to use with the least amount of hassle. The B1 system is extremely versatile in its mobility and portability whilst at the same time, extremely powerful and easy to use in a variety of examples without the need to lug around a separate generator for power. On the flip side, it can remain in place in the studio as if it were part of a mains supplied system. The B2 kit has had the most outings and a lot of on the road use asmy assignments vary from job to job I have needed its compactness.

RFI/OCF kick light either offset or head on. However a dynamic approach to shooting and the ease of movement with the B1/2 system make it easy to make adjustments on the fly, and with the B1 you have no cables to worry about. Do you use manual control or TTL flash with the Air TTL trigger – and why? This will always be a debate. If it’s a relatively static shoot, say in the studio for example, then manual settings, which, of course, can be dialled in from the Air remote as required or on the head itself. If I’m moving around a lot with the B2 on the side of the camera, I lean more to the TTL as it gives me the range in changing lights. I have recently been trialling a modified bracket with a B2 head mounted next to the lens mainly for press photo calls where I would normally have a speedlight. I have been really impressed with results and it has turned a few heads amongst peers.

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