When I take on editorial travel and documentary photography assignments or start a self-generated project, it usually means hitting the road solo or accompanied only by a writer. Most news outlets and magazines don’t have the budget for assistants. This means I work out of a Think Tank backpack or roller bag for all my photographic gear and a suitcase for everything else. If it’s a job that requires extra lighting and stands, I use a Think Tank Production Manager case. But being a small production doesn’t mean the images can’t have big production values.
I’ve created a consistent look for my work, whether I am halfway around the world or close to home. When I’m out of the studio, my goal is to use artificial lighting that does not scream “flash.” My photograph of a North Korean traffic officer on a freezing day in Pyongyang is an example (above). For that image, I held a Nikon Speedlight with a 1/4 CTO (Color Temperature Orange) gel off to the left to soften the harsh shadows cast by the midday sun. I used a similar setup for my photo of Taiwanese artist Grace Yang, who was born without arms, painting with her left foot (below). For the photo of Grace, a fellow journalist held my Nikon Speedlight off to the left for me, which allowed me to get an image that didn’t have the flat-looking light of an on-camera flash.
A grandfather with his granddaughter photographed on the Iranian island of Kish, lit with a Nikon Speedlight and a 3/4 CTO in a Gary Fong Lightsphere Collapsible modifier.
There are times it will be obvious that a travel or documentary shot was artificially lit, as with the image of a grandfather proudly holding his granddaughter on the Iranian island of Kish (above). Since the sun was setting behind them, I had to use a flash or constant light source to balance the scene and retain detail in both. Once again, I used a CTO, since the Nikon Speedlight puts out daylight-balanced light, and the sky with the setting sun was much warmer. In this case, a 3/4 CTO worked best.
Another option would have been to use the plastic 1-stop CTO that comes with the flash. Improper color balance creates an artificial-looking result. While color temperatures can easily be adjusted globally in post, making local adjustments in an image is not only a hassle, but, in the world of photojournalism, it is considered manipulation and therefore prohibited.
Artist Grace Yang
I used an off-camera Nikon Speedlight to document artist Grace Yang painting with her foot. Another journalist held the speedlight to the side for me.
Modifiers play a vital role in controlling and shaping light. In addition to the modifiers produced by lighting manufacturers, several other third-party companies offer light-shaping tools, including Rogue, Gary Fong, and MagMod. The Rogue Flash Diffuser Dome, Flash Grid, and Round Flash Gel Lens are particularly useful with my Nikon SB-5000 AF Speed-light. The Rogue Round Flash Magnetic Modifier attaches to the flash with a Rogue Flash Adapter. The adapter is also used for Canon, Sony, and some Godox flashes, while a number of Profoto, FJ Westcott, and Godox flashes don’t require it. Most travel photographers and photojournalists prefer small modifiers for a fast setup and quick breakdown. This is especially true in photojournalism, where the difference between award-winning shots and just-missed opportunities can be measured in fractions of a second.
Model Mary Kuznetsova photographed with two Stella CLx10 lights and two StellaPro Reflexes on Cheetah stands. The key light was modified by a Rogue Shoot Thru Umbrella.
Photographers like Joe McNally are masters at using multiple speedlights for bigger on-location scenes. McNally works with Nikon Speedlights and Nikon’s wireless Creative Lighting System. The remote flash units can be controlled up to 66 feet away with an SU-800 Wireless Speedlight Commander that slips into the hot shoe.
When I’m working with constant light sources, I turn to my StellaPro CLx10 or StellaPro Reflex lights, or a combination of the two. The advantage with them is what you see is what you get, and they’re ideal when both stills and video are required. This can work well when you have time to set up a couple of lights and use modifiers such as barndoors, diffusers, or collapsible beauty dishes, as in the case of my photographing model Mary Kuznetsova at Imaging USA 2024 for StellaPro Lights (above). We brought Paris to the Louisville Convention Center with a backdrop designed by Heather Harvey for Baby Dream Backdrops. I asked Kuznetsova to channel a film noir feel in the City of Lights setup. Having a constant light source also gave attendees the opportunity to try out the lights at the same time.
The StellaPro Reflex S can produce 30 frames of flash per image, which I used to create this stroboscopic effect.
The StellaPro Reflex S system is particularly impressive for stroboscopic-type results. My photo of a gymnast frozen in various points of action at a gym in Tokyo is an example (above). The compact Reflexes can fire up to 30 frames of flash per second at 18,000 lumens.
This image was taken in Joshua Tree with two friends in a tent, one turning on a small light with a red gel briefly during a 20-second exposure for the much dimmer Milky Way.
Interior designer extraordinaire Kelly Wearstler photographed with Profoto strobes on location in Beverly Hills.
In Joshua Tree, I had a friend turn a small light with a red gel on it briefly on and off during a 20-second exposure for the much dimmer Milky Way (above left). This was a matter of trial and error to get the right balance.
When I need to completely overpower the ambient light or keep my ISO at the lowest possible settings, I often turn to my Profotos. My work with interior design superstar Kelly Wearstler serves as an example (above right).
The location techniques I use were born out of necessity while working around the world without the luxury of an assistant. Necessity, after all, is the mother of invention.
Mark Edward Harris is an award-winning photographer based in Los Angeles.
