In a stunning outdoor session featuring a model in a flowing red dress, Rick combined a classic strobe setup with a strategic backlight positioned low to the ground. For this crucial lighting element, Rick turned to the Platypod eXtreme and Platypod Handle, creating a rock-solid, low-profile support system that held a Profoto A2 in just the right place.

Low-Angle Lighting, Locked In

Lighting from below can add depth, dimension, and separation—especially in outdoor environments where natural light dominates. By placing a backlight at ground level, Rick was able to subtly rim-light the model and create dynamic highlights that enhanced both the subject and the surroundings.

The Platypod eXtreme gave him stability on the uneven park surface, while the Handle provided vertical reach and adjustability without the bulk of a full second stand. This kind of low-angle lighting is nearly impossible to pull off cleanly with traditional light stands—but it’s exactly the kind of situation where Platypod shines.

Simple. Stable. Unshakable.

This setup also proves something we say often: great lighting doesn’t have to be complicated, and you don’t need to carry a ton of gear to make an impact. Rick’s minimalist approach allowed him to work quickly in a public location, without obstructing foot traffic or drawing too much attention—yet the results speak volumes.

Scroll through the photos below to see the final images and behind-the-scenes details. It’s another fantastic example of how Platypod helps photographers work smarter, stay agile, and create compelling images anywhere.

That’s where Friedman’s Law of Exposure comes in. This simple but powerful rule states: Expose for the element you can’t control.

Most of the time, that means setting the exposure for the background first and then using flash to light your subject correctly. This approach ensures a well-balanced, natural-looking image rather than forced or artificial lighting.

This technique is essential for photographers shooting outdoors, at events, or in mixed-light situations where ambient light plays a big role in the scene. Your images will look more polished and professional once you understand how to balance flash with existing light.
 

Setting the Background Exposure First

Before even thinking about flash, start by setting the background exposure. Since you can’t control ambient light (unless you’re in a studio), getting it right first ensures your final image looks natural.
 

Using Your Camera’s Light Meter

The quickest way to set your exposure is to switch to Aperture Priority (A/Av mode) or Auto ISO, letting the camera determine the best settings while you concentrate on composition. Once you find an exposure you like, switch to Manual Mode and dial in those settings for full control.

More experienced photographers prefer Manual Mode from the start, using their camera’s built-in light meter to set their aperture and ISO first, then adjusting the shutter speed to prevent motion blur. With enough practice, this process becomes second nature — like muscle memory — allowing them to adjust exposure quickly and effortlessly.
 

Choosing the Right Aperture and ISO

Aperture and ISO choices depend on the look you’re going for. A wider aperture (like f/2.8 or f/4) creates a soft, blurred background, while a narrower aperture (f/8 or f/11) keeps more details sharp. If you’re shooting in bright conditions, a low ISO (100–200) will give you the cleanest image, but in low light, you may need to bump it up (ISO 800–1600) to maintain a fast enough shutter speed.
 

Checking Shutter Speed and Adjusting Exposure

If your shutter speed is too slow (under 1/60s), motion blur can become an issue. If needed, increase ISO to get a faster shutter speed while keeping the exposure balanced.

Once the background looks the way you want it, switch to Manual Mode (M) and lock in those settings.

Now that your background exposure is set, it’s time to introduce flash.
 

Balancing Flash with Ambient Light

Now that your background exposure is locked in, your subject likely looks underexposed. This is where flash comes in.

There are a few ways to set the right flash power. The most precise method is using a light meter, which gives you an exact reading of the flash output needed to match your camera settings. Simply set the meter to the same ISO and shutter speed, fire the flash, and adjust its power until the exposure is correct.

A faster but less precise option is TTL mode, where the flash automatically calculates the appropriate power based on the camera’s exposure settings. While this is convenient, it’s not always consistent, so you may need to fine-tune it using Flash Exposure Compensation (FEC).

If you don’t have a light meter and prefer full manual control, trial and error is the way to go. Start with a medium flash power setting (such as 1/4 or 1/8), take a test shot, and adjust up or down as needed. If the subject is too bright, lower the flash power; if it’s too dark, increase it.

Another trick to fine-tune the background is adjusting the shutter speed — a slower shutter lets in more ambient light, brightening the background, while a faster shutter cuts down ambient light, darkening it. This way, you can control how the background appears while keeping your subject well-lit.
 

Common Mistakes and How to Fix Them

Even when you understand Friedman’s Law of Exposure, things don’t always go as planned. If your subject is too bright and the background too dark, your flash power is probably too high, or your shutter speed is too fast. If the subject is too dark, increase the flash power or open up the aperture.

Sometimes, flash can look harsh and unnatural. To soften it, try using a diffuser or bouncing the light off a nearby surface. This spreads the light more evenly and prevents harsh shadows.

Meet Rick Friedman

Rick Friedman is a lighting expert and a renowned photographer who has captured every U.S. presidential candidate since Jimmy Carter. If you’re heading to WPPI, you’ll probably see him walking the expo floor or chatting with photographers over coffee. He’s always happy to share his knowledge — so don’t hesitate to join the conversation!

For more lighting tips and insights, you can sign up for his free newsletter, where he shares expert techniques, behind-the-scenes stories, and updates on his latest workshops.
 

Final Thoughts

Mastering flash photography can feel overwhelming, but Friedman’s Law of Exposure simplifies the process. By exposing for the background first and then adding flash to balance the light, you create more natural, well-lit images that preserve the mood of the scene.

Whether you’re shooting outdoor portraits, event photography, or working in tricky lighting conditions, this technique gives you greater control and more professional results. It becomes second nature with practice, allowing you to shoot confidently in any situation.

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This article is written by Vanelli

There are several ways to do this.

My favorite way to accomplish high key light is to use a softbox or an octabox as my backdrop. With this, I have my model stand in front of the softbox. I shoot a strobe through the softbox, making sure my exposure is two stops brighter than my main light. This gives me a bit of hairline light and a pure white backdrop. Any shadows or wrinkles in your softbox will be blown out and not visible.

In the above photograph, shot with my Tamron 35-150mm and Nikon D850, the model is standing in front of a 53-inch octabox with a Dynalite Baja strobe. The front light is a Savage 35-inch ModMaster softbox with Dynalite flash.

Headshots with high key lighting

If you are doing headshots the 35-inch Savage ModMaster is large enough for the backlight. Savage also makes a 47-inch Beauty Dish that works great for your backdrop.

Both of these Savage light modifiers make great light, are collapsible, easy to take on location and set up in about 30 seconds. Both come with a Bowens mount and a speedlight adapter. This portrait was done with a Tamron 100-400mm lens at 400mm on a Nikon D850 camera.

In this tight shot of model Julianna Nicole, the high key back light is the Savage 35-inch ModMaster softbox with a Nissin Di700A speedlight. The front light is a Savage RGB Ring Light. This is an LED ring light, which lets you control the color and brightness with an app on your phone. In this case, I am shooting through the ring light with my Tamron 24-70mm f/2.8 G2 lens on a Nikon D850 camera. This photograph is a mixture of flash for the background and continuous light as the main light.

For a 3/4 length photo, I use Savage Translum as the backdrop. This is a diffusion material that comes in a roll, like a roll of backdrop paper.

I’ll shoot one or two strobes or LED lights through the Translum, again, making it two stops brighter than front light and eliminating all shadows. This gives me a perfect white high key backdrop.

A final high key suggestion

You can have your subject stand in front of a white backdrop and shoot enough light on the backdrop to blow away any shadows. When using this technique, I start with a Savage Pure White backdrop and usually add two strobe heads on each side of the backdrop. Make sure your strobes on the backdrop are not hitting your subject — I usually make half snoots out of Rosco Cinefoil. Bending the Cinefoil lets me control where my light is aimed. There are lots of other uses for Cinefoil, but that’s another article.

The Rick & Rick Show!

Be sure to join me for my upcoming workshop with Rick Ferro — it’s the Rick & Rick Show! Here, we’ll be teaching lighting and photographing models in a sea of classic cars. We’ll have a ton of equipment for you to use, and some fantastic models to photograph. The “Cars, Cameras and Models” workshop will take place at the Classic Car Museum of St. Augustine, FL at the end of May. We’ll also be exploring the beaches of St. Augustine. For more information or to sign up, contact me at rick@rickfriedman.com.

I am always looking for additional element to bring my photograph to life.   Is there a building with lights that will show against the darkening sky?  With a bright sky, you will not see these lights.  It’s an exposure balancing act between the sky and the light from the buildings.  Using the in camera meter, I read the light in the sky and the light from the buildings, when the exposures match or are close, that’s when I make my photograph. I make several frames as the ambient light in the sky is changing.  The exposures become quite long.  I am working of a tripod with a shutter release connected to my camera. For the long exposures, I use the mirror up setting to eliminate camera shake and close the eye piece to prevent stray light from hitting the sensor.  If you are using a mirrorless camera there is no mirror up setting.

This photograph of Tower Bridge in London was published in “National Geographic Night Visions” as a double spread.   In a photograph like this I wait for traffic to pass by while I am making the exposure.  The headlights and tail lights add a feeling of movement and color to the image. 

The upper red streak and the yellow streaks came from a double decker bus crossing the bridge.   I shot this photograph a few years back with a Nikon D810, with a 17-35mm lens on a Induro tripod with an Acratech head.  30 seconds, f20 ISO 100.  Today I would shoot this photograph with a Nikon D850 with a Tamron 17-35 lens.

I was in London teaching my “Location Lighting Workshop” at the Societies of Wedding & Portrait Photographers Convention.  This is a wonderful annual, event, but due to Covid -19, the next Convention is scheduled for  March 16-19, 2022.

The photographs below of a bus in Piccadilly Circus was done with a Nikon 16mm fisheye, exposed for 20 seconds, f 8, ISO100.

The last photograph is also from Piccadilly Circus of traffic merging.  This was done with a 17-35 Nikon zoom at 17mm for 8 seconds, f22, ISO 80.

I processed these photographs using Luminar AI.   

This technique of long exposure and movement can be done almost anywhere.

It was getting late in the afternoon and I knew I already had a number of photographs , plus I still had to file the photographs to my agency, Polaris Images.  I was thinking, I should just walk back to studio to file the photographs, however if I just wait a bit longer, the daylight will begin to fade, the streets will come and blue hour will begin.  I always like making photographs during blue hour, whether I am covering news or making travel photographs.  Blue hour can give life to the photograph, it can also create challenges with the shadows. 

When I cover news events, I don’t carry much equipment.  2 Nikon D850 cameras, one with a Tamron 17-35 or a Tamron 24-70 and one with a  Tamron 100-400 or a Tamron 70-200 f2.8 lens.  I always have a sppedlight one camera for flash fill.  My speedlight of choice is the Nissin MG80.  It recycles fast and is incredibly accurate on exposure.  In mid day harsh light, I use it to fill in the shadows.  At blue hour I use the flash to add some life and movement to my photograph.  The only other things I carry are an extra camera battery and a couple of cards. 

 Whether it’s midday flash fill or at blue hour you want your strobe to add to the photograph, not over power it.  By the time I made this flag photograph, the ambient had dropped down, the flash fill made the flag pop in the scene.  My exposure was 1/15th of a second, f4, ISO 100.  The camera is set on rear curtain synch.  You can see a bit of ghosting of the flag where the exposure started before the speedlight fired. This gives me feeling of movement.

 This technique works great for portraits and model shoots. 

Protest outside the Massachusetts State Hope