U.S.A. - Roberto Valenzuela - RF Lens World - Canon South & Southeast Asia

This is one of my favourite techniques I use for outdoor on-location photography. The technique consists of letting the shadow graphics from the nearby tree project on the wall behind the subjects but use a diffuser overhead to clean the light on the subject's faces. Last, but not least, add a flash to make the subjects pop from the background with a large modifier to keep the lighting soft and flattering. This photo was taken with my absolute favourite lens, the RF100-300mm f/2.8L IS USM. This lens can do it all!

Photo of former Miss Universe 2022 R'Bonney Gabriel Nola: This photo of R'Bonney was taken in the Sonoran Desert in Tucson Arizona during The Photo Creators Conference. The spiky large cactus provided great juxtaposition with the soft dress material R'Bonney was wearing. The RF85mm f/1.2L USM DS really shines in situations like this, where the background is relatively close to the subject, but with this lens, it is possible to still achieve a great blur in the background to create separation. A 3-stop magnetic ND filter was used to lower the exposure and allow for the flash to function within its flash sync speed.

Photo of Latin actor Fernando Noriega. There is a time and a place to take some risks. During this photoshoot with Fernando Noriega, I had already taken all the clean safe shots for this magazine editorial. Therefore, it was time for some risk taking. I used these home décor plants as a way to create a frame around his face. This will draw the viewer's attention right to his upper body. Since the leaves were the same colour palette as the rest of his outfit, they served perfectly as a monochromatic frame without creating any distractions.

For another version of shots, to make the perspective more interesting, I asked Fernando to lie down on the corner of his couch. For this series of shots, I stood up on a stool to get a bird's eye view and shot these photos with my arms extended as far up as I could. I relied 100% on the EOS R5's eye tracking auto focus capabilities to keep the eye tack sharp, even though I couldn't see the screen very well from my angle. The RF28-70mm f/2L USM was the perfect lens for this, since it allowed me to zoom in and out until the perfect frame and composition was achieved. From of all the photos featured in GLOW magazine from this shoot, this was the chosen photo for the cover of the article. Sometimes, risks pay off much more than you can imagine.