FilmPhotoAcademy.com

Simple abstract figure lighting

Simon — Wed, 14 Dec 2011 07:52:07 +0000

In this shot we skim across the torso both seeing the overall form and shape, but also the fine details of the texture of the skin and the downy hairs.

Lighting Diagram

In the first two examples the light is into the back wall of the cove, so all the light on the figure is just reflected light and very diffuse. In the third image the light is now shining directly across the body from behind.

There are many decisions to make with this kind of abstract form, not least where do you crop to – inclusion of obvious features – such as nipples – can provide a very grounded image, cropping in tighter makes it more abstract.

I love the “rolling hills” effect in this image, the hard light, the toned figure, the down upon the skin.

Model: Rebecca Mitchell

Creating an artificial “natural light”

Simon — Thu, 01 Dec 2011 08:00:21 +0000

These images and diagram show you how you can re-create the sense of natural light even when you are locked in your studio.

Lighting Diagram

In our photographs we have used a Lastolite box, which is normally used to provide a high-key background.

The reason that window light looks so lovely is in essence because it is a very large, very diffuse light source. To achieve the same thing naturally
then you must also create a large, diffused source.

In this case the Lastolite box is 8 feet by 7 feet. So quite a large source.
You can achieve the same effect by large reflectors – 8ft x 4ft polystyrene insulator boards will work for this.
Or you can push your strobe light into a roll of white paper and let the light reflect back.

Just to emphasise how natural this light is, I’ve treated this image to a mock cyanotype print – to invoke those bygone days of portraiture when natural light was your only choice.

Model: IvoryFlame

Special Effects with Layering and Montage

Simon — Mon, 28 Nov 2011 07:59:09 +0000

The intent behind these first two images is to layer the cloth or clothes over the nude image, to give a controlled sense of translucency to the materials.

In the top image with the golden drapes I’m very pleased with this effect, it is as I pre-visualised it.

In the second image the technique does not really work as the form of the dress does not really match the style I was looking to achieve.

In this final image, I am using a much more convential montage, a digital version of the split-screen effect or masked negatives of old.
Essentially these are two digital images layered on top of each other. The unwanted portion of the top image being deleted away to reveal the figure in the image below.

With these types of images, you must take some care in ensuring that eye-lines and any hand to prop or hand to hand type contacts are carefully aligned, preferably in the taking stage where it is very easy.

Lighting Diagram

Our lighting setup here is complicated because of the layers of background to foreground. Essentially the background has its own illumination to prevent shadows from the main set falling on the “sky” of the background.

In terms of the montaging, the lighting is not relevant, except when you create your own montage, the lighting must remain constant and unchanging.

Model: IvoryFlame

Industrial Glamour

Simon — Mon, 14 Nov 2011 08:15:25 +0000

A girl all hot and sweaty from her hard work, who just happens to be wearing a bikini – what could be more natural than that?

Lighting Diagram

The set is a simple mix of scaffold, metal poles, cables and assorted stuff. The light from behind are two gelled strobes – one blue, one red, shining through cardboard goboes.
Smoke is used at the back of the set to catch depth and create paths of light.

You could do this set as a “girly doesn’t know what to do” look, but I like my women to be strong, so instead I opted for “this girl knows exactly what to do!”

And of course don’t miss the opportunity to mix classic glamour poses, but in a way which echo the features of the set to create a better and stronger image.

Model: Rebecca Mitchell

Laura on the bed

Simon — Tue, 01 Nov 2011 08:12:36 +0000

At least the bed is a legitimate set for glamour photography. It also lets you play with the environment, props and setting.

Lighting Diagram

This is actually shot in a space within my studio. The area is a white walled area with a window space. It can be dressed as a bedroom, sitting room, office, or any other kind of space.

The key thing is the light behind the window – which is covered in diffuser material – is burnt out to give that outdoor sunshine feel.

The lights to the front in the case are typical main and fill lights from softboxes. When shooting glamour I tend not to have too much contrast in my images.

Some very classic or “cheesy” posing depending on your viewpoint. This style of glamour photographer clearly has a mold to conform to.
If you are shooting by commission you need to be clear what sort of glamour look you are aiming for.

And don’t forget to move around the space and the bed. Shoot across, shoot down, shoot along, shoot headshots and let the model work the space, sitting, lying, kneeling and so on.

Model: Laura Summer

Shooting with overhead lighting and a smoke machine

Simon — Fri, 28 Oct 2011 08:32:27 +0000

It sounds simple, a single red light overhead and smoke filtering and pouring around the figure.

In practice, getting the pose right isn’t straightforward. More crucially moving the figure forwards or backwards in the light by as little as a few inches makes a huge amount of difference to the way the light falls on the figure.

When you add to that the fire alarm going off with the smoke machine (it’s not supposed to!) all in all this was a frustrating shoot that I expected to be simple.

Model: Rebecca Mitchell

Nude by natural window light

Simon — Tue, 25 Oct 2011 07:50:28 +0000

There is nothing more lovely than a simple north facing window for creating a flattering light for the female form, of for female faces.

Lighting Diagram

With a north facing window above and to the left of our model Holly / IvoryFlame

You can soften the light down on a sun facing window with net curtains, but any window facing away from the sun will give you this wonderful diffused light.

Of course light levels may be very low, so you should increase your ISO rating so you can still comfortably hand-hold your camera without camera shake and your model can hold their pose without movement.

Just look at the way that lovely softlight gives wonderful direction in the shadows, but very soft transitions, revealing the form perfectly without harshness.

Model: IvoryFlame

Creating a Fourties Glamour Style

Simon — Tue, 18 Oct 2011 07:58:32 +0000

In these images I am invoking the sense of the fourties and fifties glamour pin-ups, but with a modern edge to them.

Lighting Diagram

The fish-dryer on the left is quite high and is my key light, this gives me stronger vertical shadows. The octogonal softbox on the right is my fill light, not much under power compared to the key.

The assortment of drapes on the sofa and around the set, as well as over the model, are all part of adding a textural richness to the setup.

Finally, the images are toned, with either sepia (or sepia variations) or in the top image a split tone of Yellow to Red (i.e. yellow in the highlights, red in the shadows).

Almost any monochrome image I create actually is toned, usually slightly warm toned, but lots of other variations too.

Model: IvoryFlame

Glamour in a shed

Simon — Fri, 14 Oct 2011 08:15:19 +0000

These images work because of the comparison and contrast – and frankly downright incongruity – of a pretty girl in a grubby place.

Lighting Diagram

A single softbox provides the main lighting, but long exposures allow the natural environments lighting to show through as well.

Look for props that you can use, look at poses that echo the shape of the props

Working with wide open apertures will help the background drop out of focus, giving interesting and texture to the background without distraction.

Model: Rebecca Mitchell

Nude in chocolate

Simon — Wed, 12 Oct 2011 08:03:25 +0000

This is warmed chocolate sauce, a wonderfully graphic prop for photography.

Lighting Diagram

The cove is lit to balance the front main light to right hand side.

For me the monochrome images are stronger because the pure graphic mix of the chocolate against the skin is so much stronger.

However, I had pre-visualised this shoot about a some what manic women laughing her way through the chocolate.

In this case you really only get one sequence or style to shoot, the chocolate runs, smudges and so on. It would be interesting to repeat this shoot but looking for a very artistic element instead.

Model: Laura Summer