Haven’t been able to get out and shoot as much as I wanted this year due to one thing or another so here are a few that I did manage.
I had been talking to Sharon about a shoot for ages,finally got together at Smile Studios near Lincoln and did these.
Using the location is important here, no point going into an amazing real world house/studio and shooting boring straight on shots all the time, this is the old sticking the door in the corner of the frame and tilty camera effect for the sneaky voyeur style. The next two images have Sharon engaging with the camera. The lighting is all natural through the three panes of glass in the bay window, which gives a key and back light, then the light fills the room and bounces back for the fill, simple really.
A different style for this, I love the step in the wall so wanted some shadow going on, a big single softbox throws the shadow across the step and makes Sharons face stand out against the background.
Then of course the obligatory crazy flare into the lens stuff. This one was done differently though, the sun wasn’t playing ball, so I set up a light and took the softbox off so it was bare flash, placed a large reflector behind me to bounce it back in then balanced all off the lighting so I maintain a bit of detail out of the window. I lost a bit too much detail on Sharon’s hair and her arm, but I didn’t have any more room to go back as I was already inside the wall…….
I managed to inadvertantly but blatently copy someones style here!
There was supposed to be another rim light firing here but the ones I chose didn’t have it, I prefer the assymetrical look, I wish I had shot some without the rim lights at all as I quite like the sharp defined edge on the right. The shot is simply a beauty dish almost front on, and softbox to the side. Processing involved making the shadows cyan and stripping out most of the colour.
Then using the same light I went for some deep, dark shadows. The beauty dish was gridded and used in close againsa dark backdrop.
So all you need is one light and a denim jacket, oh and a Mimi. I went nuts with the sharpening and contrast on the denim jacket areas to make them more punchy, then my usual ctrl+alt del colour processing.
Some more crazy flare, stuff boshed infront of lens, desaturated stuff. These were shot at Brightlights studio with Shaz, they have the coves and the sets but I started shifting things around and shot in the back room which has the interesting windows.
Balancing the light flare, the flash, the thing I was holding infront of the lens got a bit tricky, I seem to remember I was trying to balance on one knee at the time too…..and you thought that jaunty angle was on purpose, it was me falling over….
Sorted out a last minute shoot, I had a studio booked but no one to shoot so I got Rebecca in, who I had been meaning to get in touch with for a while. I got in some makeup artistry from Karen, so with both of those on board I should at least look barely competent!
First up, some ringflash crazyness, from previous shooty sessions at Hallam Mill I remembered the blue hammerite finish on the heating unit and thought that would look sparkly and good with direct light.
Not much to say, simple direct ringflash light, big smile, job done. Layering up the outfits helps a bit with ringflash to give some shape and depth, shooting very close up with distinct angles through the shot makes it nice and dynamic. Then with some makeup and hair tweaks some more ringflash against an old white wall. I had thought of just bleaching it out but it was made from a variety of panels so I included the seams in the shot.Its the flaws that make it more interesting to me.
Then I did some more of my models pushed off the chair thing, there must be some kind of story behind this but I can’t figure it out. I have never actually seen anyone casually hanging around after they have fallen of a chair. They usually get up and take a swing at whoever is closest to them shouting ‘I’ll take ya all on’……….
Technique is simple, get old brown carpet, put beauty dish pointing down towards model with a grid on for sharp edged shadows, overexpose a bit, then vintage it up in Photoshop. Then tried similar lighting in a standing up shot, need to get it a bit more on axis I think but the effect is almost there.
Then, just for a complete change we went all soft and floaty, quite nice shooting very different styles all together.
Technique is simple here too, set up beauty dish behind me a long way back as a fill to balance the daylight, set exposures to balance the two, swear loads as it changes between each shot, and even more when the perfect pose has the blown exposure. Eventually you will end up with one you like!
Similar things going on here, the fill light is behind me again, but much closer this time which you can see in the increased contrast and shadows it casts. The natural light is still coming in through the window and providing a backlight but the sun flare is artificial. A small low powered head high on a lightstand pointing straight at the camera, then the stand is Photoshopped out, everything else is lost in the flare.