With the weekend soon upon us, I thought I’d just do a quick ‘wrap up’ of the week plus a little news, so here goes…
Had a great few days in the studio with a couple of the most amazing people…
1. Promo Shootwith Chanel Fusco; the most amazing singing talent who’s album ‘Sad Goodbyes‘ seems to have been on repeat in my iTunes playlist since we first spoke about working together. This was the first of a few planned shoots during very exciting times as Chanel is drawing alot of attention within the music industry:
2. The first part of a portfolio shoot for a guy new to modelling by the name of Richard East; one of the nicest people and an absolute pleasure to work with…something tells me you’ll be seeing alot more of him from now on:
Next week I’ll post a selection of additional photos and a ‘walk through’ for each of Chanel & Richard’s shoots which were both taken in the new studio plus both were also recorded so I’ll put a couple of ‘Behind the Scenes’ videos together too.
On a different note, one week from today the main man himself Scott Kelby is over from the United States and will be in Islington, London for his Photoshop for Digital Photographers Workshop. If you haven’t managed to get a ticket yet I believe there’s still a chance to grab an extra seat by heading on over to the Kelby Training web site. If you’ve been lucky enough to grab yourself a ticket already I’ll see you there
Last but not least, if you don’t know him already allow me to introduce you to my very good friend and assistant extraordinaire Neal Hibbert:
Now, Neal (very foolishly) posted a picture of me on the internet that well, let’s just say it didn’t show me in one my best poses, so I thought it would be nice for you to see a photo of him smiling, happy in his work before I finally get round to seeking my revenge; Neal be warned, I’m onto you and can do wonders with Photoshop
• • •
Have a great weekend and I’ll catch up with you soon,
I mentioned in an earlier post that photo shoots are very much like an exercise in problem solving and this was very much the case for a recent ‘food shoot’ that I did for a local restaurant.
The original brief was to photograph the food on plates in such a way so that it looked as it would when being served to clients however on the day things changed…and quite considerably. The food was now to be photographed on a pure white background with the client wanting a reflection beneath but the only problem was that this had to be done within the restaurant whilst a few clients remained at tables and what’s more I had no white seamless set up in the form of a light table; so…now starts the problem solving.
Anyway, here’s a brief run through showing the location, lighting set up and how certain challenges were overcome…
Ok so I needed to find both a suitable background and a suitable surface on which to place the food. The white background issue was easy to resolve by aiming a speedlight at one of the white walls within the restaurant but for the surface on which to photograph the food, the only one available was a small ‘L’ shaped section of a bar which was white however covered in matt plastic so no reflection. There was no question, this was the only place available to photograph the food if we were going to produce anything like what the client now wanted; but what about that reflection?
As luck would have it a few months previously I’d purchased a small sheet of clear perspex for use during a portrait shoot, and this did a great job of giving a reflection when looked at from just above surface level:
Now that both the background and the surface on which to place the food had been sorted, next came the lighting set up…
As there were still a few clients within the restaurant and because of the limited shooting space, Nikon Speedlights were the weapon of choice because of the ability to use them without the need for wires. To light the food, one speedlight and Lastolite Ezybox was positioned in a 3/4 position (rear and left) to the camera and directly opposite a Speedlight and 46″ Shoot Thru umbrella was added in for a bit of extra fill:
To finish off the lighting set up, two sheets of white card were hinged together using gaffa tape to:
Add a little bit of fill to the front (camera facing) portion of the food.
Prevent flare from the Ezybox.
Obviously in an ideal world the location to shoot this particular way would have been different or a least I’d have brought along something like a light table but then saying that the brief changed on the day so it was all very last minute.
With regards to post production there was very little to be done. In fact the shots were ready moments after the shoot ended as we were tethering straight into Lightroom 3 and for the majority of the images all that needed to be done was a slight boost in the Vibrance, a little increase in Clarity (10%) and finally a small amount of sharpening.
As always if you have any questions, comments or maybe even suggestions as to how you would have tackled this situation then please feel free to make use of the comments section below.
Following on from the ‘Photo Shoot & Post Production Walkthrough’ I thought I’d carry on with the same theme this week, but this time covering a recent Food Photography Shoot.
I always feel that Photo Shoots are generally an exercise in problem solving and it’s this working out of the what, where, how and why that I get a real kick out of. Anyway this recent food shoot was no different as on the day the brief changed quite alot (to say the least) from what was originally planned.
I’ll fill you in on all the details later but to give you an idea, the photograph below to the left shows you the environment we had to work in and along side it are the results, straight out of camera with just a slight crop and a little sharpening added.
I’ll have the walk through posted up on the blog this coming Friday covering the location assessment, lighting and some of the challenges encountered but in the mean time,
Following on from the ‘Behind the Scenes’ video of the photo shoot with Artist Colin Castle I posted earlier in the week, I thought I’d carry on with a ‘walk through’ of the complete process, so here goes…
Set Up: 1
As Colin is regularly contacted by magazines and newspapers wanting articles, the priority was to come up with a photograph for promotional/editorial purposes that could be sent to the various media. In the couple of meetings we had prior to the shoot I’d asked Colin to start gathering any portrait photographs from magazines etc that he liked the look of so that we could get more of an understanding for the kind of feel/result he was aiming for. This is a method I employ alot for portrait shoots ie asking the client over time to gather as many pictures as possible either from magazines or the internet that they’re drawn to; I find it helps alot and goes a long way toward getting the shoot ‘right’.
The photo shoot was to be done ‘on location’ at Colin’s home which is where his studio is, however the studio space was quite limiting so we agreed on using a larger room and on the day of the shoot re-arranging the layout so that it looked as if he actually was in his normal space.
When I first walk into a location, I’ll take my time to walk around and find out exactly what we have to work with. I’ll generally set my camera into Aperture Priority and shoot away from all manner of angles in the quest to find ‘the shot’.
No different to any other shoot, the first location had it’s good and bad points. The good being the huge window where Colin had his easel positioned, letting in the most beautiful soft light. The bad (for want of a better word) being that the light dropped off dramatically so that beyond the easel itself started to quickly go dark and also underneath the easel being a big black hole of nothingness:
Keeping things simple I decided to blend both the natural light from the large window with light from a softbox positioned camera right to fill in some of the shadows so that more of the room and the back of Colin wasn’t so dark:
The next thing was to push a bit of light under the table because without it all the detail just disappeared into the shadows. The light for here came in the form of a Nikon SB800 Speedlight which I had to flag off so as to prevent light from it coming too high in the picture and creating shadows and hot points as it fell on other areas within the frame:
Once we’d decided on where I was shooting from, which was actually the adjoining kitchen area, and all the lights were in place it was then a matter of strategically placing items around so that it looked like we were actually in Colin’s studio space. Any reflections on the framed prints were quickly and easily resolved just by adusting the angle of the pictures in relation to the light:
Nikon 70-200mm f/2.8
Elinchrom Quadra & 100cm square Softbox
Nikon SB800 to light the area beneath the easel.
Set Up: 2 This picture couldn’t have been simpler. The idea was to mimic the light attached to the easel and have everwhere else fall to black and to do so all that was required was a single Nikon SB800 Speedlight, a light stand and a Honl Speed Grid.
The lighting was positioned on the other side of the easel from Colin and aimed down onto both him and the painting he was working on. After several frames to test where the light was falling, all the curtains were closed so as to restrict the amount of ambient light in the scene and I then asked Colin to work away.
The great thing about using flash is that it freezes action which in turn means the ‘talent’ can work away without having to hold a position which can start to make them look uncomfortable and ‘staged’. All you need to do is to tell the ‘talent/client’ what their boundaries of movement are ie where not to move so that the light misses them.
Set Up: 3 The final picture/s were taken outside on a patio area which overlooked the grounds. Here we wanted to create a very relaxed feel to the pictures as if Colin was sat outside on a warm summers evening; the reality though was quite the opposite with light rain and temperatures that had dropped considerably.
Again a series of test shots were taken to decide on the best angle to work and where to place the lighting as the natural/ambient light was quite flat:
Having placed the key light which again was the Elinchrom Quadra and 100cm square softbox a bit more interest was addded to the plain white wall behind Colin by repositioning one of the potted plants out of frame and firing a zoomed speedlight through it so as to create shadows; kind of mimicking what the low, late afternoon/early evening sun would do:
Real simple set up this one:
Before touching on the post production I think it’s worth mentioning that for the interior shots I was shooting tethered into Lightroom 3.
This is something I’ve been doing alot more of over the last few months, both on location and in the studio for a number of reasons but mainly because:
Seeing each shot come up onto a big screen straight from the camera means you can can really look at what you have in detail. As good as the LCD on the back of my D3 is and even if I use a Hoodman Loupe, seeing the images come up on my MacBook Pro’s 17″ screen means I have more chance of noticing all the little details that I could otherwise have missed and then spend time in Photoshop correcting. I’d much rather get it right in camera and spend time doing things in Post that I want to do rather than what I have to do.
Following on from that, working tethered has the effect of slowing you down so you can use that time to prefect the shot and correct all the little issues in camera and not in post as I mentioned before.
It eliminates the ability to say things like “I’ll get rid of that later in Photoshop”, “It’ll look great when I’ve worked on it later” and so on …. because there’s every chance the client / art director is going to be on your shoulder watching as the images come up on screen.
Post Production Ok, when it comes to post production there wasn’t much to do with this series of images at all apart from a slight colour temperature change, a little dodging and burning, a little use of the patch tool and some sharpening; taking no more than a minute or two so here’s a breakdown to give you an idea what was needed for each ‘set up’:
Photograph 1: A: Global colour temperature change (warmth added) using the White Balance control in Lightroom. B: Logo on shirt removed using the Patch Tool in Photoshop. C: Burn Tool used on paintings to darken them down a touch and add a little more contrast.
Photograph 2: A: Burn Tool used on paintings to darken them down a touch and add a little more contrast. B: Light spill on denim jeans removed by sampling surrounding colour and then using a soft brush to paint over the top.
A: Global colour temperature change (warmth added) using the White Balance control in Lightroom plus a slight vignette.
B: Exposure on plant pots reduced using Adjustment Brush in Lightroom.
C: Shadow patterning on wall intensified with a quick brush over with the Burn Tool in Photoshop.
As you can see the time spent in post production was kept to a minimum (approx 1-2 minutes each image) and to make things even better, the global adjustments in Lightroom were applied to all the other images in that set using the Sync Settings Command; one click and an unlimited amount of images are adjusted leaving time then to go in and make any fine adjustments:
So there you have it, a photo shoot from start to finish…warts and alland incase you missed it, here’s the ‘Behind the Scenes’ video that my good buddy Neal Hibbert recorded along the way:
Any questions or comments I’d love to ‘hear’ them so as always, please feel free to make use of the comments section below,
Thought I’d share this video with you by the Manfrotto School of Xcellence that I caught this morning whilst checking my Google Reader and going through the daily papers (blogs).
The video is a short iPad Interview with photographers Joe McNally and Bill Frakes; sounds odd but it’s a great concept and for fans of Joe McNally (who isn’t???) it’s insightful and entertaining as you come to expect from his unique, inimitable style.