目前日期文章:201212 (35)

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120-1-5357046377_888212c28b  120-2-5357756014_60273bbecf  Fred's portrait is beautifully lit with continuous light. I have never seen three reflectors used in a sun-tan position before but the result is stunning. (Check out the catch lights)

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106-1-5247453781_6cdce4b449  106-2-5247453875_5369a59558  Photographer Benoit Linard lit Manon in a classical way - a softbox from camera left, and a bare strobe from far right. sounds familiar? This setup is very similar to the one used by Zeke for his gangster image above. The list is soft since the small softbox is positioned very close to the model.

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105-1-385321617_cd17e53ef9  105-2-385321597_65ec2ac84e  The Lighting for this self portrait by Zeke Kamm is a pretty standard setup for these kind of shots. Umbrella as a key light and a bare strobe for some separation. The interesting bit, though is the way Zeke slows the shutter down to let some motion blur into the feast. (I tried to locate the assistant, for more details, but he would not talk).

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88-2-studio-lighting-setup_019_Result  88-1-studio-lighting-setup_019  Hey hey! Last week I showed you studio lighting setup, where I used small depth of field F4 (Studio lighting setup #17, charcoal background.) and all light sources were at minimal power. Now, I would like to show you an example of the opposite case. As I have said before, I often use F10 when shooting in the studio. This time I’ll use F25 and all light sources will be at maximal power and regulated only by change in the distance between them and the model. Two 120° Wide-Angle Reflector lights are set on each side of the model in parallel with the background. Snoot is pointed on the silver top of the model, to make it shine. Beauty dish as key light is at the left of the model and another 120° Wide-Angle Reflector and big softbox are used as fill light. I liked the result of the experiment very much and I hope that you will try the variant of studio lighting setup and will be satisfied like I am! Cya next time!

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Day 119 of 365 - Well, I don't know what I can find

Opportunities everywhere. Never stop to look for the little things. I know I never do. I always find that when I least expect it, something wonderful happens – or what I least want to do turns out to be the most incredible thing ever.

Clichés everywhere. Yes, but they work. How about you get your favorite quotes by your favorite peeps and live by them? Why don't you just try it out, it might be the best things you will have ever done.

Just sayin'.

Lighting info
- YN560 at 24mm zoom and 1/4 power, in 27" Softbox. Positioned camera-left about 0,5 meter from subject. (Rim Light)

- YN560 II at 24mm zoom and 1/4 power, in 27" Softbox. Positioned camera-right about 0,5 meter from subject. (Rim Light)

- Chinon 900C at 35mm zoom and 1/1 power, with omnibounce into 47" shoot through umbrella. Positioned on-axis about 0,6 meter from subject. (Fill Light)

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Day 124 of 365 - New Glasses Acquired

Look! I have new glasses. Yay! I had to choose this rim over an armani one. Well, bollocks, but style first, made second.

Lighting info
- YN560 at 24mm zoom and 1/16 power, bare. Positioned camera-left about 0,5 meter from subject. (Rim Light)

- YN560 II at 24mm zoom and 1/16 power,bare. Positioned camera-right about 0,5 meter from subject. (Rim Light)

- Chinon 900C at 35mm zoom and 1/1 power, with omnibounce into 47" shoot through umbrella. Positioned on-axis about 0,6 meter from subject. (Fill Light)

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Glossy Beauty Shot

Model: Krisztina Baumgartner
Photo/Retouch: Viktor Fejes

Just a very simple, glossy beauty shot with my favorite three-light-setup and vivid background. Enjoy!

Lighting info
- YN560 at 24mm zoom and 1/4 power, in 27" Softbox. Positioned camera-left about 0,5 meter from subject. (Rim Light)

- YN560 II at 24mm zoom and 1/4 power, in 27" Softbox. Positioned camera-right about 0,5 meter from subject. (Rim Light)

- Chinon 900C at 35mm zoom and 1/1 power, with omnibounce into 47" shoot through umbrella. Positioned on-axis about 0,6 meter from subject. (Fill Light)

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83-1-beautyheadshot2  83-2-beauty-set-up-600x404  

There are only two lights used for this look:

    You’re actually using a large softbox as your background (you can see the subject standing in front of a large Octabank above), but you tilt the light back at a 45° angle (as seen above). NOTE: For the shot in the Westcott catalog, I used a 36″x48″ Westcott softbox behind the subject instead of the Octabank. Worked just as well (the Octa is actually a little overkill). By having your subject stand directly in front of the large softbox behind her, it makes the light wrap right around her face on both sides.
    The 2nd light in this case is a Beauty Dish (the one shown above is actually a White Lightning strobe with a beauty dish attachment, but we’ve since replaced that rig with an Elinchrom strobe and beauty dish. I’ll discuss why in just a moment). NOTE: In the Westcott catalog, the front light was another Spliderlite TD-5, with a smaller 16×22″ softbox, but in the same overhead position as you see here. This light you put up high—directly in front of your subject, but angled down at her at a 45° angle (so basically, the two softboxes are aiming at each other).(2a) You also need a reflector down low bouncing some of that light back into your subject’s face (as shown above. By the way; that’s a celebrity guest-reflector holder; Photoshop World digital video instructor Rod Harlan). The reflector should be placed about chest level, just below the bottom of your frame (I just kept telling Rod “Lower….lower…lower…until I couldn’t see it in my frame any longer). NOTE: Since this shot was taken, I’ve gotten a Lastolite Tri-panel reflector (which reflects from three angles, using three different reflector mounted on one stand, and I would now use that instead—-that thing works wonders!).

Because you’re aiming directly at a softbox (the one behind your subject), there’s a decent chance you’ll get some lens flare back into your lens, so you could try and block the light as much as possible (by putting up some large black flags in front of you, and then shoot through a small slit between them), but instead what I do is just know that it’s going to be a little washed out when the Raw photo comes into Lightroom (or Camera Raw), but the fix is incredibly easy—-all you do is drag the Blacks slider to the right (as shown below) until the photo looks balanced. Works like a charm.

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  • Dec 26 Wed 2012 02:15
  • lulu2

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y1-constance  y2-demarchelier-constance-600x463  

copyright, Eric Ogden.

You may have read/heard of/seen the movies All the Pretty Horses and No Country for Old Men. The books were written by Cormac McCarthy – a southern, literary phenom (and Pulitzer Prize winner) who has been compared to Faulkner and Melville, but maybe better. The probability is high that you haven’t heard of his earlier work, though. Titles like Suttree, Blood Meridian, Child of God and Outer Dark. Critically acclaimed novels that had absolutely no commercial success. When I was introduced to these works years ago, they rocked my world. In a good way. I have been one of McCarthy’s biggest fans ever since.

Now know that Cormac is a strange guy. Other than writing about topics like sibling incest, necrophilia and Indian scalp bounty hunting, he is famous for how little we’ve seen or heard from him. He’s a J.D. Salinger-level recluse. In his entire life, he’s given just three interviews and I don’t believe had ever sat for a formal portrait until this 2007 shot by Eric Ogden for Time Magazine.

Why did Cormac wait until then? Not sure, exactly. But the reason for this shot was his collaboration with the Coen brothers on the Academy Award-winning  No Country. I was excited to see that Time chose Eric for this story. His photo lighting is dramatic, powerful and portrays Cormac as the bad-ass he is (well, at least in my mind). This shot was created with 3 lights and the soundtrack to The Good, The Bad and The Ugly on continuous loop.

Camera: Medium format, 400 ASA film, with 90mm lens, set on a tripod 9 feet back. Shot at 1/125, f11, ISO 400.

Lighting: Though seemingly straightforward, the layered lighting has some delicate nuance. The key light is a standard 7-inch, gridded reflector at f16 1/2 (+1 1/2 stops) 8 feet to camera left, slightly behind Cormac and just above his head. This light creates the strong facial highlights and draws the viewer’s eye directly there. The fill light is a large softbox at f5.6 (-1 stop) high and directly behind camera. A small, gridded softbox at f11 is boomed in from camera left directly above Cormac’s head, acting as a hair light.

Comments: After a lengthy kale frittata discussion on the correct ratio of egg to heavy cream (nope, not whole milk), Cormac engaged Eric in an impromptu staring contest. The two of stood just feet apart, for what some say was near 8 minutes, before Eric finally yelled “uncle” and blinked. At which point Cormac continued staring, cracked his knuckles and began to sing Prince’s When Doves Cry.

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x1-ogden_cormac-600x742  x2-ogden_lights_cormac-600x463  

copyright, Victor Demarchelier.

When your pop is Patrick Demarchelier, you’ve got some photo juju at your disposal. After assisting his dad for a bit, young Victor went out on his own in 2009 to shoot mostly models of the fashion variety. And if you’re up on your models, you know Ms. Jablonski is pretty big. Which may explain (or not) the 50-gallon hat she’s styled in for this September 2012 Harper’s Bazaar Australia cover. Vincent lit this image with 2 lights and a hat wrangler.

*Thanks to Dennis Zeitz for sending me this image.

Camera: Medium format, digital, with 100mm lens. Set on a tripod 10 feet back. Shot at 1/125, f11, ISO 50.

Lighting: To achieve this extremely flattering, soft light, Vincent pulled a page from his dad’s playbook. The Key light is a medium octabank at f11, just above head height and 6 feet to camera right. You can see that the light is not very high since it Constance’s hat doesn’t cast much of a shadow on her face. A 7-inch grid reflector with 30 degree grid at f8 (-1 stop) is low and behind Connie to camera right. It’s aimed up at the center of the seamless to create the slight glow behind her. A black v-flat is just to camera left of Constance to create a strong shadow on that side.

Comments: Unbeknownst to many, Constance is quite the card. She arrived on set speaking not with her native French accent, but with a full-on Aussie one. She proceeded to teach the entire crew how to speak Australian and told Victor that she almost “chucked a sickie” because she was “chundering” all morning after a “cobber” fed her a few “icy poles” made with Vodka.

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z1-steve_jobs_albert-watson-600x600  z2-stevejobs_watson-600x463  copyright, Albert Watson.

Steve Jobs was the man. In so many way. But he granted very few interviews and photo ops, apparently due to camera shyness and being uncomfortable in the public eye. With Steve’s passing, Albert Watson’s 2006 portrait catapulted to fame overnight. It became the defining image of the intense genius behind Apple’s rebirth. Originally color, the now b&w shot says what Steve knew all along: I’m going to revolutionize so much more than just computers. The image was created with three strobes.

Camera: Arca-Swiss F-Line Misura with 150mm Schneider lens and Kodak Portra 160nc 4×5 film, set on a tripod 8 feet back. Shot at 1/250, f32, ISO 100.

Lighting: Albert is certainly old-school and this set-up is nothing shocking. The key light is a white umbrella at f32, high and six feet to camera left. Two umbrellas at f16 1/2 (-1 stop) are placed behind Steve to the left and right. They evenly light the background and remove any shadow there.

Comments: Before getting underway, Steve and Albert jabbered about computers, iPods and the future of the music industry. Still a fan of analog (cameras, records, etc.), Albert was still skeptical of keeping his entire music library on a tiny, electronic device. He did, however, think it would be cool to someday have a phone that would play music, keep appointments and help him track the sun’s trajectory during the day.

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